“WE ARE JUST THE RIGHT PEOPLE IN THE WRONG PLACE”: INSIDE TEAM RM
Beyond BTS, the creative team behind RM is trailblazing a new perspective on K-pop stardom.
- By: Hyunji Nam
Imagine living a day as the leader of BTS, the K-pop group that has been counted among the world’s most popular acts for years. The weight of such fame is overwhelming, more burdensome than sweet. Most aren’t cut out for it, but RM has navigated this intense position for 11 years without controversy. He has spoken at the UN Headquarters three times (in addition to performing there as well), been nominated for a Grammy (and performed at them too), and met President Joe Biden at the White House to discuss countermeasures against anti-Asian hate crimes. More than just celebrities, RM and the other members of BTS have taken on the role of cultural ambassadors for South Korea, with RM always at the forefront. The perception that an artist must be a public figure with conviction, a clear mind, and humility, combined with South Korea’s Confucian cultural traits, has gradually molded RM into an almost flawless figure.
Photographed by Rosie Marks. Top Image: San Yawn and RM. Photographed by TEAM RM.
And so, of course, RM began to wonder: Who am I? As he said in a conversation with fellow BTS member Jimin earlier this year, “If I keep trying to cater to everyone’s expectations, I feel like I might die.” At 29, Kim Namjoon—the real person behind the RM persona—felt an urgent need for self-validation as an artist, which culminated with his most recent album release, Right Place, Wrong Person. In a departure from the hopeful and loving BTS slogan “Love Yourself,” RM now candidly admits: “There are a lot of assholes in the world.” It’s a new RM.
RM during the making of RPWP. Photographed by TEAM RM.
He needed a new approach—one that defied the existing grammar of K-pop—and a team to bring it life. A conversation with San Yawn, the leader and director of the group Balming Tiger, who is currently shaping the most intriguing alternative music scene in Korea, helped the idea take shape. “How about taking a short break from BTS and documenting the version of yourself that has gone through various experiences?” San Yawn advised. In response, RM decided to produce his second solo album before his mandatory enlistment in the South Korean military.
As the clock ticked, Team RM formed, including San Yawn as a producer and creative director, JNKYRD as a producer, and Sehoon as A&R, among others. Creatives like Seokjun, Jimin, Soobin, Ryota, and Mahito participated in the project for over a year. San Yawn tells SSENSE, “I wanted to completely transform RM’s creative environment. New people were necessary—not those who had helped shape BTS’s leader RM, but those who could offer a fresh perspective.”
Discussing his new album on the social platform Weverse, RM wrote, “It’s an album where I struggled to be completely honest with myself.” People love him because he unveils his vulnerabilities and his desire for growth in every piece of his work. But, crucially, he understood that everything in pop culture has an expiration date, and to extend an artist’s life, one must constantly break and rebuild oneself. Team RM is the place for the breaking and rebuilding.
RM during the video shoot for “ㅠㅠ (Credit Roll).” Photographed by TEAM RM.
Where did the album title Right Place, Wrong Person originate?
San Yawn: This ties into how we started this project with RM. Sometimes, I jokingly asked RM, “How have you maintained this image until now?” I didn’t mean it negatively, but rather in reference to the calm, proper, smart persona that makes him the number one idol even parents love. It’s not that his actual personality is different, but he has many facets. Sometimes he’s clumsy; sometimes he understands complex philosophical texts but struggles with simple words. He loves reading books at home but also enjoys hanging out with friends until late. I thought he was one of the most unique and paradoxical characters among my friends.
Once, while we were heading to a temple to discuss the album, it snowed heavily. We were so engrossed in the scenery that we didn’t realize we were hiking on an unmarked path and ended up at a dead end. RM laughed and said, “I think we’re in the wrong place,” which I noted down as a significant phrase. Later, during a meeting at HYBE [the management company for BTS], when I presented the phrase “Wrong Place,” RM suggested “Right Place, Wrong Person.” I thought this perfectly captured RM’s image as I saw it and also felt it was something many people could relate to.
You worked on this project across many cities. When did it all begin?
Sehoon: In February 2023 with a song camp, then we continued to gather in studios to work on songs. Our first work session outside of Seoul took place in May 2023 at Music Village 1939 in Gapyeong. Team RM, along with Oh Hyuk and Lee Inwoo from Hyukoh, and Kuo from Sunset Rollercoaster, spent a night there, clearing our minds and completing the draft of “Come back to me.” We also made spontaneous trips to serene locations like the lakes in Hwacheon and the sea in Jeju, where we spent late nights discussing and working on songs. Tokyo and London were also memorable stops. Despite BTS’s prominence, we operated with a small crew, exploring backstreets and capturing album photos and videos. RM noted that it reminded him of his early music days when he would roam places like Ilsan Lake Park, the Han River, and Hongdae to record demos with friends after making his first mixtape.
RM on the video shoot for “Groin.” Photographed by TEAM RM.
RM during the recording of RPWP. Photographed by TEAM RM.
Were there any nerve-wracking incidents or episodes?
JNKYRD: Once, in the UK, we had to change the shooting location the night before due to unavoidable circumstances. We quickly contacted people, secured a new location, and scouted it late into the night before starting the shoot the next morning. It was a nerve-wracking experience, but the result was the live video for the song “Nuts.” I believe this was only possible because we were a small team. The swift response led to a video that turned out more stylish and natural than originally planned.
What was it like working with Little Simz, Domi and JD Beck, and Moses Sumney?
JNKYRD: Every collaboration was both human and genuine. With Domi and JD Beck, as well as Moses Sumney, we began with Zoom calls to introduce ourselves and discuss our music and collaboration methods before starting the actual work. They were all warm and kind, and we exchanged recordings and ideas multiple times over a long period.
With Little Simz, we only agreed to make a song together when we both happened to be in London. We visited her studio, toured the space, and naturally began making music together. Despite it being our first meeting, we established a good rapport, and she wrote and recorded her lyrics on the spot, asking us to translate her final lyrics into Korean.
Photographed by Takahiro Mizushima.
The visuals created by the three photographers were impressive. What vision did you intend to convey through their lenses?
San Yawn: I wanted the album’s visuals to extend the emotions and expressions conveyed by the music, portraying Namjoon’s many facets without filters, from various perspectives. I was interested in seeing how the visual narrative would differ with photographers of diverse backgrounds and ages.
Rosie Marks is an emerging British photographer whose work aligns closely with my taste. I had wanted to work with her for a long time, believing she could best represent the unpredictable nature of RM and this album. I thought she could intuitively capture the essence of the album’s title, Right Place, Wrong Person, in her photos.
Takahiro Mizushima’s work was not something I had encountered in the media; rather, I discovered his photo book by chance at a bookstore in Taiwan called pon ding. Among many photo books, his stood out for its unembellished, pure feeling. He primarily photographs people, and his photos possess a powerful quality that tells the stories of his subjects.
Wing Shya was the first photographer I approached. He is renowned as the still photographer for many of Wong Kar-wai’s films, including In the Mood for Love. I have been a long-time admirer of his work and believed his experience would bring new dimensions to Namjoon’s story. His photos always have a narrative quality. I thought he could capture the fleeting moments in Namjoon’s story that might otherwise be overlooked.
What was the main focus in the music videos for “Groin,” “Domodachi,” and “ㅠㅠ (Credit Roll)” created by Pennacky?
San Yawn: Pennacky and I have collaborated for a long time. I chose Pennacky because I was confident he could capture the raw essence of RM. Observing past videos, I noticed that K-pop visuals had become formulaic despite the diverse music and provocative lyrics. The videos for “Groin,” “Domodachi,” and “ㅠㅠ” were intended to break away from this mold. Pennacky, whom I refer to as the King of DIY, seemed ideally suited to authentically capture the many facets of Namjoon. For “Domodachi,” although RM and Little Simz do not appear [in it], the video needed to be impactful and narratively compelling.
Photographed by Wing Shya.
We must also mention Beef director Lee Sung Jin, who worked on “Come back to me.” He mentioned on Instagram that it started with a DM from you. What was the working process like? Park Chan-wook introduced art director Ryu Seong-hee and other staff, and actors Joseph Lee and Kim Min-ha were also involved.
San Yawn: He’s a genius. Early last year, I watched Beef and felt like I had been struck on the head. I immediately wanted to know who wrote and directed it. Given the significant Korean elements, I assumed it must be a Korean. I thought we could create something interesting together, so I decided to DM him before he became more famous [laughing]. Thankfully, Lee Sung-jin replied that he was a fan of Balming Tiger, and we developed a good relationship. A few months later, when I started considering RM’s music video, he was the first director who came to mind. Just as Beef depicted the spectacular yet personal lives of ordinary people, I thought he could similarly explore RM’s story in a paradoxical way.
RM met director Park Chan-wook socially, who mentioned that his long-time colleague, art director Ryu Seong-hee, was a fan. Leveraging this connection, we asked her to do the art direction for the music video, and she graciously agreed. Around the same time, Lee Sung-jin also met director Park, who introduced him to Kim Woo-hyung, the cinematographer who would become the DP for “Come back to me.“ It was an incredibly fortunate connection. Director Park even visited the “Come back to me“ set, providing support and encouragement to the staff and actors.
The album debuted at No. 5 on the Billboard 200 and received many shoutouts in the music scene. What was the internal reaction to this album?
Sehoon: We often discussed the constraints of time. Although it was an album made over an extended period, we still wished we had more time. RM frequently mentioned how the level of immersion in the first recording session in early 2023 was very different from the last one, just before his enlistment. Everyone suppressed the urge to re-record from the beginning and did their best at every stage to complete it. Apart from these general regrets, I mostly feel proud.
RM during the video shoot for Right Place, Wrong Person with Rosie Marks. Photographed by TEAM RM.
What emotions did the team go through during this project, and what kept you together?
San Yawn: My concern was whether RM would lose his way or become exhausted while navigating the new creative environment and relationships. My role seemed to be to encourage and uplift RM and the Team RM members to complete the project. [We could] face external worries and perspectives because of who RM is. He was the only person who could deliver this message at this time. That was the driving force for all of us.
Sehoon: Our group chat’s notice says, “Only you (RM) could have done this.” RM’s courage and honesty are what propel us forward.
Team RM in discussion during the recording of RPWP. Photographed by TEAM RM.
There must have been reflections on the definition of K-pop within the team. BTS, which RM is a part of, are K-pop icons, while Balming Tiger is often described as alternative K-pop.
Sehoon: I am a long-time, passionate fan of K-pop, which is why I started working in A&R. I have been involved in other K-pop content, so when we discuss K-pop within the team, I always end up speaking from the perspective of a fan. I believe RM was able to undertake such a candid project because he deeply trusts the love of his fans. Just as we can share our deepest thoughts with those we truly love, artists and fans share a special connection through music. I am someone who values this special bond.
San Yawn: I did not place immense significance on defining K-pop or our works. Whatever we created would naturally be K-pop. However, I focused on attitude and aimed to challenge people’s preconceptions. I hope all K-pop creators, including us, strive to view things from different angles, criticize, showcase the good aspects, acknowledge shortcomings, and grow by addressing them. We must be wary of safe and conservative elements, and as K-pop did before it grew so large, we should dream of expansion and never stop challenging ourselves.
- By: Hyunji Nam
- Date: August 20, 2024
