JENNIE’s Album 'Ruby' is a Bold and Shining Solo Debut

JENNIE is simultaneously a darling and a wildcard. She is widely adored by fans and the general public, and an effortless trendsetter capable of surprises. Nobody can ever be sure what her next move is and her album, Ruby, is no exception. Taking from BLACKPINK’s signature it-girl sentiments and hard sound, she transforms into a style totally her own, proving to everyone who didn’t already know that she’s a natural star.

In her interview with Zane Lowe, JENNIE mentions Shakespeare’s “As You Like It,” and how the title served as a motto for her creative process. Rather than be concerned with appeasing an audience or market, she set out to make an album entirely how she wanted, filled with just what she likes. This liberating mentality is what separates her from her group, and the result – like everything else she’s done solo – is precise, ambitious, and self-assured. The polished production and fairly accomplished songwriting reveal her individuality and how she is both full of fight and sometimes fragile. 

“Intro: JANE with FKJ” is a completely unexpected opener. Built almost solely on the catches of her voice over delicate synths, FKJ effectively created a portal into the world of JENNIE. The pace quickly picks up and thrusts listeners into the rushed storm of “like JENNIE,” a feisty, Diplo-produced declaration of dominance. The second verse holds the only Korean lyrics, and it’s where some of her most brash statements are. “Yes, I'm guilty 잘난 게 죄니” (jal-nan ge joe-ni), she unapologetically announces if it’s a sin to be so good, then count her as a transgressor. “Who else got ‘em obsessed like JENNIE?” For better or worse, there’s not many that can answer her. 

The subtle electric guitars and slow percussion in “start a war,” along with layered harmonies and soft falsettos in the chorus make for a mid tempo, slightly stilted, melancholic tune reminiscent of SZA. A toxic love that’s destructive but irresistible lacks a true climax here, but it acts as a decent transition into “Handlebars,” which has a funky bassline and carefree energy. It’s a feel-good track about the giddy clumsiness love can bring that thrives in its simplicity. “I could be the rest of your life or whatever,” JENNIE says with equal nonchalance. It may not push any boundaries, but her chemistry with Dua Lipa is the first of several examples of how she possesses the versatility to match her collaborators. 

“with the IE (way up)” is another cocky song with a bouncy, hip-hop rhythm. “Everybody’s cool, but when I do it I’m the problem,” she points out. Being as singular as she is comes with many eyes watching and as many mouths talking. Directly addressing her critics like never before, with the flute melody from Jennifer Lopez’s “Jenny From the Block” as her guide, she chooses to embrace them and embody confidence as impenetrable as bulletproof glass. Despite the great textures, it feels more like an interlude than a flushed-out concept, which is a recurring trend throughout the record. 

Sonically tight, packed with stuttering hi-hats, distorted vocals, and punchy verses, “ExtraL” is sharp and chaotic. Boasting big moves, a stacked bank account, and foreign cars, everything is dialed up to an eleven here, and it barely stops itself from going overboard. Though she doesn’t have the same amount of conviction as Doechii, JENNIE has just enough charisma to carry her, and together they are able to deliver playful taunts and flexes, confirming that, yes, the ladies do run this. 

“Mantra” tries to keep the girl power going, but is drab in comparison. Clean and cheeky, but needling and repetitive, it did not give the best impression as the first pre-release track. Its shallowness echoes BLACKPINK’s recent work and did little to build anticipation for anything different. Perhaps that was the plan all along because “Love Hangover” is a pleasant eye-opener and a savior amongst the singles. Dominic Fike’s influence is noticeable with the mellow, guitar-driven construction and JENNIE sounds the most natural here too. There’s no straining; she’s smooth and breezy, juxtaposing the emotional turmoil in the lyrics. 

Detached, eerie, and industrial, “ZEN” is a minimalistic turn until it isn’t. This song becomes beastly during the chorus as JENNIE anthemically paints herself as immovable. Aura, glow, and thick skin, she’s got them. It won’t be for everybody, and it does come off as an intermission rather than a whole step, but those who can appreciate experimental sound will definitely enjoy it. 

The rest of the album is less flashy and might feel like a dragging latter half, but there are some gems that should not be overlooked. Childish Gambino and Kali Uchis are complementary voices of satisfaction in “Damn Right,” a seamless and nostalgic co-production by Mike WiLL Made-It that has room for each feature to mix with JENNIE without feeling crowded. “F.T.S.” again responds to the scrutiny she’s faced in her career. But what previously was a loud defiance is now a subtle rebellion with hints of exhaustion and frustration in between empowerment. Its honesty provides space for “Filter.” Pockets of engaging flow lead to a gradual build towards full self-acceptance. Being in such a public-facing job since she was a teenager, saying “I love me more with no filter” is a testament to her self-understanding and the growth she’s experienced over the years.

“Seoul City” is atmospheric and hypnotic, albeit a bit aimless, but it’s still able to create a clear picture of wandering around at night with no destination in mind. This imagery and immersiveness are achieved by her palpable affection for Korea’s capital and who she’s been able to become during her time there. “Starlight” offers an interesting structure and showcases JENNIE’s upper register. Beginnings like a ballad change into a PinkPantheress type of groove, confronting the darker side that is usually hidden by the aforementioned filter she is used to wearing. “You said you see the starlight in me / What about the black mystery? / What about the moments you don’t see?” she expresses in a rare second of doubt.

It doesn’t get more personal than at the finale of the Ruby experience. “twin” is an intimate and bittersweet letter-song about someone no longer in her life. “Guess I lost you, and you lost me, but I put fuel to your flame,” she both mourns and recognizes her part. After all the fierce ways she’s portrayed herself, the gentle strums of the acoustic guitar keep things quiet and vulnerable. When the curtains fall, and the glamour and camera lights fade, she’s just a flawed person with a few regrets and complex relationships like everyone else. 

Exploratory yet cohesive, Ruby ultimately illustrates JENNIE’s duality as untouchable and deeply human. While ROSÉ shared unprecedented details about her love life, JISOO solidified her pop sound, and LISA pumped out more of what she’s always done, JENNIE dared to go where her bandmates did not. For the sake of telling a kaleidoscopic narrative, she unleashed not one or two pieces, but her whole self. There is no room for misinterpretation – this is who she knows she is, who she’s meant to be.

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