Ruby

JENNIE – Ruby – 7.0/10

As the final BLACKPINK member to launch a solo project, JENNIE naturally drew attention from all directions, especially given that the other three members’ releases were largely underwhelming. Her 2018 single Solo helped her accumulate fame and remains one of the representative works of K-Pop solo artists. In recent years, after BLACKPINK’s full entry into the Western market, JENNIE has also found herself at the center of public scrutiny. However, in her debut solo album Ruby, she clearly demonstrates stronger musical abilities. JENNIE attempts to transcend the group’s established style and forge her own artistic identity. This 15-track album blends K-Pop, R&B, hip-hop, and alternative pop elements—balancing K-Pop sensibilities with her Western breakthrough ambitions better than before.

The album opens with “Intro: JANE,” a collaboration with FKJ, which sets a reflective atmosphere. The follow-up track, “like JENNIE,” immediately breaks that mood, responding to past controversies in a boldly declarative manner over phonk-influenced beats. Unlike LISA, who also delves into hip-hop, “like JENNIE” avoids complex and aggressive synths, maintaining simplicity and bounce while still retaining an edge, leaving room for choreography. As reflected in the Korean verse at the start, compared with the repetitive catchiness of "APT.", the K-Pop dance challenge led by “like JENNIE” feels more “professionally aligned.”

JENNIE also collaborates with a number of artists. “Love Hangover,” with Dominic Fike, is a highlight of the album: its melody is catchy, and their chemistry is evident, balancing the emotionality of pop with the depth of R&B while showcasing JENNIE’s vocal versatility. Collaborations with Dua Lipa on “Handlebars” and with Kali Uchis and Childish Gambino on “Damn Right” inject diverse textures—on “Handlebars,” JENNIE and Dua Lipa intertwine and complement each other, while the sultry vibe of “Damn Right” is amplified by JENNIE’s hushed chorus vocals. The track with Doechii, “ExtraL,” leans more toward a display of rapping prowess, dominating the space like a beast.

JENNIE’s presence is also reflected in tracks like “Mantra”—the dynamic Miami bass elements create a playful, flirty style, enhanced by Brazilian funk’s tropical flair. Such a crowd-pleasing persona might seem superficial, but through JENNIE’s repeated interpretation, it gains renewed vitality. Beneath this, she remains introspective: in “Seoul City,” she cleverly plays on the pun between “Seoul” and “Soul,” while “Filter” underscores her determination to leave a major label and take control of her own narrative. Even conventional pop tracks like “Twin” feel genuine, while “ZEN” experiments with an art-pop approach within a primarily R&B context, emerging as the album’s central soul track.

Nevertheless, the album has some shortcomings. Tracks like “Twin” and “Seoul City” lack the maturity and depth of other songs, and the latter half of the album loses momentum with some formulaic tracks that don’t push boundaries. Yet, notably, JENNIE avoids typical pop narratives dominated by love or fame, focusing outward to internal reflection with substance. Even when the lyrics are uneven, her emotionally charged performances often compensate, giving even formulaic lines a sense of authenticity. Above all, the album showcases JENNIE’s ambition, fittingly reflected in the title Ruby. The name “Jennie Ruby Jane,” earned as a child abroad to integrate into her surroundings, surprisingly resonates with her career trajectory two decades later, naturally embodying both ambition and a sense of identity.