BLACKPINK's LISA is Searching for a Deeper Identity in 'Alter Ego'

As a member of BLACKPINK, LISA’s role has been to deliver unbridled confidence and magnetic charm, and she’s very good at it. Now, as a soloist, it’s clear she wants the world to think she’s more, that she can stand as steadily on her own, through her high-energy album, Alter Ego. Though the visuals and production boast allure and strength, she gets lost in the flashiness and is unable to deliver proof of multifaceted artistry. Rather than take the opportunity to establish individuality, she’s barely extended or separated herself, and has left much to be desired.

One of the consequences of BTS’ unprecedented success is the creation of a model for crossover appeal: collaborate with Western musicians, sing in English, and practice less genre-blending. Where a majority of K-pop acts fall short is when their eagerness to appeal to the West outweighs their commitment to the artform. Such a singular focus often results in shallow work, and unfortunately LISA appears to be no exception. Ironically, in “FXCK UP THE WORLD”, which includes a phoned-in verse from Future, LISA says, “They want the old LISA, then listen to my old shit”. Sentiments like this are hollow when none of the 13 tracks have anything new or daring to offer. 

There is not necessarily an outright bad song on the album, thanks to how they are all masterfully engineered, but that can only take LISA so far. When left to carry a song alone, it’s palatable yet tedious. LISA talks a lot about her bank account, cars, and how hot she is (as heard in “Elastigirl”, “Thunder”,”BADGRRRL”, “Lifestyle” and “Chill”). There’s nothing wrong with self-love, but it’s uninspired, exemplified by the scarcity of change in flow or cadence across each track. Many Asian rappers seem to think they have to flex 24/7 and act hard in order to claim glory. What they don’t understand is the most respected in the craft are those who have the substance to back themselves up. To be taken seriously in rap, especially in the Western market, your words have to ultimately express your humanity, not just your material worth.

It’s important to consider how young LISA was when she moved to Korea in pursuit of her dreams. If she hadn’t trained under YG Entertainment and been made to accept the hip-hop concept they assigned her, would she still be trying to pass off this disingenuous persona? Having come from an industry as restrictive as K-pop, it isn’t hard to imagine how someone’s identity could get stunted or distorted.

Prior to this release, and true to its title, LISA posted concepts for five different alter egos (Roxi, Sunni, Kiki, Speedi, and Vixi). There’s really no explanation for where they came from, why they exist, or if there’s been glimpses of them in the past, and this is the crux of the record’s issue. Art, in every medium, is storytelling, and the act of creating it demands giving part of oneself to it. ROSÉ revealed more about her personal life than ever before, and JISOO refined her sound and displayed an evolution into a niche of pop reminiscent of Kylie Minogue. Alter Ego is undeniably polished, tastefully brash, and points to LISA’s ambition, but without a purposeful narrative it feels gimmicky. Fans and casual listeners alike have no better grasp on who LISA is, and it seems she doesn’t know yet either.

The first single, “Rockstar”, is everything fans could expect, from renting out an entire street in her home country, Thailand, for the music video to the monotonous and somewhat corny lyrics. It’s faithful to the character she’s always been in BLACKPINK, and reassures she still possesses the same level of glamour without YG behind her solo career. 

People hoped there would be further displays of her heritage, but that’s where it ends. It’s not that she’s shy about her roots; she wore a beautiful traditional outfit several years ago for “LALISA”, and there’s no doubt people would go crazy if she ever decided to rap or sing in Thai. The second pre-release song, “New Woman”, with ROSALÍA – whose verse is in Spanish – is damning in her choice to defer to English and speaks to how greatly she wants to crossover. Regardless, this is as experimental as LISA has ever been with sonic textures, and the chemistry between the duo is enticing. 

The rest of the album similarly relies on its collaborators to bring personality. It’s Megan Thee Stallion with her signature “Ah!” that makes the brattiness in “Rapunzel” playful; it’s RAYE’s prowess and Doja Cat’s unique voice that sustain the disco in “Born Again”; and it’s Tyla’s smooth riffs and the syncopated percussion in “When I’m With You” that provide a welcome change of pace. Having such strong guests certainly capitalizes attention and can uplift fame, except in this case it highlights LISA’s shortcomings, particularly her lack of musical identity.

Despite all the criticism, there are moments that hold a lot of potential. “Moonlit Floor (Kiss Me)” works so well because the original hook from Sixpence None The Richer is already understood and loved. LISA’s sensual take, along with her big, lovesick smiles in the performance video, feels more authentic than everything before it. “Dream” is a bit flimsy for a ballad, likely due to it being outside of her usual style, but the storytelling is prominent and stands out. It starts with a question (“Are you always gonna hate me for that night in Tokyo?”) and ends with one (“Can we be friends at least?”), with callbacks to memories of a specific relationship in between. The quick redirection these two songs take brings optimism for the future of her discography. If she took the chance to explore the surface just scratched here, she might find something worthwhile. 

There is, and should be, appreciation for her efforts. Whether it’s bravery or blind assurance – truthfully it’s probably a mix of both – there is admiration to be given to LISA for trying, and so publicly at that. It’s better to make art, even if it's imperfect, than to not attempt at all. While it doesn’t hurt that she’s too big to truly commercially fail, she would not have gotten this far without talent or resilience. Alter Ego may not be as defining of a project as anticipated, but it’s a good starting point on the path to the renown she is seeking. Once she discovers what kind of artist she is, and what more of herself she can share, there will be no stopping her.