As documented from BTS‘ industry-shifting trilogy albums to the multidimensional universes created by the likes of ATEEZ and aespa, storytelling has become a crucial point to help power K-pop acts to top the charts and connect closely with their ever-growing global fanbases. With 20 years in the industry, Jaden Jeong remains so committed to his musical lores that he refuses to abandon them — even years after its original group has effectively dissolved.

The founder and CEO of Korean-pop label and creative house Modhaus, Jeong’s work touched generations of K-pop fans with various involvement in superstar acts ranging from Lee Hyori and Wonder Girls to INFINITE, NCT, and OnlyOneOf, but most famously found his name associated alongside his work with girl group LOONA. Jeong acted as creative director for the 12-member outfit since its start in 2016, overseeing music and a larger narrative where the outfit introduced each girl through her own solo album. Despite drawing in fans like Grimes, Kim Petras and multiple queens from the RuPaul’s Drag Race franchise, he parted ways with LOONA’s label BlockBerry Creative in 2019 over a vague difference in creative direction. His exit not only marked a shift in LOONA’s sound (from forward-thinking synth and hyper-pop confections) but also abandoned the larger musical lore the 12 were developing (which included officially teased songs, a ballad project, international expansion, and more).

But on Jan. 17, 2025, LOONA members HeeJin, HaSeul, Kim Lip, JinSoul, and Choerry — who recently reformed as ARTMS under Modhaus — dropped their “X1” teaser trailer featuring what fans thought sounded awfully similar to a sound previously teased from LOONA in 2019, the presumably lost track titled “BURN.”

Speaking openly about the behind-the-scenes dealings from the past as well as his future creative directions for the first time with Billboard, Jeong says that he and ARTMS will continue LOONA’s legacy through future music releases and touring beginning with the upcoming digital release of ARTMS’ “BURN.”

All 12 of LOONA’s members have successfully returned to the K-pop scene either as soloists (like members Chuu and Yves) or in a new group (as HyunJin, YeoJin, ViVi, Go Won and HyeJu did for two years as Loossemble), Jeong says he watches over all of their creative moves and is cognizant to be sensitive about the amount work that everyone has put into the group.

While shooting new content for ARTMS’ upcoming music as well as a new album for Modhaus’ experimental 24-member girl group tripleS, Jeong says he’s under the weather but still speaks a fiery passion about his past, current and future work that speaks to detail-oriented-yet-grandiose creative vision.

Why are you and ARTMS releasing “BURN” now when LOONA could not? How did you come to this decision?

I am well aware that many fans were looking forward to “BURN,” and for me as well, as it was the very last project I worked on right before leaving BlockBerry Creative. So, when Modhaus signed ARTMS, we wanted to release this song, it was just that we knew the timing would be important. We didn’t release “BURN” as the first song because if we released “BURN” with the reveal of ARTMS, it could have made it look like LOONA Version 2 and weakened ARTMS’ identity. So, we wanted to start ARTMS’ own story and work to where the story can lead up to its release.

Before we look forward to ARTMS, I’d like to reflect on how we got here. I remember learning your name for being closely associated with LOONA, but you left for somewhat vague reasons. The LOONA members left the label as well. Is there more you can share today?

So, this overall situation is quite tricky to express with words…I feel like my departure, or the reason for it, can sound like a criticism against someone, some organization, or a situation; that’s why I’ve avoided answering. But after all this time, if I were to give a little more insight into this…as you know, the members have left after going through a legal proceeding. You can say my whole situation is similar to what the members went through.

That gives some insight because you’ve explained your system with tripleS and the necessary amount of albums to sell for a unit to release more. It paints a picture of the financial realities facing K-pop acts. LOONA had 12 members, so I’ve heard theories wondering if it was difficult to financially justify the large-scale project you envisioned.

Answering about the financial side might sound like I’m criticizing one party over another, so I will only answer from my own side of things…so, like any other team, you start off the group through investments. Then you go through steps where you’re able to recoup [the investments] and make a profit. In the case of LOONA, I actually marketed it as a very expensive project, a group that would require a lot of money to be invested. However, in actuality, there was very compact spending and budgeting. In mentioning that, you can say, for example, that three billion Korean won [about $2.1 million] is a lot of money, while some can say that is a tight budget — it can change according to perspective. But when I’ve worked on groups, it’s not as if I was only working as the producer, but I had to calculate budget and expenses. There were many members for LOONA and we marketed it as an expensive project despite the consolidated spending, so we believe there could have been some illusions or misconceptions. However, especially considering the 12 members, there was a good turnaround, even financially.

So, what was “BURN” going to be with LOONA and what will it be ARTMS?

For the sake of comparison, tripleS is a group where fans’ decisions and interactions are very involved in creating the journey and next project. However, we planned out LOONA from the start. We had [the singles] “Hi High” and “Butterfly,” which are actually very different in concept and style, but I believe the fans could see how those two songs ultimately emerge and connect. The track after “Butterfly” was meant to be none other than “BURN,” so that’s why the “Butterfly” activities ended with a teaser trailer for “BURN;” this was all planned out.

I never told this to anyone in the world, but after “BURN,” we planned to work on [singles titled] “RUN” and then “ONE.” The three are a trilogy, just like how “Hi High” and “Butterfly” connect. “BURN” is about burning oneself, burning one’s identity away…you know, during puberty, you leave behind and “shed” your younger self? It’s like leaving that part of you behind as you grow in your identity. So, the trilogy is about “BURN” and burning oneself, “RUN” where the 12 members run their individual paths, and “ONE” is when the 12 members come together as “one.” For ARTMS, the story I have is that they came out with “Birth” and “Virtual Angel.” Angels can be interpreted in many different ways — for us, the wingbeat, or the act of flapping the wings, can be viewed as a butterfly. Now, “BURN” is meant to burn these very wings so it’s the perfect follow-up. Or that’s how we view it. [Laughs]

Where does ARTMS go from here?

I don’t want to spoil everything, but snippet videos for “BURN” were filmed in Europe and will be released soon. ARTMS is working on a lot of music that will be intertwined with “BURN.” I don’t want to outright share the spoiler, but you can think of it as something after the burn, something from the ashes, almost like a new self and identity. You’ll just have to see how it goes.

But I also have “RUN” and “ONE” in store, but can’t share everything so you’ll just have to look forward.

Sounds like a phoenix is rising soon. But this is all so fascinating; where do you pull your inspiration from?

I don’t think there is anything special, I am like anyone else: the books from my youth, Hollywood movies these days, advertisements, I get inspiration from many different things. It’s not like I have a special talent related to this. However, I do like new things quite a lot. I gain this sense of enjoyment in showcasing something that has yet to be achieved or never before seen.

Back to the music, ARTMS visited the U.S. last year as part of their Moonshot World Tour. Do you have future concert plans?

ARTMS’ next tour will consist of mostly of all LOONA songs. Fans may be confused as to why there are so many LOONA songs, and why ARTMS is performing it, but as someone who really participated in producing these songs, LOONA has a huge catalog of very good songs and we wanted to keep that legacy going. I wanted to have two concepts within ARTMS, where they can tour with ARTMS but also with LOONA’s music.

ARTMS consists of five of LOONA’s original 12. Is there a way you see the remaining members connecting into this future story?

This might be a sensitive topic because I’m planning new things with ARTMS, but I still have a pretty good relationship with all the members including the soloists. And they’re all doing well in their own personal activities. Yves and Chuu are doing well as soloists, Loossemble may be going through a rocky time now and we’re still maintaining that good relationship, but it’s hard to bring all that together as everyone is doing well in their respective areas.

That being said, we’re getting “BURN,” but you teased other LOONA projects during your time — LOONA the Ballad or La Maison LOONA, music aimed at the Japanese market. Do you keep them in mind for future projects?

Like I mentioned, I do a lot of planning — maybe two to three years in advance. I do have lots of songs in store and some are previously recorded. From the fans’ perspective, it makes me really sad that so many of these songs have not been released to this day. The same goes for me as I was participating in these projects and also put a lot of effort into them — the fact that they haven’t been released yet is still saddening to me as well. I do want to showcase those songs with ARTMS but as mentioned, I don’t want to share straight them from the beginning as we’re still developing the identity of ARTMS. Also, with the unsure situation with Loossemble, we didn’t want to jump into it out of respect, but in the future I do want to integrate those songs into ARTMS’ catalog.

Your career spans 20 years at this point. Is there any moment or release you look at with pride? You collaborated on INFINITE’s INFINITIZE album, which is a high point in K-pop, in my opinion.

I really put everything into that album. The memories of those days live with me so vividly — there is a car in the music video for [lead single] “The Chaser,” where it flipped around a full 360 degrees and that memory is still fresh in my mind.

But one of the things that I liked about INFINITE is that they didn’t use [American] pop as a reference. Even now, you can say it’s a trend for many K-pop groups to mix American pop and hip-hop styles into their music. However, for INFINITE, maybe it was our youthful spirit, but I wanted to make them the standard and identity for K-pop — as in, making Korean K-pop with Korean attributes and without U.S. references. Although doing music 100 percent without U.S. reference would be difficult, admittedly. But we really had such bravado and determination.

Your work has spanned from creative direction, A&R, concept planning and, now, a CEO of your own company with Modhaus. Is there a particular role or aspect you enjoy most?

As many know, I was a freelancer when producing LOONA. Same for the other artists I’ve worked with, I was always contracted with them. I came to realize there is a certain limit to working with, as well as the funds of, other companies. Obviously, I do a lot of step-by-step planning and it was sad that it had to come to an ending. But through all the experiences I’ve gained, I thought I had to create my own company to really get that creative process going, but also support other creatives in their fields to express more of themselves freely in their work. I thought timing for that was right.

Looking ahead, what would you like to share about the future of Modhaus, tripleS, or beyond?

Firstly, when it comes to tripleS, last year we released their full, 24-member album [ASSEMBLE24] and tripleS did their activities as 24 members. Since tripleS has many members, I want to do more activities and more various, different contents with tripleS. All the members have their own brand of charm and characteristics, so there is much more content in store that we want to show to the world.

Regarding Modhaus, I truly want to make it the entertainment company that proposes and showcases new content, concepts and visions. What this means is that — well, there are many entertainment companies and several hundred or dozens of new [K-pop] teams each year. I am sorry to say this, but they are all pretty similar. That’s not necessarily a bad thing, but for tripleS, people can say “Modhaus debuted a 24-member group.” Whether the people like it or dislike it, whatever their reaction is, it is a new concept in Korea or around the world. So, we want to try and pursue a different vision and try different content — the very content that people will say, “I never saw that before” or “I’ve never seen that in K-pop.” We want to pursue and showcase that and succeed with that mindset.

Trace Cyrus has issued an emotional statement in response to his father Billy Ray Cyrus’ widely criticized performance at Donald Trump’s inauguration Liberty Ball on Jan. 20.

Following accusations of lip-syncing and speculation about the singer’s state during the event, Trace, the elder brother of Miley Cyrus and Noah Cyrus, took to Instagram on Jan. 22 to share the family’s deep concerns for the “Achy Breaky Heart” singer.

“Since my earliest memories, all I can remember is being obsessed with you and thinking you were the coolest person ever. I wanted to be just like you,” the former Metro Station guitarist began. “The day you adopted me was the happiest day of my life. Sadly, the man that I wanted so desperately to be just like I barely recognize now. It seems this world has beaten you down and it’s become obvious to everyone but you.”

Viewers of the Liberty Ball performance had commented on technical issues that plagued Billy Ray’s set, leaving his guitar inaudible and forcing him to perform a cappella.

However, Trace’s statement moved beyond the performance itself, addressing years of strained family dynamics and expressing concern for Billy Ray’s well-being.

“You may be upset with me for posting this, but I really could care less at this point. Me and the girls have been genuinely worried about you for years but you’ve pushed all of us away,” Trace wrote. “Noah desperately has wanted you to be a part of her life, and you haven’t even been there for her.”

He continued, “That’s your baby girl. She deserves better. Somehow just like me, she still idolizes you though.”

“We are all hanging on to memories of the man we once knew and hoping for the day he returns. You’re not healthy, Dad and everyone is noticing it. Just like I showed up for you at Mamaw’s funeral when you didn’t expect me to, I’m still here right now.”

Trace also reflected on his own struggles and progress, offering his father a path toward reconciliation. “As I write this with tears in my eyes, I hope you realize this message only comes from a place of love and also fear that the world may lose you far too soon.”

Trace shared that he was “over a year and a half clean from alcohol,” adding, “I don’t know what you’re struggling with exactly, but I think I have a pretty good idea, and I’d love to help you if you would open up and receive the help.”

He concluded with, “You know how to reach me. Till that day comes I will continue to pray for you.”

Billy Ray has yet to publicly respond to Trace’s statement, but his performance at the Liberty Ball has already drawn major attention. While technical difficulties marred the event, Billy Ray defended his appearance in a previous statement, saying, “I wouldn’t have missed the honor of playing this event whether my microphone, guitar, and monitors worked or not. That’s called rock and roll!” he told People.

JPEGMAFIA has been forced to end his recent Berlin show earlier than planned after an unexpected incident involving pepper spray in the audience.

The New York-born rapper (whose real name is Barrington DeVaughn Hendricks) was performing at Huxley’s Neue Welt in Berlin on Monday (Jan. 20) when the incident took place. Per the Associated Press, the concert was evacuated early, with six people taken to hospital suffering from respiratory problems.

At the time of publication, officials said they were unclear as to what caused the incident, though were continuing their investigation. However, a report from Germany’s public broadcaster RBB claimed that an “unknown person sprayed pepper spray inside the auditorium”.

This is substantiated by the Setlist.fm website, where the entry for Monday’s concert notes that the show was stopped during a rendition of “Exmilitary” when pepper spray was allegedly sprayed by an audience member. Based on the setlists of other shows on the tour, the performance would have featured approximately five more songs to conclude a 23-song set.

JPEGMAFIA’s Berlin show was the first date of the European leg of his Lay Down My Life tour, which is in support of his fifth album, 2024’s I Lay Down My Life for You. While the record would peak at No. 102 on the Billboard 200 (his highest-charting solo release to date), it followed on from 2023’s collaborative effort with Danny Brown, Scaring the Hoes. This record performed even better, hitting a career high of No. 84.

On Monday, JPEGMAFIA also anounced the impending release of the “Director’s Cut” edition of I Lay Down My Life for You, releasing new single “PROTEST THE CROSS” as a preview of what will arrive next week. No specific date for the project’s release has been announced, theough JPEGMAFIA has confirmed the record will feature 13 songs.