When J-Hope took the stage at Brooklyn’s Barclays Center to kick off a North American tour in mid-March, his set became a showcase for the BTS member’s ever-expanding take on hip-hop — from his group’s stadium-shaking squelcher “MIC Drop” to the sunny anthem “= (Equal Sign)” and the premiere of the trap, rap-sing hit “MONA LISA.” On the other side of the world, his bandmate Jin was putting the final touches on Echo, his rock-inspired sophomore solo album, which dove headfirst into heated pop-punk riffs, romantic Brit-rock production powered by orchestral strings, and even a fun foray into country rock.
While J-Hope and Jin stretched their individual wings, the rest of BTS — RM, Suga, Jimin, V, and Jung Kook — were busy fulfilling their mandatory South Korean military service until their individual discharges this month. (Jin and J-Hope began their service earlier than their bandmates; Jin was discharged in June 2024, with J-Hope discharged last October). But they, too, have been very busy musically in recent years. That’s because the group’s label and management house, HYBE, has used the enforced pause that’s come with enlistment as an incubator for individual expression: RM has explored lush indie landscapes across his critically acclaimed solo album, Right Person, Wrong Place; V has savored the warmth of nostalgic jazz with several duets, including a new take on “White Christmas,” with Bing Crosby’s vocals; Jung Kook topped the charts with Western-pop gloss; and Jimin has also hit Number One by dipping into brooding, dark-pop territory.
An elite team of creatives has been at BTS’ side throughout this period of military service and solo adventure, nurturing each member’s musical identity and nudging the boundaries of what K-pop can be on the global stage. At the center is Pdogg, the elusive K-pop power-producer who has helped helm BTS’ sound from their 2013 debut to the present day.
Pdogg, whose real name is Kang Hyowon, oversees all aspects of BTS’ music. In a rare moment speaking to overseas media, Pdogg tells Rolling Stone that his process begins with personally connecting with an artist to hear what’s on their mind and conceptualizing an initial song. In the studio, he lays the groundwork for the track or matches a demo for the concept, typically having the artist write the first draft of lyrics before calling in collaborators to help bring the musical vision to life.
When it comes to BTS, Pdogg says the key is communication. “I communicate directly with the members as their tracks and albums often center around their personal stories,” he explains. “I spend a lot of time talking to each member and communicating about what they’re thinking and how they view the world. From there, we create songs that are in line with their perspective and match the right demos. Usually, the artists write the first draft of the lyrics themselves, and from there, I add the flesh and create the song. During the recording process, we work together to find the artistic side of them that they haven’t been able to showcase before.”
The 41-year-old also oversees upcoming “trainee” artists under BIGHIT MUSIC, the label that houses BTS as well as veteran singer Lee Hyun, chart-topping quintet Tomorrow X Together, and a new boy band recently confirmed to debut in the third quarter of 2025. It’s one of several labels under HYBE, the house that BTS built up from a small management agency into a multifaceted, international entertainment conglomerate. Pdogg began his musical journey nearly two decades ago working with HYBE founder and current chairman Bang Si Hyuk (who also produces under the moniker “Hitman” Bang), back when Pdogg’s credits only included the likes of Korean vocal trio 8Eight and R&B-pop siren Lim Jeonghee.
“Even when the company was relatively smaller in size, Chairman Bang invested in mixing, mastering, and sessions, always pushing until we got the exact results we wanted,” Pdogg says. “It’s been nearly 20 years since I first met Chairman Bang, and I have nothing but complete trust in him because of his unwavering commitment to music and his constant drive to explore new sounds … and when I hit a slump while working, he shouldered the losses and still believed in me — that’s why I’m able to continue making music to this day.”
Pdogg says he’s personally curious about “trying to modernize the sound of the mid- to late-2000s” and “find a sound that combines genres that haven’t yet made the jump from pop to mainstream,” but it will be BTS who take the lead on their future sound. Even though BTS have scored their biggest Billboard hits and Grammy nominations with all-English tracks like “Dynamite” and “Butter” (which, notably, did not feature Pdogg on the credits), the producer says this won’t change the way he or his collaborators approach new BTS music. “There’s always a certain amount of pressure and anxiety, which is part of my journey, so it’s nothing out of the ordinary,” he shares. “Lately, I’ve been focusing on finding new sounds by collaborating with top international producers and songwriters in different ways. I’m aiming to create something that is different from ‘Dynamite’ or ‘Butter,’ while still making sure it resonates with the global audience.”
One change that will be evident on BTS’ imminent comeback album — at least in the credits — is the absence of Slow Rabbit, another super-producer under HYBE’s BIGHIT MUSIC who has also been with the boys since their debut. While Slow Rabbit (born Kwon Dohyeong) co-wrote the track “For Youth” alongside RM, J-Hope, and Suga for BTS’ career-spanning Proof anthology in 2022, he’s focused on another group now. “I’m sure the members and the talented producers who will be a part of their next comeback will create an incredible album,” Slow Rabbit tells Rolling Stone. “I am also looking forward to BTS’ comeback, but as for me, I will be focusing on my role as the main producer for Tomorrow X Together.”
Tomorrow X Together
BIGHIT MUSIC*
While TXT was at first labeled by fans as the “younger brother” group to BTS when they debuted in early 2019, the quintet have instead crafted musical journeys all their own, with an emphasis on using mystical, magical fairy-tale-like storytelling to describe growing up today, felt in song titles like “Farewell, Neverland,” “Can’t We Just Leave the Monster Alive?” and “Sugar Rush Ride.” “When I first started working with BTS, I was new to being a producer and had to learn everything from ‘Hitman’ Bang and Pdogg,” adds Slow Rabbit. “Becoming the main producer of Tomorrow X Together was a huge leap forward for me, and it helped me better understand the role and responsibilities that come with it. Juggling between BTS and Tomorrow X Together was very confusing and emotionally challenging at times. All of these hardships in the past have grounded me.”
Thanks to HYBE’s robust A&R and publishing arm, Pdogg, Slow Rabbit, and more of its creatives have writing credits for artists signed to rival agencies. Recently, Pdogg helped craft “ABCD,” the latest solo single from Nayeon of top girl group TWICE, under JYP Entertainment (whose founder and namesake, J.Y. Park, worked alongside Bang for 2000s and early 2010s JYP acts), and Slow Rabbit co-produced the viral hit “UP,” by Karina of aespa, a quartet from SM Entertainment
Alongside Pdogg and Slow Rabbit, HYBE is riding the success of relative newcomers to the company’s producer roster — like ARMADILLO, the lead producer for Coachella 2025 breakouts ENHYPEN, and the dynamic production and songwriting duo 13, who have brought Nile Rodgers, Afrobeats, and voguing elements into LE SSERAFIM albums. While helping design the future of K-pop alongside the upcoming comeback for BTS, these producers spoke to Rolling Stone about their musical journeys, insider stories, favorite underrated tracks, and more.
BIGHIT MUSIC
Pdogg
10 notable credits: BTS’ “No More Dream” (2013); RM and Wale’s “Change” (2017); BTS’ “Boy With Luv” (feat. Halsey) (2019); Jin’s “Abyss” (2020); GFRIEND’s “Apple” (2020); Coldplay and BTS’ “My Universe” (2021); Charlie Puth and Jung Kook’s “Left and Right” (2022); J-Hope’s “On the Street (with J. Cole)” (2023); Jimin’s “Who” (2024); Ailee’s “MMI” (2025).
While you have worked with BTS since their debut, what have these last years been like for you during this new chapter, where the members focused on solo albums?
In the past, our emphasis was on team harmonization. However, with the solo albums, the approach has shifted to highlighting each member’s unique voice.… I carefully take into account the direction each member wants to take, ensuring their individual vision is reflected as fully as possible … the solo albums feature more personal themes for each member, which makes them different from the themes and messages we explore in group activities. Additionally, as each member has their unique vocal tone and preferred genre, so through solo activities, we’re aiming to reveal new facets of their individual artistry.
What’s been the best moment of your musical journey?
I’d say it was when I went to the Grammy Awards in 2020, when BTS had this historic performance with Nas, just before the pandemic hit. Being there in person for such a monumental moment and having BTS sharing the stage with true legends in the music industry was incredibly meaningful to me. It’s one of those unforgettable experiences in my career.
Do you have a favorite of all the songs you’ve worked on?
One of my favorite songs is BTS’ “Save ME,” and I especially love the music video. It’s a choreographed video style, but what makes it special for me is how the cloudy weather perfectly complements the song’s feeling of loneliness. The choreography and the mood really come together to express the emotion of the song, and it’s one that I find myself watching often.
BIGHIT MUSIC*
Slow Rabbit
10 notable credits: BTS’ “Coffee” (2023); Tomorrow X Together’s “CROWN” (2019); NCT DREAM’s “Countdown (3, 2, 1)” (2021); & TEAM’s “Under the Skin” (2022); TWICE’s “Brave” (2022); Tomorrow X Together and Anitta’s “Back for More” (2023); fromis_9’s “Bring It On” (2023); ILLIT’s “Magnetic” (2024); ENHYPEN’s “Fatal Trouble” (2024); Yeonjun’s “GGUM” (2024); KATSEYE’s “Gnarly” (2025).
After quietly shaping some of K-pop’s most beloved B sides and deep cuts, Slow Rabbit says that he “spends most of my time working on Tomorrow X Together’s music” today, but holds milestones like debut concerts and BTS’ first big wins at K-pop awards shows as “a source of happiness.”
Slow Rabbit notched a new personal milestone in 2024 after working on “Magnetic,” by ILLIT. Not only was it his first time helping helm the debut single for a girl group, the track also cracked the Billboard Hot 100, marking the first time a K-pop group’s debut single impacted the singles chart.
Take us through a typical day or week for Slow Rabbit lately.
These days, I’ve been spending a lot of time working on Tomorrow X Together’s upcoming album along with a few other projects. I don’t have a set schedule for making music, but I try to work on something whenever I can.… I have the best conversations with [TXT member] Taehyun when it comes to music. He not only loves listening to various genres but also enjoys singing, so whenever there’s a great track, he’s the first one that I reach out to. We share a deep love for music, and this relationship helps both of us grow musically. Since the release of their solo mixtapes, I’ve had many conversations with Yeonjun and Beomgyu, as well. As for Yeonjun, “Hitman” Bang, myself, and the A&R team have been discussing the artistic direction of his future projects and how we can best support his musical journey. Beomgyu has a strong passion for composing, so we’re exploring ways for him to showcase his talent.
What can you tell us about Tomorrow X Together’s latest single, “Love Language,” and upcoming music?
Starting with Yeonjun’s “GGUM,” released in the second half of 2024, the members began exploring their own musical identities through solo activities. While some members are more dedicated to group activities for now, I want to emphasize that both the company and I are fully committed to supporting any member who wishes to pursue their own music in every way possible.… This marks a transitional period for the group, so we’re making sure the album reflects those changes while staying true to the essence of Tomorrow X Together. We’re also preparing for the following comeback, which will have a completely different vibe, so I’m both excited and a bit nervous for the fans to hear it.
On a personal note, I’ve been collaborating more with other producers when making music. I’ve had the opportunity to work with a diverse range of talented people, from veteran producers like “Hitman” Bang, renowned international producers, topliners to producers from the younger generation.
Has there been a particularly challenging moment, song, or memory that stands out?
One of the toughest, yet most fulfilling, was Jan. 1, 2024. That day, “Hitman” Bang and I were finalizing “Deja Vu” by Tomorrow X Together. I was barely getting any sleep as I was also working on finishing “Magnetic” by ILLIT. Completing two songs at the same time was physically draining, but it was all worth it because the most crucial parts of the songs came to life that day.
This period was especially memorable as I had the opportunity to collaborate with BIGHIT MUSIC’s talented trainees, James and Martin, whom “Hitman” Bang introduced to me. Working together not only on music but also on performance and other creative aspects brought back memories of the early days of my career, when HYBE was still Big Hit Entertainment.
Is there a lesser-known song you are particularly proud of or feel is special?
One song that immediately comes to mind is “Moonstruck” by ENHYPEN. The song highlights each member’s voice, and the lyrics perfectly reflect the group’s distinct storyline. I’m sure that [ENHYPEN’s fan army] ENGENEs have probably heard this song at concerts or year-end stage [performances], but I think it’s a hidden gem.
SCORE and Megatone of 13
SOURCE MUSIC*
13
10 notable credits: BTOB’s “I’ll Be Your Man” (2016); GFRIEND’s “Hear the Wind Sing” (2017); Soyou & Baekhyun’s “Rain” (2017); Jonghyun’s “Shinin” (2018); Wanna One’s “One Love” (2019); Golden Child’s “Burn It” (2021); LE SSERAFIM’s “UNFORGIVEN” (feat. Nile Rodgers) (2023); Huh Yunjin’s “Raise y_our glass” (2023); KATSEYE’s “Tonight I Might” (2024); LE SSERAFIM’s “HOT (English version)” (feat. JADE) (2025).
When producers SCORE and Megatone decided to team up as a duo officially, the pair adopted their moniker simply from the fact that “we happened to live on the 13th floor of the same apartment building,” SCORE explains. “We really liked how ’13’ had a simple yet mysterious feel to it.”
It must have been their lucky number after “Hitman” Bang interviewed them and gave them the OK to join the day-one team for LE SSERAFIM, an important project as the first female act created after HYBE’s corporate rebrand in 2021. “As their teaser videos were released one by one, we could feel the growing excitement and anticipation from fans,” Megatone recalls after the duo spent years hoping to place songs before finding a home with LE SSERAFIM’s label. “Finally seeing them take the stage for the first time at their album showcase was an indescribably overwhelming experience.”
Are you working with LE SSERAFIM on any projects now? Where do you pull inspiration for the group?
SCORE: We’ve been working with LE SSERAFIM for over three years now, and throughout this journey, we’ve shared countless conversations with them. The more time we spend together, the more we realize that we share a common vision. This mutual understanding has been a constant source of inspiration in the process of music production. As LE SSERAFIM’s main producers, responsible for shaping their unique sound and style, we always strive to incorporate the latest musical trends in a way that aligns with the group’s identity and as we see fit.
Your work ranges from girl and boy bands to rappers and Japanese pop. Do you have different approaches based on the kind of artist or genre?
SCORE: Before joining HYBE, we spent over a decade as freelance producers and songwriters working with various artists and labels. During this time, we also had the opportunity to produce entire albums with artists whose musical style resonated with ours.… One of the most important lessons we’ve learned throughout is that it’s essential for a music producer to understand that each artist has their own unique style and charm, regardless of genre or nationality, and to recognize this before working on their music.
Where do you see K-pop moving in the future?
Megatone: With the K-pop industry’s increasing saturation and the growing number of artists seeking global success, it’s more important than ever for them to produce music that aligns with global trends and infuses unique charm to captivate fans worldwide.
Do you have a favorite of all the songs you’ve worked on?
Megatone: All the songs we’ve produced hold a special place in our hearts, but one that stands out is LE SSERAFIM’s “CRAZY.” We feel this track perfectly captures the group’s unique identity and has been widely loved by fans around the world. “ANTIFRAGILE” also means a lot to us, as it played a huge role in shaping LE SSERAFIM’s journey to where they are today.
BELIFT LAB*
ARMADILLO
10 notable credits through the years: 2AM’s “Love Actually” (2014); 15& and Kanto’s “Love Is Madness” (2015); Stray Kids’ “Hellevator” (2017); Suzy’s “Pretend” (2017); Chung Ha’s “Everybody Has” (2020); NMIXX’s “DICE” (2022); UP10TION’s “Angel” (2022); BOY STORY’s “ENOUGH” (2023); ENHYPEN and JVKE’s “XO (Only If You Say Yes) (English version)” (2024), ENHYPEN’s “Loose” (2025).
Taking his producer name as a reminder to “move at your own pace and stay grounded,” ARMADILLO stays humbled as the main producer for ENHYPEN (a group he says boasts a versatility that “makes them both fascinating and challenging to produce for”) after already securing a proven collection of hits for major acts like TWICE, Stray Kids, and Chung Ha. He still remembers his first prominent single placement — with K-pop superstar Suzy’s atmospheric chart-topper “Pretend” nonetheless — as his most meaningful milestone.
Looking ahead, ARMADILLO vows to “keep diving deeper into sound design” while strengthening K-pop’s global reach through international collaboration and his slow-and-steady mindset. “Even if it takes a little longer, I believe in going steady and strong — just like an armadillo.”
Take us through a typical day for ARMADILLO.
Over the years, I’ve come to enjoy my morning routine. I usually wake up around 5 a.m., go for a run, and then spend the early hours working on tracks. This routine itself has become a creative sanctuary for me. In the afternoons, rather than diving into music production, I focus on honing my skills — sound design, mixing techniques, anything that sharpens my craft. It’s a pattern that I’ve built over the years: refining my tools during the day, then channeling that into creation in the early hours.
I would say that producers at HYBE tend to be deeply involved with the label, from monitoring mixes for upcoming albums to editing and creating tracks for live performances. Since stepping into the role of lead producer for ENHYPEN, I’ve been devoting 90 percent of my focus to the group — whether it’s album production, concerts, world tours, or year-end award-show performances.
Where are you pulling inspiration from nowadays?
Lately, I’ve been focusing more on stripping things back rather than adding more. Instead of rushing to complete full tracks, I spend more time making sure the core idea is solid — does the main theme feel right? Does it speak with clarity and conviction? That’s where most of my energy goes.
I’ve also been delving into analog textures lately. There’s something compelling about the rawness and warmth you get from that world, and it’s inspiring me in unexpected ways.
Your work varies from HYBE groups like ENHYPEN to soloists, girl groups, and artists in different countries. Do you have different approaches based on the kind of artist, genre, or country?
Every artist calls for a different approach — there’s no one-size-fits-all. Especially when working with an artist who’s just starting out, I don’t dive straight into songwriting. Instead, I take the time to understand who they are — the story they want to tell, the emotions they carry, and the colors and styles that suit them best. Sometimes, I sit with those thoughts for a long time even before writing a single note.
Interestingly, there have been times when a song I’ve held on to for years — one I was saving for something special — ends up clicking perfectly with an artist I never expected.
These days, many K-pop labels build out detailed storylines and concepts in advance. So more often than not, producers are brought in to create music that aligns with those frameworks, helping to bring that vision to life.
What have been some of the most challenging parts of your career?
It’s been more than a decade, but I’ll never forget how hard things were before I joined a company. I didn’t have a proper workspace, so I’d take my keyboard down to my car in a basement parking lot. I’d sit in the back seat writing melodies until nightfall. Summers were brutal — I’d come back drenched in sweat — but the moment I put on my headphones and started working, everything else didn’t matter much. What kept me going was knowing there was someone who genuinely loved my music, and that support gave me strength and reminded me why I do what I do.
Do you have a favorite of all the songs you’ve worked on?
Suzy’s “Pretend” was my first title track [single], and the first to top one of Korea’s biggest music charts, Melon. That made it a meaningful milestone in my career.… I want to keep diving deeper into sound design — there’s always more to explore. I’ll keep doing my best to create songs that connect with people around the world.
