The second day of The A Festival at the Paris Event Center, on 25 October, gathered a great number of artists again. Japanese pop-rock, Chinese R&B, K-pop and Thailand’s increasingly influential T-pop industry all had their place on the programme. And what is worth discussing is not simply the international line-up, but the differences between the artists themselves. Japan’s contribution came from 7!!, pronounced Seven Oops, a pop-rock band from Okinawa whose career stretches back to 2004. The band, currently made up of vocalist Nanae, bassist Keita and drummer Maiko, has built a loyal following both in Japan and overseas, with their music reaching a much wider audience through its inclusion in popular anime series, Naruto Shippuden and Your Lie in April.
Their presence in Paris also drew attention to a side of Japanese popular music that is sometimes overlooked in the midst of the international fascination with idol groups. Chinese singer-songwriter Sunny Lukas brought an entirely different approach to the programme; a multilingual performer whose work mixes R&B, hip-hop and mainstream pop, Lukas has developed an international outlook that was visible throughout his appearance. The decision to perform with musicians rather than rely exclusively on backing tracks suited his material exceptionally well, giving the arrangements greater flexibility and letting his voice remain key to the performance. He opened with “Dynamite”, a Chinese-English number that benefited enormously from the presence of a live band. He sang with a natural sense of rhythm, making good use of his vocal range. “MBTI” was a more flirtatious number, with its Latin rhythms working beautifully alongside the singer’s vocals, while his decision to perform “L’Affaire” could hardly have been better suited to the occasion, given the Parisian setting.
His interactions with the crowd were relaxed, occasionally cheeky and consistently entertaining, especially as the set moved towards more recognisable material. A cover of ROSÉ and Bruno Mars’s “APT.” encouraged an enthusiastic response, although Lukas was equally adept at holding the audience’s attention. During “Déjà Vu”, he ventured into the fans and continued with his show.
China’s AM8IC was also invited to The A Festival; the five-member group, comprising Mingkai, Roux, Saho, Chungyi and Chen, debuted in South Korea in 2025 under TOV Entertainment, and their career shows the growing connection between Chinese artists and the Korean idol-training system.
“Buzzin’” was a thoroughly enjoyable opening number, full of 1980s-inspired groove-pop and retro funk, with lively rhythms and some wonderfully entertaining choreography. “LUKOIE” was great too, offering a catchy arrangement and the polished dance-pop sound that has become so familiar to K-pop audiences. Their dance medley, featuring songs by BTS and Stray Kids, was another entertaining addition, although it also made me wonder how younger Chinese groups working within the Korean entertainment industry will eventually establish their own musical identities. AM8IC clearly have the discipline, technical ability and confidence to perform on international stages, but as their career progresses, I would be interested to see them develop a sound and artistic personality that audiences can recognise as their own, rather than one so closely associated with the K-pop traditions in which they were trained.
South Korean quintet POW, comprising Yorch, Hyunbin, Jungbin, Dongyeon and Hong, brought a youthful charm to the festival, with music that favours bright melodies and good rhythms. They opened with “Valentine”, a standalone single released in January 2024, which mixes elements of UK garage into its electronic arrangement. The performance incorporated backing vocals alongside audible live singing, although the balance between the two was not always entirely convincing. Nevertheless, the members approached the choreography with enthusiasm, and the chorus, with its dance-oriented electronic production, proved effective in a concert setting.
“Dazzling”, released in October 2023 as part of their debut EP Favorite, explored a softer, more romantic side to POW’s music. The song depicts the excitement of young love, along with the nervous anticipation that is often associated with those first feelings of attraction. With its gentler arrangement and greater emphasis on melody, it gave the members more room to express themselves vocally, providing a welcome change from the upbeat rhythms of “Valentine”.
Their performance of “Boyfriend”, the title track from their second EP of the same name, released in October 2024, returned to a brighter pop sound. The song’s romantic character suited the group’s youthful image, while its arrangement let the members alternate between melodic passages and choreography. A cover of Avril Lavigne’s “Girlfriend” was one hell of a ride, as these young men brought out my younger self and reminded me of the days when we all used to jump around like crazy to Lavigne’s pop-punk songs.
POW may not be breaking entirely new ground musically, but there is plenty to appreciate in their approach to K-pop. Their performance in Paris also showed how naturally they are beginning to connect with audiences outside South Korea, and that growing confidence should serve them well as they continue to build an international following.
For TRENDZ, however, the Paris performance represented something considerably more substantial than another appearance on a European festival programme. Since their debut in January 2022, the seven-member South Korean group, comprising Havit, Leon, Yoonwoo, Hankook, ra.L, Eunil and Yechan have become outstanding live performers, and it has been wonderful to watch how far they have come over the years. I could see their potential from the very beginning; they had the talent and the personalities to go far, and I always felt it was only a matter of time before they gained the experience and confidence to show everyone just how much they were capable of. Their regular visits to Europe have played an important part in building their international following, letting them earn the loyalty of fans through consistently strong live performances. Judging by the enthusiastic reception TRENDZ received in Paris, their hard work to perform overseas has certainly paid off.
Their Paris set opened with an introduction leading into “NEW DAYZ” and “Chameleon”, an excellent pairing if you asked me. “Nightmare” and “Crime” introduced a darker character to their set, with heavier rhythmic emphasis and a more confrontational performance style. Unfortunately, ra.L had injured his left hand and was unable to join the others in the choreography, which inevitably affected some of the group’s formations. His absence from the dancing was noticeable, but it certainly did not stop him from giving his all vocally, delivering his rap verses with as much energy and enthusiasm as ever. Their choreography was physically demanding, but the members stayed composed, even during passages requiring rapid changes in direction and tightly coordinated group movements.
“DARK KNIGHT” and “RPZ” gave the rappers more freedom to show their individual styles and personalities. Rap in K-pop can sometimes feel like an obligatory addition to a song, but here it was given the attention it deserved, with both tracks letting the members concentrate on their delivery, timing and the way they worked with the music.
A dance medley followed, giving the members further opportunities to demonstrate their versatility before the programme returned to their own repertoire with “VAGABOND”. The song’s restless character and dramatic musical construction made it suitable for the stage. By this point, the group’s physical stamina was becoming as impressive as the routines themselves.
“Which Way is Love” brought a more romantic character to the set and “GLOW” was another excellent inclusion. Its brighter musical character gave a contrast to the darker compositions, and the members performed it with a lot of confidence. The later appearance of “On My Knees” showed a more mature quality, not only in its presentation but also in the group’s overall demeanour. TRENDZ have reached a point in their career where their performances no longer depend entirely on the youthful intensity that characterised their debut. There is greater control in their movements, more attention to individual expression and a growing understanding that powerful choreography does not always require every movement to be performed at maximum force.
Closing with “MY WAY” was very fitting for TRENDZ, a group whose journey has demanded years of hard work. For me, TRENDZ delivered one of the finest performances of the festival. They deserve far greater recognition within the K-pop industry, especially when their European tours have already proved how much they have to offer international audiences.
Thailand’s 4EVE took to the stage after TRENDZ, and the seven-member girl group, formed in 2020, showed exactly why they have become such a popular name in T-pop, with their collaboration with 88rising helping them reach audiences outside of Thailand. Their Paris performance was a visual treat, complete with cheeky outfits, plenty of personality and choreography that made excellent use of all seven members, while “Girls Like Me” was delivered with strong vocals and impressive coordination, especially when the members split into smaller formations before coming together again for the chorus.
“Boys Love Girls” brought out 4EVE’s cheekier, more daring side, while “Life Is a Movie” gave the members a chance to explore something more theatrical, with expressive choreography and gestures that worked beautifully with the song. I liked how natural 4EVE performed together, each bringing her own personality without overshadowing the others, and whether they were exchanging vocal parts or moving through demanding dance formations, there was a wonderful unity that made their performance look wonderful.
The evening’s final major attraction was JASP.ER, the Thai quartet formed under RISER MUSIC, including Joong Archen, Pond Naravit, Aou Thanaboon and Santa Pongsapak. All four had already established successful acting careers before coming together as a musical group in December 2024, and their first European appearance proved that their appeal extends well outside of the television dramas that made them famous.
JASP.ER opened their set with “Love Scene” and wasted little time winning over the audience, thanks to their teasing, flirtatious choreography and a confidence that made it difficult to believe the four members had been performing together for such a short time. Things became even cheekier with “ถอด (TAKE IT OFF)”, a thoroughly entertaining number in which the excellent backing dancers complemented the group’s performance without ever stealing the attention from the members themselves. Their dancing was impressive, with well-rehearsed routines and excellent timing, but what I enjoyed most about JASP.ER was their sense of humour and how naturally they interacted with one another. Santa was determined to get the audience cheering as loudly as possible; Pond spoke enthusiastically about their first visit to Paris, while Aou and Joong seemed to spend half the evening laughing, often making the others laugh along with him. Between songs, their conversations and spontaneous reactions were so amusing that the concert occasionally felt like a comedy show, and I must admit, I enjoyed those moments just as much as the music.
“Touch” was great too, with fun choreography and clever changes in formation, while “Wish” gave the members more room to concentrate on their vocals. Their debut single, “แรงอีกนิด (SADISTIC)”, received an enthusiastic response, thanks to its provocative character and strong dance arrangement. You can only imagine what was happening in the crowd!
With JASP.ER still having relatively few original songs to their name, they filled out their setlist with several covers, all of which were enjoyable to watch. GEMINI’s “Dangerous” was a great choice for showing just how well the four members work together on stage, while Bright and D Gerrard’s “My Ecstasy” suited their more flirtatious side beautifully. HONG’s “Let’s Go” was another lively number, and they also took on G-Dragon and Taeyang’s “GOOD BOY”, a song familiar to many BIGBANG fans, performing it with plenty of confidence and their own sense of fun.
JASP.ER may still be building their musical repertoire, but their Paris performance proved just how much they already have to offer as entertainers. They were funny, charismatic and a genuine pleasure to watch, and I would happily see them perform again.
The second day of The A Festival also gave audiences a chance to appreciate the variety of Asian popular music, with artists from different countries bringing their own musical styles and approaches to performing live. Despite the organisational difficulties surrounding its first edition, The A Festival brought some excellent Asian performers to Paris and attracted audiences who were clearly delighted to see them. The enthusiasm throughout the weekend suggested that there is a real appetite for more Asian music in Europe, and I sincerely hope future events will give these artists the recognition and opportunities they deserve.
Written by Maggie Gogler
Featured image (AM8IC) © Amran Mohamed for View of the Arts
View of the Arts is an online publication dedicated to film, music, and the arts, with a strong focus on the Asian entertainment industry. As we continue to grow, we aim to deepen our coverage of Asian music while remaining committed to exploring and celebrating creativity across the global arts landscape.
