Jennie is the type of artist whose next move you can never quite predict. In both her solo career and as a member of the K-pop girl group Blackpink, the pop star has proven that she’s never been afraid to experimentation and going against the grain. Whether it’s embracing the braggadocio on her 2025 debut studio album, Ruby, or leaning into her softer side on tracks like “FALLEN ANGEL” and “Less than a Lover.” With over 40 billion total streams across all platforms, record-breaking tours, and genre-defining music, Jennie has established herself as one of the biggest artists in the world. But still, the musician wants more.
Most recently, the singer showed of a whole new side of herself on a track with Tame Impala, remixing his hit song ‘Dracula,’ and sparking a TikTok trend that saw the likes of Bryan Cranston, Dua Lipa, and Gracie Abrams taking part. After headlining festivals as a solo artist and performing in stadiums around the world with Blackpink, Jennie has now returned to a slower pace of life in Seoul. During this rare moment of respite, she sat down with Interview to discuss staying grounded while touring, performing with Tame Impala, and what might come next.
THURSDAY 1 PM OCTOBER 8, 2026 SEOUL
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ADAM DAVIDSON: Hi Jennie, how’s it going?
JENNIE: I’m good! I’ve finally had a little time to slow down and reset after being on the road for
so long, so I’ve mostly been resting, spending time at home, and getting back into my normal
routine.
DAVIDSON: How does it feel to be back in Seoul after so long on the road?
JENNIE: It feels really nice. I love traveling and performing, but there’s something about being
back home that makes me feel grounded again. I’ve been trying to rest, recharge, spend time
with the people I love, and just enjoy having a little more quiet in my days.
DAVIDSON: With DEADLINE and solo dates, you’ve had such a busy schedule! Do
you have any techniques to stay grounded and unwind in between performances?
JENNIE: I think I’ve learned that I really need to listen to my body and give myself time to reset.
Sometimes that means working out or jumping in a sauna, but honestly, sometimes it’s just
being at home, lying in bed, watching movies, and doing absolutely nothing. Spending time with
my friends and family helps a lot too. Those little moments where I can just relax and not be
traveling are what keep me grounded and give me the energy to go back onstage.
DAVIDSON: How has that changed over the years? Was this something that came naturally
or something you had to work on?
JENNIE: It’s definitely something I had to learn. I used to feel like I always had to keep going,
and I wasn’t very good at recognizing when I needed to slow down. Over time, I’ve become
much more aware of what my body and mind need. I’ve also learned that resting doesn’t mean
I’m doing nothing. It’s part of taking care of myself so I can come back feeling more present and
give my best when I’m working.
DAVIDSON: What inspired the visual world and stage design for the festival dates?
JENNIE: I wanted the festival shows to feel like an extension of my world, but with a different
kind of energy. With Ruby, everything was very cinematic and detailed, and for the festivals I
wanted to take that feeling and make it bigger, freer, and a little more unpredictable. I love when
everything feels connected—the visuals, the styling, the dancers, and the music. But I also
wanted to leave space for me to just have fun onstage and really connect with the crowd. Every
festival had a different energy, so I loved being able to feed off that and let the show feel alive.
DAVIDSON: How do you feel like you’ve grown as a solo artist, whether that’s songwriting
or production with “FALLEN ANGEL” and “Less Than A Lover”? And what did you want to
express with these songs?
JENNIE: I think I’m becoming more confident in trusting my instincts and not overthinking
everything. With Ruby, I learned so much about myself as an artist, and with “FALLEN ANGEL”
and “Less Than A Lover,” I wanted to keep exploring while showing a softer and more
vulnerable side of myself. They both come from very real emotions and experiences, and I
wanted to let those feelings exist without trying to make them too perfect or explain them too
much. Whether I’m writing, working on the production, or creating the visuals, I’m learning to
trust what feels honest to me and enjoy where that takes me.
DAVIDSON: How does this reflect where you are at this stage in your life and the direction
you want future music to take?
JENNIE: I think I’m at a point where I’m really enjoying letting myself change. I don’t feel like I
need to have everything figured out or know exactly what the next chapter is supposed to sound
like. Right now, I’m drawn to making music that feels honest to wherever I am in that moment. I
want to keep experimenting, trying things that might surprise people, and giving myself the
freedom to evolve without putting too many rules around what my music should be.
DAVIDSON: Was there one particular moment or song where you felt you found
your voice as a solo artist?
JENNIE: I don’t think there was one exact moment where I suddenly felt like, “This is my voice.”
It’s been more of a process of finding different parts of myself through every song and every
project. Ruby was a huge part of that because it was the first time I really got to build an entire
world of my own from beginning to end. And since then, songs like “FALLEN ANGEL” have
helped me discover other sides of myself that I want to explore. I think my voice is still evolving,
and that’s actually what excites me the most.
DAVIDSON: How important is the visual world that goes alongside your music, especially
with your work on “Less than a Lover”?
JENNIE: The visual world is really important to me because sometimes I can see a song before
it’s even finished. I’ll hear a sound or a lyric and immediately get little images in my head,
maybe a color, a place, or even something I’m wearing. It doesn’t happen with every song in
exactly the same way, but when it does, I try to hold on to those little snapshots.
DAVIDSON: When you’re in the studio, do you already have images and snapshots in your
mind of the visuals?
JENNIE: With “Less Than A Lover,” I could see the world pretty clearly from the beginning. I
wanted it to feel like a memory of a summer: beautiful and romantic but also a little distant, like
you’re looking back on something that’s already passed.
DAVIDSON: With Ruby, you were inspired by Shakespeare’s As You Like It. Do you usually use cultural influences to shape and ground the world you’re creating?
JENNIE: I think I’m always collecting inspiration from what’s around me, whether it’s film,
fashion, art, music, places I’ve been, or something I’ve read. I don’t necessarily go looking for
one specific reference every time I start a project. Sometimes something just stays with me and
connects naturally to what I’m already feeling or trying to express. With Ruby, As You Like It
became one of those references that helped me understand the world I was building, but every
project starts differently. I like letting those influences come in naturally rather than deciding
what the reference has to be from the beginning.
DAVIDSON: “Dracula” was your first remix. How was this creative experience different from
what you have done before?
JENNIE: It was really different for me because I was stepping into a song that already had such
a strong identity and such a specific Kevin [Parker] sound. I’ve always loved what he does, so I didn’t
want to change what made “Dracula” special. It was more about figuring out where I could fit
into that world and bring my own energy to it.
DAVIDSON: What was it like to perform with Kevin in Boston?
JENNIE: Performing with Kevin in Boston was really special because it was actually the first
time we got to perform “Dracula” together. We had both been doing the song separately in our
own shows, so finally getting to share the stage and feel that energy together was kind of
surreal.
DAVIDSON: Talk to me about the gothic dress that you wore. What inspired that look?
JENNIE: For the look, I really wanted to lean into the world of “Dracula,” something darker and
a little romantic, but still feminine and still me. We found this beautiful Betsey Johnson piece
from 1999 and I completely fell in love with it. It had that vintage, slightly gothic feeling without
being too literal or feeling like a costume. It just felt perfect for that moment.
DAVIDSON: What can we expect going into 2027? Anything that you want to explore or
work on that people might not expect?
JENNIE: I definitely want to keep working on music and see where that takes me. I feel like
there are still so many sounds, ideas, and sides of myself that I haven’t explored yet. I also want
to stay open to things outside of music if they feel exciting and natural to me. I don’t have
everything mapped out yet, which I actually like. I want to give myself the space to be curious,
try new things, and let the next chapter take shape in its own way.
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