Archive for October, 2017

Non, je ne regrette rien: The Package, eps. 1-2 review

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Tourism, The Package, 2017

Okay, fuck it. This blog is now all-CNBLUE all the time. Or at least for the next post or two.

After an absence of three years on the small screen, CNBLUE leader Jung Yonghwa has made his latest appearance in a Kdrama in the wacky romcom THE PACKAGE. I wasn’t sure exactly what to expect from this project except some pretty scenery from France, so the screwball comedy style of the first two episodes has been a really nice surprise.

The premise is simple—a motley crew of seven Korean tourists take a package tour to France, led by expat Yoon SoSo (Lee Yeon-hee), their patient and long-suffering tour guide. As per kdramas, they along the way they discover various things about themselves and each other.

The freak, The Package, 2017

What sets this drama apart from some of the others that I’ve seen is its completely wacky humor. Yonghwa plays the main lead, San Maru, but instead of being a typical dreamboat heroic type he’s a total freak who has random B&D fantasies, giggles while grabbing an armful of vibrators in a Paris sex toy shop, and constantly takes goofy selfies, even while he’s waiting to be grilled in an interrogation room in the Paris airport. But beneath this dorky exterior is a sensitive and upright soul, which Yonghwa ably conveys through his expressive puppy-dog eyes.

Yeon Hee as SoSo, the tour guide with a past, is Maru’s potential love interest, and she hides her mysterious history behind her smiling professional façade. Like Maru she’s fleeing some kind of romantic disappointment so no doubt they’ll hook up sometime before the drama ends.

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Boredom, The Package, 2017

Rounding out the cast are a young couple who are past the romantic part of their relationship and are now in the boredom period, a grumpy-ass ahjussi and his forbearing and possibly seriously ill wife, and a man who may or may not be traveling with his young mistress.

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Screwball, The Package, 2017

The whole thing is played against the gorgeous French scenery and true to form the cinematography by the Korean cameraperson is top-notch. The first two eps displayed a screwball sensibility that at times hearkened back to the best of Lubitsch or Capra, kdrama style, with characters randomly discussing their bowel movements or making madcap slo-mo dashes through the streets of Paris, coffee cups a-flying, while taking broad pratfalls along the way.

 

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Skinship, The Package, 2017

Yet underneath all of the slapstick nonsense is a more serious tone, as Maru is forced to work on end-of-the-year reports for his shady company back in Korea even while he’s on his vacation, and SoSo deals with the precarities of contingent employment in her adopted country. By the end of the second ep we got a sense of some of the romance to come, too, as the two unattached characters Maru and Soso shared some accidental skinship and bonded over their fondness for the poignant 1991 French film Les Amants du Pont-Neuf (The Lovers on the Bridge).

Yonghwa had the dubious good fortune of debuting in the 2009 drama YOU’RE BEAUTIFUL before he had had much acting experience and in that show and his next drama, HEARTSTRINGS, he was as wooden as a day-old bagel. His performances improved quite a bit in subsequent dramas and by his fourth role, in the clever 2014 saeguk THE THREE MUSKETEERS, he had learned how to convincingly create a memorable character through his acting. But first impressions are often indelible so he’s faced a lot of prejudice against his acting skills due to his stiff performances in those first two shows.

 

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Fool, The Package, 2017

So it’s great to see that in the first two eps of THE PACKAGE Yonghwa completely dispels any doubts about his acting skilz, as he nicely develops Maru’s character, at times a wide-eyed fool completely lacking in social skills, and at others an innocent abroad in a world of crooks and thieves. His comic timing is quite on point and he manages to go from gleeful to confused to emo in a split second.


Gratuitous pulchritude, The Package, 2017

He’s also featured in the hallowed and time-honored kdrama convention known as the “gratuitous leading man topless scene.” In this case it takes place at the end of the first ep (if you want to skip to it immediately) as the camera lovingly documents his semi-nude torso, detailing his toned bod from all angles of view.

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Tourist herding, The Package, 2017

But despite the allure of this display of pulchritude, it’s Yonghwa’s endearing and layered performance as the loveable oddball San Maru that’s made the biggest impression on me so far. His leading lady Lee Yeon Hee does a good job conveying the banality of her job as she herds cranky tourists around France. I’m hoping that future eps may allow the SoSo and Maru to improve on their verbal sparring ala Hepburn and Tracy.  And will we get to see a Yonghwa screen kiss this time around? The truth will only come out in the watching, but this drama is just heartfelt and breezy enough to make me want to see more.

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Melo medical, Hospital Ship, 2017

NOTE: This has been a banner year for CNBLUE members appearing in Korean dramas. In addition to Yonghwa’s leading man role in THE PACKAGE, his bandmates have all been cast as the male lead in various shows. Drummer Kang Minhyuk is currently starring in the very popular medical melodrama HOSPITAL SHIP, along with kdrama queen Ha Ji Won (THE SECRET GARDEN; EMPRESS KI), and the show has been one of the top-rated dramas in South Korea much since its premiere in August.

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Throwback romance, Girls Generation 1979, 2017

Guitarist Lee Jonghyun has been the male lead in not one but two dramas in 2017, the saeguk comedy MY ONLY LOVE SONG that screened on the Netflix platform in June, and GIRLS GENERATION 1979, the throwback teen drama that aired in the fall. After bassist Lee Jungshin appeared as the second lead in the historical remake of MY SASSY GIRL in early summer he was cast as the lead in LONGING HEART, a time-travel romance that will premiere in December. Somewhere in there in 2017 CNBLUE also managed to release two albums in three different languages and tour twice in Japan and once across Asia. Yonghwa added in his own two solo album releases and went on an eleven-show tour in Japan this year.

CNBLUE’s frenetic activity in 2017 is quite possibly a clue that one or more of them (Yonghwa almost certainly) will be enlisting sometime in 2018, and no doubt at least one of the CNBLUE members will squeeze in a role another drama or two before they start to go off to the army. Sometimes I think that after working so hard for close to a decade the military might seem like a respite of sorts for CNBLUE. But I have hope that they’ll come back from their enlistment and create more glorious music together and appear in even more dramas in the years to come.

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October 19, 2017 at 7:30 am 3 comments

We’re Like A Puzzle: CNBLUE in Taipei/Yonghwa in Kobe concert reviews

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Concert-going, Taiwan style, Between Us In Taipei, 2017

NOTE: At the risk of CNBLUE completely hijacking this blog Imma post a review of three shows I saw on a recent swing through Taiwan and Japan.

This was the third time I’ve seen CNBLUE live and their ability to run a powerful and entertaining rock concert was very evident, despite the fact that at least two of the four members had been working around the clock filming their respective Korean dramas and were probably fairly sleep-deprived. Drummer Kang Minhyuk is currently the male lead in the medical drama HOSPITAL SHIP and since he’d been shooting all night the night before he had only arrived in Taipei about five or six hours before show that the evening. Guitarist Lee Jonghyun just finished up his own role in the main cast of the throwback nostalgia school drama GIRLS GENERATION 1979 and he too seemed a bit peaked. Most likely the band had had little or no time to rehearse together prior to meeting up in Taiwan that day and they took a very long sound check, playing at least a half dozen songs to limber up their performance skills.

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Seamless, Between Us In Taipei, 2017

But once they hit the stage that evening very little fatigue was evident aside from dark circles under Minhyuk and Jonghyun’s eyes. Early in the set Jonghyun missed one of his vocal cues and forgot to sing his lines, and he only rarely cracked a smile during the show, but his guitar runs were as crisp and precise as ever. As always Minhyuk’s drumming was strong and powerful, providing the engine that drove the band. Leader and lead vocalist Jung Yonghwa seemed relatively well-rested and he and bassist Lee Jungshin exerted an extra amount of effort to pick up the energy of their bandmates.

As usual the band worked seamlessly as a unit, though they might have been a tad less perfect than usual. But it was inspiring to see how the two less exhausted members covered for their tired mates so that the show ran smoothly and the audience was happy. A few times Yonghwa worked the crowd by leaping effortlessly from the stage onto the landing next to the railing of the grandstand, with starstruck audience members delicately touching him as he went by. Jungshin also put in double duty, smiling broadly during most of the show and striding onto both extended stages on either side of the hall. By the end of the show even Minhyuk and Jonghyun were smiling, despite their tiredness at the start of the set. The band’s professionalism and long years of playing together also gave them an edge in overcoming fatigue since once they got going they fell into their customary powerful and intense groove.

Top-notch, Between Us In Taipei, 2017, cr. JYH89star

Of course it also helps that CNBLUE’s material is top-notch and they know how to write a setlist. Right out of the gate they opened with four high powered numbers, starting with one of their best live songs, RADIO. This EDM-laced tune showcases their trademark rock sound and includes a killer drop right before the pre-chorus that leads right into the singalong refrain. It’s a breathtaking way to start a show and it got the audience hyped up immediately. They followed quickly with WHEN I WAS YOUNG, a beat-heavy tune that blends a wiggly synthesizer line with Jonghyun’s fuzzy rock guitar riff. Jonghyun and Yonghwa alternate the vocal lead on this one, with Yonghwa’s powerful purring voice complementing his mate’s smooth crooning. Following this were the synth-driven DOMINO and a stripped-down remix of I’M SORRY, which concluded with Yonghwa shrieking an ultra-high rock note, and after that the band had the audience eating out of the palm of its hand.

Notably, the set list had songs released from every single year since the band’s debut in 2010, with each of the songs self-composed. Each of the band members also had a hand in writing and/or composing at least one song in the set (even drummer Minhyuk, who co-wrote the lyrics for SWEET HOLIDAY). This may not seem remarkable in the global rock band world but it’s still quite unusual in KPop, where performers who write their own material are still in the minority, and it attests to CNBLUE’s legit credits as artists and not just idols.

Mesmerizing, Between Us In Taipei, 2017, cr. JYH89star

A highlight of the show was ROYAL RUMBLE, Yonghwa’s moody and evocative track about the perils of life in the entertainment world. Framed metaphorically as a never-ending fight in a brutal arena, the song’s churning, repetitive beat overlaid with a ragged Jonghyun guitar riff  was mesmerizing. In the live performance Yonghwa stood center stage at the mic, ringed by lights as if trapped in a cage. He effortlessly rode the melody up and down his vocal range, briefly sliding in and out of a beautiful falsetto, then growling and wailing the powerful lyrics. The effect was completely hypnotic and was a good preview of his solo shows that I saw the following weekend.

They finished out the show by blasting through some of their best live songs, keeping the mood and energy up, and concluded with their BETWEEN US, their single from last spring. Like many of CNBLUE’s songs, BETWEEN US was made for the stage, as it becomes even stronger and more intense when performed live. Although the band may have been tired they never let their energy onstage flag and they didn’t disappoint the audience. They’ve been playing live at such a high level of excellence for so many years that they didn’t allow a bit of sleep-deprivation to put a damper on things.

Returning for the encore, they included a couple songs custom-made for the Taipei audience. Throughout the show Yonghwa had spoken to the audience primarily in Mandarin, with a bit of help from Minhyuk, who also has decent Chinese-language skills. The two even made a bit of game of teasing Jungshin for his inability to speak Mandarin, much to the amusement of the crowd. But during the encore Yonghwa really rolled out the treats for the local crowd. At one point he sang an impromptu version of Taiwan-based singer JJ Lin’s LITTLE DIMPLES, with the audience happily singing along. And during the acoustic version of MANITO, which has become the singalong anthem of the tour, Yonghwa switched out the Korean lyrics, “neoreul saranghae,” with the Chinese translation, “wo ai nimen.” It was a subtle switch because in the Chinese variation he used the plural form, changing the meaning from “I love you,” to “I love you all,” thus directing the phrase outward to the audience instead of to an individual loved one. Both the audience and the band sang the phrase repeatedly to each other, creating an emotional loop of sentiment between them, which both actively drew in the audience as well as expressing the band’s affection for the fans. By the song’s end the audience was repeatedly singing “wo ai nimen” and the emotion in the crowd was palpable as many fans shed tears. With Yonghwa’s military enlistment almost certainly happening in 2018 this may have been the last CNBLUE concert in Taipei for as much as four years (if the members stagger their two-year enlistments), and in that context the crowd and the band repeatedly singing “wo ai nimen” to each other was quite poignant, as they could be bidding farewell to each other for quite some time.

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Before the show, Summer Calling In Kobe, 2017

The weekend following I traveled to Kobe, Japan, to catch the last two shows of Yonghwa’s solo tour, Summer Calling. Whereas the CNBLUE show was a stellar example of teamwork amongst bandmates, the solo concerts by nature focused on the Yonghwa the singer. In fact, unlike his earlier solo tour in 2015, during these concerts Yonghwa didn’t play the guitar or keyboards at all, choosing instead to focus solely on singing. Fortunately, in the past few years he’s developed his voice into a glorious instrument, bringing to maturity the potential he’d shown in the past.

Kobe 1 day!!! 🤙🏽🤙🏽🌈🌴🔥🔥🔥🔥🔥🔥🔥👍👍🙏🙏

A post shared by 정용화 (@jyheffect0622) on

Over the course of two nights in Kobe Yonghwa held the stage for a total of 7.5 hours in front of 8000 people each night and he sang 23 songs the first night and 28 songs the second night. I don’t like to be hyperbolic but both performances were nearly flawless in all aspects of their execution. The concert was a complete treat for Yonghwa fans as he sang every song from his three solo albums as well as several covers and a few CNBLUE songs as well.

Since Yonghwa was relieved of his regular guitar and piano playing duties during this tour he was able to fully focus on his singing and in the past few years he’s perfected his technique so that he now has the chops to match the emotional intensity that has always been present in his vocals. This was evident throughout the set as he ranged from the rapid-fire English-language delivery in the fast-paced dance tune SUMMER DREAM to the slow, drawn out sustains in the moody ballad LOST IN TIME. He also made good use of his lower register, most notably going from low crooning to a strong high belting in his cover of the Japanese song KONAYUKI. It was also nice to hear him nail the high falsetto in the Prince-esque tune LIFE IS A PARTY. The live versions pretty much improved on every one of the studio tracks as Yonghwa poured his heart and soul into the emotion of each song. Watching his face on the video screen as he sang was particularly enlightening as you could see the sheer intensity of feeling he put into every note and line.

Yonghwa started the second half of the show by popping up through a trap-door in the front of the stage at high speed, then performing two of CNBLUE’s recent high-energy Japanese singles, PUZZLE and SHAKE. Though this got the crowd going, and intending no knock on the backup band, I still much prefer CNBLUE’s live versions of these tunes. Yonghwa’s backup band were pros and there was nothing wrong with the execution or the arrangements (except maybe a bit too much tenor sax) but when CNBLUE is locked in they are a machine. The backup band’s skill and competency were there but not the passion and intensity that comes from a group of musicians who have worked together for years as have CNBLUE. As if acknowledging the synergy he has with CNBLUE, when he sang Jonghyun’s part during PUZZLE Yonghwa also dragged his mic stand to his bandmate’s side of the stage and mimed playing the guitar.


Off the chain, Summer Calling In Kobe, 2017, cr. JYH_羊白菜

Yonghwa also had the dancing going on, seeming to feel it in his body instead of thinking about it with his brain as he had in previous attempts in on music shows earlier in the year. Most of the show’s uptempo songs featured a quartet of male backup dancers and Yonghwa would occasionally join in with some of the milder choreography. This added a bit of flair to the proceedings and really jacked up the energy for the last song of the set, an off-the-chain version of the ultra-hooky jam THAT GIRL, with Yonghwa coolly leading the audience in dancing to the kicky choreo.


Emotional connection, Summer Calling In Kobe, 2017, cr. roki

During the encore at the end of the second night’s show, which was the last stop on the tour, Yonghwa spoke to the audience for quite a long time. Though I have no Japanese language skills it was clear that he was thanking the fans and saying goodbye, since his military enlistment is looming. Most of the audience was in tears by the time he finished speaking and the emotion connection again was tangible as the fans understood the ramifications of his words. He followed this with one of his equally emotional compositions, the mid-tempo ballad BECAUSE I MISS YOU from the drama HEARTSTRINGS. The choice of song was especially apt since the lyrics are a lament to a lost loved one and the 6/8 time signature adds a melancholy swing to the poignant words. Yonghwa nailed his performance too, with breathing, technique, phrasing, and emotion completely on point.

Glorious, Summer Calling In Kobe, 2017

He finished the show with ONE FINE DAY, the gorgeous ballad from his first solo album of the same name. During the crescendo of the song, when Yonghwa sang out a beautifully sustained high note, there was absolute appreciative silence where it seemed no one in the hall breathed for about ten seconds, allowing the note to reverberate as his voice rang like a bell throughout the venue. It was a glorious moment.

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Eyes don’t lie, Summer Calling In Kobe, 2017 Cr.JYH_羊白菜

After taking his bows Yonghwa left the stage fairly quickly, and the video feed showed his mouth smiling but his eyes seemed quite sad. As his enlistment date nears this may well have been his last solo concert for years. This also may be the last time I’ll be able to travel to Asia for a while, so I’m really glad I was able to witness what may be his final solo performances, as well as one of CNBLUE’s last concerts outside of Korea, before he joins the military. He’s at the top of his game right now, but despite this, I still don’t think he’s reached his creative peak yet. The ceiling is high for Yonghwa, and somehow I think it may be limitless.

October 15, 2017 at 8:58 am 4 comments


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