Throughout the music video of BTS’s “SWIM,” the seven Korean men are in the background as Lili Reinhart’s character explores the boat they’re on.
Directed by Tanu Muino (known for Lil Nas X’s “Montero” and Harry Styles’ “As It Was”) BTS are the NPCs of their own music video. They seem to exist outside Lili’s reality, yet she can sense their presence as she experiences moments of despair.
A press release for the music video described the concept behind it as a journey of healing and recovery. “The seven members remain by her side as quiet sources of support. Over time, she reflects on herself and finds the strength to move forward once again.”
It’s a strange creative decision for the title track of an album named after a folk song deemed to be Korea’s unofficial national anthem. Music critic Lim Hee-yun told The Korea Herald the video “does not seem strongly connected to the album title ‘Arirang.'” The newspaper also noted that the teaser was preoccupied with attracting the Western pop fans rather than sharing Korean history.
It’s a good example of the problem with Arirang as a whole. Korean culture plays a prominent role in the album’s concept, but is diluted and shoved to the background.
The Gap Between Concept and Execution
On March 20, 2026 BTS released their fifth full-length album Arirang. It’s their first full album in nearly six years, and their first since the group went on hiatus back in 2022 to complete their mandatory military service.
For months, Arirang was hyped up as an album that would explore the group’s Korean roots. BigHit Music described it as capturing “BTS’ identity as a group that began in Korea.” j-hope stated to Zane Lowe in an Apple Music interview the album was about “showcasing who we are, our identity and our roots.” There’s even a specific physical version of the album called Rooted in Korea Ver.
But when you listen to the album, it sounds like a typical pop/hip-hop record. Arirang was written and recorded in Los Angeles with contributions from producers like Mike WiLL Made-It, Flume, Diplo, Kevin Parker and Ryan Tedder. Out of the dozens of songwriters and producers credited, only BTS and long-time HYBE producers Pdogg and GHSTLOOP are Korean.
Black American culture has a stronger presence on the album, from the production to the slang BTS uses in “Hooligan” and “they don’t know ‘bout us.” There’s nothing about Arirang that feels Korean outside of a few flourishes sprinkled throughout the album.
Arirang, the folk song, is sampled on “Body to Body,” a track about wanting to feel connected to their fandom ARMY during their concerts. But, it still feels out of place once you understand the complex feelings of longing and resilience the folk song represents.
“No. 29” is a minute and a half of mostly silence, where you can hear the Sacred Bell of Great King Seongdeok (also known as the Emille Bell). In “Aliens,” RM mentions revered Korean independence leader Kim Gu in-between bragging about the impact BTS has made in the K-pop industry:
It goes
Let me, honey, talk about the business
Everybody know now where the K is
(어디까지 가니 이런 제길) How far are we taking this? Dammit
(저주하니 아직? 흉즉대길) Still cursing us out and talking trash
(Pardon, 김구 선생님, tell me how you feel) Pardon Kim Gu seonsaengnim, tell me how you feel
(영어는 또 나밖에 못 해) I’m the only one who can speak English
But that is how we kill
(눈만 또 허벌나게 큰 너희가 말하길) You guys with those big eyes say
Are they for real? For real?
The references to Korean history are very surface level. The album is presented as a statement of Korean identity, but the execution makes that declaration feel like a marketing tool.
Why This Feels Off
What we’re seeing with Arirang didn’t come out of nowhere. Recently, the biggest K-pop songs in the West were two mostly English songs while still maintaining a link to Korean culture.
APT, Rosé’s collaboration with Bruno Mars blends the chant from the Korean drinking game Apateu with a catchy pop-punk sound. And nobody expected Kpop Demon Hunters, a film rooted in Korean mythology, to become the most-streamed Netflix movie of all time in 2025. Or that its song “Golden” would become the first K-pop to win a Grammy Award and an Oscar.
It’s possible that BigHit Music Arirang but they’re going about it the wrong way. Instead, the album treats Korean heritage as a concept that can be borrowed for a comeback and set aside once the music starts.
BTS Has Done Better
What makes this so frustrating is BTS has released songs that honored their heritage before. “Ma City” celebrated their hometowns and how their upbringings influenced them. “Idol” was unapologetic and bold with its use of traditional Korean percussion and imagery. “MIC Drop” was their first global hit that had a mix of Korean and English lyrics. Those songs didn’t dilute Korean culture to suit Western ears. Arirang does, and then puts the folk song’s name as the title.
The K-pop industry has changed a lot during their hiatus. There’s been a lot of debate over whether the genre can be considered “Korean pop” anymore as it becomes more Westernized. BTS had an opportunity to make a record that was a true love letter to Korea and what it could offer to Western pop music. Instead we got an album that gives us bits and pieces of its Korean roots without letting those roots shape its art. Arirang isn’t a reflection on BTS’s journey, it’s a projection of how the group wants to be seen.
The folk song Arirang is the longing you feel towards the things you’re leaving behind. It’s ironic BTS would pick that name for their album. There’s a good chance this album will make you long for the version of BTS who didn’t reduce their Korean heritage into a brand.
