K-pop group P1Harmony did not start with the odds in their favor. They debuted months into a global pandemic, without the resources of a huge company, at a time when live performances were nil. But the scrappy sextet persevered, and have now released six EPs, embarked on two tours, and headlined venues in five continents.   

Formed in 2020, the group's name is an amalgamation of "plus," "one," and "harmony," meaning members Keeho, Jiung, Intak, Theo, Jongseob and Soul can achieve endless harmonious possibilities as a unit. P1Harmony's latest album, Killin’ It, is their first full-length release. The album is both a confident celebration of their musical identity and a comprehensive introduction to any new fans.

Out Feb. 5, the 10-track Killin' It  features a minimalist, synth-driven title track with a catchy 808 base and masterful rap that pays homage to '90s hip-hop and K-pop. P1Harmony's catchy electropop permeates the sentimental "Late Night Calls'' and influences the freestyle chants on "Everybody Clap," and the anthemic "Street Star." The record's final track, "I See U," is a confession of love to their fans, known as P1ece.

P1Harmony have had a flair for drama since their debut teaser. In keeping with the K-pop trend of incorporating storylines into their visual releases, six EPs ended with the reveal that P1Harmony were hidden "heroes," facing the world fused as one. Killin’ It continues the "forgotten heroes" theme, with Keeho taking the conceptual reins on the album.

P1Harmony members have been contributing towards their releases since the beginning — a concept that has only recently gained popularity in K-pop. Killin’ It is no different, and Jongseob, Intak, Jiung, and Keeho are credited for lyrics and composition on several tracks. 

In a saturated industry, P1Harmony’s Gen-Z sense of humor gives them a leg up amongst their peers. In fact, they are known as much for their unfiltered personalities as they are for their music. In a particularly viral example, leader Keeho advised a fan to cut her friend's hair off because they were making fun of her curls. 

Ahead of the release of Killin' It, GRAMMY.com caught up with the group over Zoom, to chat about perfectionism, touring dreams, and career milestones.

**Tell us about the first full length album. What were you trying to go for with Killin’ It?** 

Keeho: This is an album where we could really cement what we're good at, what we like to do and what we want to keep doing in the future. I feel like it's kind of different from the EPs because those were more chances for us to experiment and filter out what does and doesn’t stick. 

We've created so many memories and experiences where we learned what things look good on us and sounds sonically good to us. It's a really good turning point as well. Our storylines from the previous EPs are wrapping up and it's a new chapter for us moving forward.

Jongseob: I wrote on all 10 tracks on this album, and that process was very exciting. I feel like I could fit more of my own style in this album than before. This was also like a playground for me because I got to do whatever I wanted with my own verses. 

Do you feel like it took more effort to make Killin’ It than with previous releases? Is there an added pressure because it's P1Harmony's first full length album? 

Intak: Because we were on and off tour, I always had to write on the move. As a writer it took me a lot longer and a lot more focus to write my raps than in previous albums. 

Keeho: Of course there is added pressure. Yes, I am confident and happy to show our P1eces what we’ve made, but even to this day, there's always that feeling of is there anything we could have done better? As perfectionists, we’re always trying to find the flaws so we can minimize them, but no matter how much we try they never go away. It’s not always bad though, because it’s also a way to constantly improve as artists. 

If we were always satisfied with everything we did, there would be nothing pushing us to go that extra mile. It gets stressful, but at the end of the day, if our fans love it then that’s all that matters. 

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Where is the point when you realize you have to stop and let go of what you’re working on?

Jiung: It’s different for each of us, but as a team we also think that if we fix something too much, it goes wrong. We try our best to keep each other from going overboard.

Keeho: They say the first take is always the best take. And also, we have a deadline! [Laughs.] No matter how many times I want to do more, I have to send it across. 

I did a lot of contribution in the conceptual and visual side of this album, and I remember because of the deadline I was at the airport lounge finishing up the PDF and sending it over before I got on the plane. We were writing in hotel rooms, on planes, in the lounges —— there's always a deadline to be met. 

Visually, what was the creative direction for this album? What concepts did you draw inspiration from?

Keeho: The main story created for this full-length album was about P1Harmony being the "forgotten" heroes. Hence the theme I was very inspired by the movie Suicide Squad. 

For the "Killin' It" version, I really wanted to show off each member's identity through the outfits. I feel like a lot of the time when we figure out outfits we tend to play it safe and match a certain color scheme or silhouette, but I really wanted each member to have their own style. If you watch The Hunger Games, each member of Katniss' team has a matching gold emblem to signify they are in one team, like the Mockingjay pin. The one thing that brought us together was our matching necklaces, brooches, and pant chains.

For the "Maximum" version, I thought if we make the set in contrast a lot smaller than we are, we can give off the illusion of literally being bigger than everything. We came up with the amusement park idea because there's something fun and colorful but also eerie and dark about it. Maybe it comes from my fear of clowns and rollercoasters but I liked that difference in feeling. 

I would love to do something cinematic again like we did during our debut. 

What do you want your next milestone to be?

Jiung: I think the next tour, because I feel it would be even better than the one we just finished. I'm excited to fill up the setlist with the album that we're about to release.

**What would need to happen for you to think, okay, we've made it, I can retire peacefully?**

Keeho: We're very young. [Laughs.]  I don’t know about retiring yet. 

Jiung: I don’t think we're gonna retire. We're so passionate and we're so happy to show ourselves in every area. 

Theo: If we did a stadium tour, I would retire. 

Keeho: We’d have to get Beyoncé level. We’re talking big production, we’re talking Renaissance. 

I don't know how convincing it might sound but I feel like, as long as we have a reason and it's something that we love to do, we are so, so, so hardworking. It is almost violent and scary to see. We will sacrifice sleep, food, anything if it's really something we love to do. And if it gets to the point where we get the opportunity to do a stadium tour, I think it'd be awesome. 

**Some of that is a little alarming — please take care of yourselves! Your last EP, Harmony: All In, spoke a lot about the challenges that come with loving yourself. How do you experience self-love today?**

Theo: Nothing has really changed for me. I feel like up until the point where I pass away, I don’t think it will be a difficult task for me to love myself.

Jiung: For me, sometimes it's a roller coaster but I'm good now. It’s all good with my bros.

Five out of the 10 songs on Killin' It are about love. How would you explain what love is to somebody who's lost all their memory?

Jiung: I got the same question about two years ago at a fanmeet. I don't know how to translate it, but in Korean I said something like "love is when I'm thinking about you with my full energy."

Keeho: It’s a tricky question, though because I feel like love you is such a strong [phrase]  and it holds so much meaning. I would just answer like this [Keeho makes several heart shapes with his hands]. 

11 Rookie K-Pop Acts To Know In 2024: NCT Wish, RIIZE, Kiss Of Life & More

The complexity of Korean pop music is akin to an ocean of changing tides. Every year brings a stream of new elements that, in due course, become part of the fabric of the genre. That’s the part of the magic of K-pop: a guaranteed churning of trends and influences that continue to mesmerize millions.

While last year saw an awakening of girl groups, the current landscape of boy groups is reaching an interesting phase. Well-established ensembles are growing more soloists than ever, and different generations of performers exist side-by-side in a way previously unseen. At the same time, survival television shows (those similar to “American Idol” or “The Voice”) remain a cultural phenomenon in Korean music, serving as a vault for trainees and many in this new wave of boy groups.

Within this new wave, K-pop acts such as VERIVERY and ONEUS are experiencing long-awaited recognition, while the groups who debuted during the pandemic are finally performing in front of live audiences. Meanwhile, rookies like xikers are raising their hands with a desire to conquer, and yet-to-debut acts like ZEROBASEONE are hotly anticipated.

Here, get to know 11 rising boy groups — in order of debut — consolidating their position under the bright lights of K-pop’s dominion.

VERIVERY

Energy and precision are integral parts of Verivery’s identity. The group seems to flip a switch in the audience with their impeccable coordination and lively dance-pop sound. But they also embrace dualities in their music — exploring the emotional highs and lows of life.

Hailing from Jellyfish Entertainment, the septet debuted in January 2019 with the new jack swing single "Ring Ring Ring," and continually sharpened their skills to drive impact. Verivery’s third single album, Liminality - EP. Love, and its title track, "Tap Tap," opened a new chapter, and the group captured their first-ever wins in MBC’s "Show Champion" and KBS’s "Music Bank."

ONEUS

If there’s one group that thrives on defying creative limits and building timeless narratives, it’s ONEUS. They’re called "stage geniuses" for a reason. 

Formed by music label RBW in 2019, the quintet have established themselves as versatile performers with intricate choreographies and vocal prowess. Each record reveals a new soundscape, and with it, there’s a seamless unpredictability that increases their public acknowledgement. 

Their eighth mini-album, Malus, released last September, proved to be a breakthrough. ONEUS earned four trophies from South Korean music shows, and they crossed the barrier of one million accumulated sales on the Circle Chart, one of the most notable music charts in their home country.

CRAVITY

CRAVITY combines the words "Creativity" and "Gravity" to state their aura can draw you in like a magnet. They’re joie de vivre personified and may switch gears from "monster rookies" to K-pop dynamos at any moment.  

Since debuting in 2020 under Starship Entertainment, the group has displayed great adaptability when tackling different musical colors. But the arrival of Liberty: In Our Cosmos, the second part of their first full-length album, in March 2022, channeled a youthful approach that’s become their signature sound. This conceptual glow-up fully fleshed out CRAVITY’s abilities that shine the most in feel-good pop terrains, crafting a unique niche as a result. 

TREASURE

Backed by YG Entertainment (Blackpink, BIGBANG), TREASURE burst onto the scene in the summer of 2020 with the hard-hitting single "Boy." It was the crowning of sky-high expectations since they came together a year prior through the challenging survival show YG Treasure Box. However, in November 2022, vocalists Bang Yedam and Mashiho left, and TREASURE had to redirect their trek with 10 members.

TREASURE aren’t only known for their blistering levels of performance, as they also flaunt a diverse sonic palette and self-written material. Take, for example, the potent "JIKJIN," which contrasts with the zestful charisma surrounding "Hello," or the enchanting (and viral) "DARARI," composed by former member Bang Yedam. They’re creative powerhouses and this is just the beginning for them.

DRIPPIN

This seven-member group assembled by Woollim Entertainment demonstrates how it’s possible to mature a career without compromising brilliance. DRIPPIN boasts one of the most solid repertoires in the fourth generation of K-pop. 

When DRIPPIN debuted in 2020 with their EP, Boyager, their musical compass signaled lightness, but as time passed, the course steered towards a darker route. It was an organic and smooth transformation, exemplified by their fantastic Villain album series released throughout 2022.

P1Harmony 

The start of P1Harmony’s journey in October 2020 was literally a cinematic experience that laid the foundation for their exciting artistry. They’re adventurous and fun, so better be prepared every time they take the stage — because you’re in for a ride.

Of course, nothing of this would be possible without having a mesh of talents working in tandem. The voices of Keeho and Theo balance out the fierceness of rappers Intak and Jongseob, while Soul and Jiung are proven all-rounders. This blend and a penchant for electrifying tracks are the main propulsors behind P1Harmony’s international popularity.

TEMPEST

Living up to the essence of their group’s name, up-and-coming stars TEMPEST are a force to be reckoned with. And contrary to the title of their debut song, "Bad News," their entrance into the K-pop realm was a harbinger of potential.

The septet comes from Yuehua Entertainment, home to Iz*One alum Choi Yena and girl group EVERGLOW. Several members participated in competition programs like "Produce 101" and "I-LAND" — so their perspective, along with their collective strengths, indicates that these newcomers wield the confidence of veterans. Last year, the group won accolades across different South Korean music ceremonies as best new artists – including the New Wave Award from the Asia Artist Awards.

TAN

When exploring the vastness of K-pop, it’s always a pleasant surprise to discover captivating hidden gems. This is the case of TAN, a septet formed through MBC’s survival show "Extreme Debut: Wild Idol." 

What makes TAN such an alluring act is its musical nostalgia, which is reminiscent of one of the most brilliant eras of K-pop. Press play on their first single "Du Du Du," and you’ll find yourself immersed in a second-generation revival layered with stunning vocals. Fortunately, the group is holding the line, and their latest record, "FIX YOU," continues with this evocative quality even a year after their debut.

xikers

Xikers are the freshest (and youngest) idols on this list, yet they’re threading a path that has many paying close attention. 

Formerly known as KQ Fellaz 2, the world witnessed the group’s onstage verve when they opened for labelmates ATEEZ during their 2022 North American tour. In March, they debuted with the double-punch "TRICKY HOUSE" and "ROCKSTAR," both singles from their first mini-album, HOUSE OF TRICKY: Doorbell Ringing. The seven-track project has sold more than 140,000 copies in South Korea. With their vibrant teamwork, aural intensity, and rapidly growing recognition, xikers are certainly a bunch to keep your eyes on.

BOYNEXTDOOR

At the end of 2020, K-pop giant HYBE announced the acquisition of KOZ Entertainment, a music label spearheaded by Block B’s leader Zico. The news was received with surprise, and fans wondered what kind of endeavors this business alliance could offer.

What followed has been a series of revelations that have created enthusiasm about their first project together: A group called BOYNEXTDOOR. The six members – Sungho, Riwoo, Jaehyun, Taesan, Leehan and Woonhak – were officially presented on May 12, and the concept is already striking as bright and juvenile. We will get the whole picture once BOYNEXTDOOR debuts on May 30 with their first single album, WHO!    

ZEROBASEONE 

Although the story of ZEROBASEONE (shortened as ZB1) is yet to unfold, a promise of success is darting their presence in the industry. Word on the street says they will inaugurate K-pop’s fifth generation, but that will be a topic of discussion when they step into the spotlight next summer. In the meantime, we’ll see how many records go down before that happens.

This nine-member, multinational ensemble emerged from Mnet’s reality competition Boys Planet – a spin-off of 2021’s Girls Planet 999, which created their sister group Kep1er. It’s a well-rounded lineup that will allow for artistic agility and breathtaking stages, the same characteristics that attracted hundreds of thousands of viewers during ZB1’s formation process week after week. Worth mentioning that Zhang Hao, a music prodigy from Fujian, China, made history as the first foreigner to win a Korean survival show of this kind, and he will be the group’s center.

TXT, Blackpink, Aespa & More: Here Are All The K-Pop Tours And Events You Can Catch This Summer

Before Backstreet Boys and *NSYNC ruled the pop roost in the '90s, New Kids On The Block were busy building the boy band template that everyone later followed for international chart success and incredibly ardent fan followings. And it's a legacy they're continuing to celebrate nearly four decades later.

On May 17, NKOTB will drop Still Kids, the group's first new album in 11 years and eighth overall. Standouts such as "Magic," "Runaway," and the album's lead single "Kids" are every bit as light, joyful and catchy as early hits like "Step By Step" and "Hangin' Tough." But they sound more mature than they did as teenagers; their harmonies are stronger and sweeter, while the beats and production sounds more sophisticated and contemporary. Fellow '80s/'90s stars DJ Jazzy Jeff and Taylor Dayne also guest star on the album to help them lean into the nostalgia while still staying current. (Jazzy Jeff will also join them on the Magic Summer Tour, which will make stops around North America from June 14 through Aug. 25 and further continue the throwbacks with Paula Abdul as the third tourmate.)

Of course, it's not a total surprise that New Kids would want their new work to celebrate the old. The group — brothers Jordan and Jonathan Knight, Joey McIntyre, Donnie Wahlberg and Danny Wood — has sold over 80 million albums, has a star on the Hollywood Walk of Fame, and even an annual New Kids On The Block Day in Boston (for 35 years running!). Their fans, affectionately known as Blockheads, still come out in large numbers to see them perform; according to NKOTB's new label, BMG, they've sold over four million concert tickets since reuniting in 2007 after a 14-year hiatus.

But for McIntyre, the true career highlights aren't the major accolades — it's the moments that really saw NKOTB's talent, and love for one another, shine. In celebration of the release of Still Kids, McIntyre shared five of his most cherished memories from the group's meteoric pop career.

Hollywood Talent Nights At Lee School Before They Were Famous

Lee School is a public school in Dorchester — actually, very close to Jamaica Plain. We all grew up in different towns in Boston. The rest of the guys were from Dorchester and I was from Jamaica Plain, that was like our clubhouse. 

Through the grace of God, there was a lot going on for the people that wanted it. And these community people that just did it out of the goodness of their hearts and would set up a space for kids to come and number one, stay out of trouble, and number two, give it a shot and have a place to dance and sing and dream. 

We would have these Hollywood Talent Nights that [group creator] Maurice [Starr] would put on, and then there were other talent nights. I don't know how often they were, but even if there were three or four a year, maybe even less, it was something to work towards. And we would rehearse, if we weren't rehearsing at Jordan and John's [Knight's] house, in their basement, we would rehearse at the Lee School. 

In the basement of the Lee School, in the backstage, you would walk down the stairs and we'd perform in these little rooms. It was like dressing rooms. They had mirrors; it wasn't big mirrors, but they had mirrors for the waist up and that was a big deal. So we would perform there, and rehearse there, and it was exciting. We had a place to take chances and be inspired and have a ton of fun as well.

It started with the Lee School and then radio shows [on] WILD, the AM station, the only station that would think about playing us at the time — and it was like, How are we going to surprise them this time? There was a ferocity about it. 

Donnie [Wahlberg] is a born leader. Jordan would tell stories about how Donnie would get on the school bus and he'd run the show. He'd tell jokes, he'd rap, he'd make everyone feel good — it's just in his bones. I think we all had the fire, but there was definitely a ride or die vibe about every show we did. 

He worked at a sneaker store, so we'd save up and pool our money together for new outfits, and one time we came on with basketball warmups, those Patrick Ewing basketball warmups. We came on in sweatsuits. First of all, I was freakin' five feet tall, so I was swimming in everything that we had, but we'd come on and for our number we'd sing whatever, and at the perfect moment we'd rip off the sweatsuits and have red glitter suits on. We'd just try to win the crowd over every time.

I think we still have that spirit. We never want to rest on our laurels, we want to surprise people, otherwise it's just not worth it. We've been lucky enough to do what we love to do.

Performing At The Apollo Theater In 1988

We've been able to celebrate that a lot over the years. It really is, in so many ways, the pinnacle for the history of R&B and black music and soulful music, but also rock and roll. The world knew that if you could make it there and survive the Apollo, then you had what it takes to at least give it a shot in the music business.

And we were in that world. In Boston, we played for all-Black audiences. We loved R&B music. That's what we grew up on, so we weren't really necessarily fish out of water because, although we were very excited, and of course had lots of nerves, we'd been hustling as a bunch of young kids for a few years.

We got a chance to perform at the Apollo by literally pounding the pavement. And it was one of those days where Maurice was taking us around, and we were going to people's offices with a boombox, playing music and singing and dancing. And these people, even if they didn't like us, they were impressed. They couldn't argue with the guts that we had and the passion. 

The guy who ran the Apollo — I'm blanking on his last name, his first name was Al — he would host those nights, and we saw him on the street. Maurice was like, "Hey, Al! We want to come up!" So we came up and performed three songs in his office — it wasn't a very big office, either — and he said, "We'll have you down."

We weren't in the competition, we were a special guest, because I think it was on a Wednesday and they had a live night, and then they had a TV show [Showtime at the Apollo]. So we did the live night first, and then we did the TV show and they just went crazy for us. I was a little too young to be in tears, but the rest of the guys, we went up to the dressing room and everybody was in tears. 

We would hang out at the Apollo. The basement in the Apollo, man, you'd have Heavy D and Chuck D and Kool Moe Dee — you know, all the Ds! I just finished one of RuPaul's books… I met RuPaul in the stairwell of the Apollo Theater. He was going up and I was going down and we looked up at each other: "Hey, how you doin'?"

This was a long time ago but, you know, it was just a special place. Back then you had to connect in person. Now we have social media. It's wonderful, you can connect. You can DM people and suddenly connect with your heroes or collaborators and it's great, but back then, you had to be in the place. And that's what the Apollo represented for us. So we were just like kids in a candy store.

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Getting Their First Tour Bus

There's nothing like jumping on your first tour bus. Our first manager, Mary Alford, had a two-door Mustang, I would have to sit on somebody's lap in the front seat, and then three dudes would be stuck in the back, and she'd be driving. The big splurge was getting a bigger four-door car to drive down to New York for those trips. We'd still be mashed up. 

You know, just to know you are literally going on the road for the first time. I'm 15, the other guys are, like, 18, 19, and there's really nothing cooler. But we were very emotional for a lot of reasons. For having a chance to do our thing and saying goodbye to our family, our hometown, knowing this is part of making it. So it was pretty cool. 

Working With New Edition

Before I was even in the New Kids, the New Edition album with "Cool It Now" was my [favorite] album. The fact that they were from Boston was amazing, a massive bonus, and we were all, just, goo goo ga ga any time we could meet them or think we could meet them. 

So over the years we would touch base, and then we got to sing together on our album The Block in 2008. But then a couple years ago we did a big mashup performance on the AMAs and I cried like a baby, like, three times. I cried on the phone with Donnie just thinking about it as we started rehearsals. Then I cried afterwards. 

A couple days later was Thanksgiving. We went around the table and talked about what we were grateful for, and the tears just came to my eyes. I couldn't think of anything better to be more thankful for than to work with your heroes. They've just been so gracious, so gracious, over the years. And from where they came and how they really set the standard for us. They really did. 

You don't realize it until the more you live and the more you are in this business. To have people walk the walk and talk the talk, and then be kind and supportive at the same time, it's very cool. Just to be friends with those guys is a dream.

Making Still Kids

You want to give the people what they're looking for and also surprise them at the same time, and I think this album has a good combination. I feel great about the fact that I ended up co-writing half of the album. I've just been writing more, so that was important to me. And I've been lucky enough to write for the group over the years, but this felt a little different. I think it takes guts to stretch and grow with the group, within the dynamics of the group. It's not easy but we've always said, "Let's go, let's give it a shot."

So this was a good combo, this album. It's new, we're definitely harking back to the good old days, but it definitely reflects that we're not 18 anymore. But I think they're that spirit. 

As we get older, we're always reaching back. We want to have that fire and that curiosity we had as kids. We don't want to let the cynicism of life pull us down and at the same time, all that fuels the writing and the expression. So it's exciting to feel good about an album that has the right balance. 

25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More

The 50th anniversary of hip-hop may have come and gone — but the celebration is far from over.

On June 6, experience the potency of hip-hop culture like never before, at the GRAMMY Museum's Hip-Hop Block Party.

The event will take place on site at the GRAMMY Museum, located on 800 W Olympic Boulevard in Los Angeles, California.

This follows in the footsteps of the GRAMMY Museum's 'Hip-Hop America: The Mixtape Exhibit,' — an expansive series of historical hip-hop eexhibit running until Sept. 24, 2024.

The GRAMMY Museum's Hip-Hop Block Party will introduce an exciting array of interdisciplinary arts and experiences, immersing new audiences in the power of hip-hop. This will include:

• Dynamic dance showcases lead by Leslie "Big Lez" Segar and Richard "Swoop" Whitebear

• A cutting-edge fashion show featuring Cross Colours and the Black Design Collective

• A captivating Sight & Sound photo gallery presented by Alvin Allure & Entertain the Angels and Corentin Villemeur

• Riveting live performances by UraelB, Nilla Allin, and Xian Bell, and vibes curated by DJ R-Tistic on the ones and twos

As such, every floor of the GRAMMY Museum will be activated, and transformed into a living canvas of artistic expression.

The Hip-Hop Block Party will celebrate and empower local artists and businesses, creating an unforgettable celebration of creativity, community and culture in celebration of Black Music Month. This event is made possible in part by a grant from the City of Los Angeles Department of Cultural Affairs.

So don't miss the block party on June 6, at the GRAMMY Museum — and keep checking GRAMMY.com for all things commemorating the enduring power of hip-hop!

GRAMMY.com's 50th Anniversary Of Hip-Hop Coverage: A Recap

In just two years, Grupo Frontera have gone from playing weddings in their native Texas to joining Bad Bunny on stage at Coachella and performing on "The Tonight Show Starring Jimmy Fallon." No matter how rapid their rise to fame has become, the Texas sextet has held the same ethos: celebrating their Mexican heritage while embracing the American culture they were born into.

Embracing that balance has helped them transcend cultural barriers with their modern take on regional Mexican music, which incorporates a wide range of musical styles. That holds true on Grupo Frontera's second album, Jugando A Que No Pasa Nada, out now. 

With bright accordion lines and a high-energy blend of urbano party anthems, cumbia-inspired ballads, and forays into pop, the album is a masterful display of the group's mixed cultural background. It retains the same Latin cowboy spirit of their first LP, 2023's El Comienzo — which had roots in the norteño genre, a traditional style originated in Northern Mexico — while tapping into the music they grew up listening to in the States, like hip-hop, corridos tumbados, and country music. 

While El Comienzo introduced Grupo Frontera as loyal traditionalists, Jugando A Que No Pasa Nada aims at speaking to younger generations. It's a fitting approach for the group, whose ages range from early twenties to early thirties across its six members — Alberto "Beto" Acosta, Juan Javier Cantú, Carlos Guerrero, Julian Peña Jr., Adelaido "Payo" Solis III, and Carlos Zamora — that also speaks to their evolution amid their whirlwind success. It's proof that they aren't afraid to create music that is completely true to them — and that's exactly what makes Jugando A Que No Pasa Nada special.

Below, Cantu, Guerrero, Peña, and Solis speak with GRAMMY.com about their cultural roots in South Texas and the making of Jugando A Que No Pasa Nada.

The last two years were a very prolific time for Grupo Frontera. What was it like to create Jugando A Que No Pasa Nada after everything that's happened to the group?

Adelaido "Payo" Solis: Last year we were working a lot, playing four or five concerts a week, and that didn't give us time to structure El Comienzo as well as we wanted to. Now we made time to record all these different types of songs. It was amazing to have time to work on the album cover and all the songs the way we wanted to, and have everything set in a certain way to represent the new album to its highest potential.

Between 2023 and this year, were you able to take any time off to work on this new record, or was it done in between touring?

Juan Javier Cantú: There were times when we were touring El Comienzo that we would record before the people got inside the theater. We would record onstage. We'd be like "Wait, don't let the people in — 20 more minutes, we have to finish this session!" That happened with our new songs "Quédate Bebé" and "Nunca La Olvidé."

Solis: It's a little bit of both because those were recorded live, but then two months ago, we locked ourselves in the house for a good four or five days, and out of that came, like, 15 more songs.

You mentioned that, for this new record, you had more time to work on the order of the songs. What's the general feeling behind this track list? Starting with "F—ing Amor."

Solis: The general feel of this album is literally the album's name, Jugando A Que No Pasa Nada [which loosely translates to "pretending everything is OK"]. Since we had more time to think about it, we tied many things to that name, to that phrase.

Everyone, at some point, has pretended everything is OK when in reality, it's not. You can see it in the album cover — the truck is on fire, but our character, who represents Grupo Frontera, is sitting in the car as if nothing is wrong. So the idea — and I know everyone experienced this — is that when you get in your truck, you can play our record and you can drop the act. You can stop pretending everything is alright. You can get in your feelings.

So the way it's structured, starting with "F—king Amor," is that you don't want to know anything about love, then in the middle, you have "Ya Pedo Quién Sabe," which says "maybe I miss you," and then by the end, "Quédate Bebe" [which translates to "Stay Baby"]. So it is a ride, an experience, which starts with you being hurt, or left behind by someone, and you being sad about it, then slowly wondering how is she doing, then saying "I miss you," and finally "stay with me."

Cantú: More than anything, we are playing with genres. In this record, you have our traditional cumbias, country music, and then songs like "Desquite." So that was also the goal, for people to know more about our music and the music we like.

Solis: Each member of Grupo Frontera listens and plays different styles, so starting from that, we each had a big say in the genres we wanted to play and styles we wanted to record on this album. 

More than anything, we were thinking of new generations. The Latinos of newer generations that don't speak Spanish, or don't get to come back often to Mexico or the countries where their parents are from. They don't want to hear just cumbia, so in our album, we want to make all these styles for them to find, in our songs, the genres that they like.

You mentioned that each of you has different styles and genres you brought to the new record. How did you work in the studio to generate these new sounds?

Solis: Grupo Frontera doesn't really use a lot of computer sounds, most of the music we play is through our instruments. We used to work on our songs starting from guitar and voice only, but now because we had more time to work on things, we each took a song and would listen to it for days. Then we'd meet again as a group and work on it in the studio: everyone's opinion counts, and no one's opinion takes precedence over the other. That's how, slowly, each new song took shape.

When you talked about the moment in which you get in your car or truck, and finally get to stop pretending everything is alright — does that car culture come from your upbringing in Texas?

Julián Peña: That culture is definitely from where we are from, from the Valley [the Lower Rio Grande Valley, which spans the border of Texas and Mexico], where there are a lot of troquitas tumbadas [lowered or customized pickup trucks]. You'd hear la Raza zooming by, blasting our songs, with the bass booming, from their trucks. So it's kind of like a relief, your safe space.

Like the album's title says, "pretending everything is fine"... you're pretending to be fine and then once you get in your car and you pass yourself the aux, you turn that up and you start bawling, or feeling whatever you're feeling. Then the album's over, gotta get back to work, clock back in, and go back to pretending everything's fine. It's like an escape that we know many people have, it has happened to all of us; you go on a drive to decompress, turn the music up, let it all out, and feel better. That's what we wanted to capture with that image.

What songs did you each play when you needed that kind of moment?

Cantú: When I broke up with a girlfriend, around 2012, my go-to was Drake.

Peña: Mine was "Then," by Brad Paisley. I was just sad and going through a country phase. [Laughs.]

Solis: I would listen a lot to a song by Eslabón Armado called "Atrapado."

Cantú: When I feel a little trapped by this street lifestyle I go, "I Should've Been A Cowboy"! [All laugh.]

I read some of you grew up raising cattle, or come from families of farmers and ranchers. What aspects of that lifestyle do you miss, in contrast with being in a city like LA, and actively involved in the music industry?

Solis: Juan had his ranch around General Bravo [a municipality in Mexico], and I was born in the States, but I would go every weekend to Mexico, to my parent's ranch, where they had cattle. I know Juan can relate to this — when you are at the ranch and play a song, and can sing out loud without anyone around listening or judging you, that's a really nice feeling. When you are on stage, in the industry, you're not singing only to yourself, but to make the audience's day better. So no matter what you're going through, when you're on stage, your job is to make people happy.

Cantú: Going to a place — like a ranch, an open space — to disconnect, it's like a reset. I feel a lot of people have not experienced that, they don't know the power that has.

Through your lyrics, you adapted old love songs and romance to modern times. Some songs even mention emojis, DMs and texting. Do you have any favorite emojis?

Solis: Oh man, I love the black heart emoji because it can mean many things. A dead heart, or that you're not feeling anything. It can mean your heart is broken and needs mending to go back to being red. I think it's super cool.

Carlos Guerrero: I like the thinking face emoji.

Cantú: Sometimes he uses it out of context and we don't know if he's thinking, or he's mad. [Laughs.] For me, the one I use the most is the "thanks" [praying hands emoji].

Peña: I like the heart hands emoji. Like "Hey what's up," and throw a heart hands emoji.

Going back to your music, what's your favorite part of making songs?

Solis: I'm not sure if we all have the same answer, but for me, my favorite part about being able to sing, record and write these songs is to sing them with all the feeling in the world. And that is amazing, to be able to let that out.

Cantú: The simple fact of creating something and getting to test it out, seeing people sing it, it's like, Wow, we made that.

Peña: Yeah, that you do something and then put that out there right and you're like, I wonder if this feeling is gonna get translated the way we want it to. And then, like Juan said, when people go to concerts, and sing it back to us, or we see people post stories of them singing it and going through it. It's like, we made that! We got that point across, and it feels good for all of us.

How do you navigate being an American band with a cross-cultural upbringing?

Cantú: It's really cool. We were lucky to go to Puerto Rico, Colombia and Argentina, to collaborate with artists like Arcángel, Maluma, Shakira, and Nicki Nicole. That helped us understand their culture and meditate on what it means to be Latino, not just Mexican. Latino identity entails so many cultures in one, and even Mexican identity is vast. Latinos are from everywhere.

How was it to collaborate with all these other artists, and open your group to collaborate with them in Jugando A Que No Pasa Nada?

Solis: Basically, we are like a group of brothers. We sometimes spend 24/7 together. We see each other every day, and we spend all our time together on the tour bus and at home, even when we don't need to see each other. So when we collaborate with other artists, like Morat, Maluma, or Nicky Nicole, they sense that vibe — we carry that with us. I feel that carries through, to the point where we can all have that vibe together.

When we are collaborating with other artists, it feels as if it was a friendship that has been around for a while. Like, have you ever felt or had that friendship where you can go like a month without seeing each other and when you see each other is like you had seen each other? That's basically how it is when we collab with other artists.

I know it's hard to pick a favorite song from the new album—

Solis: It's not that hard! My favorite is "F—ing Amor."

Why?

Solis: Because before Grupo Frontera started, that was more the style that I listened to. I got into the music of Natanael Cano, Iván Cornejo, and others. I grew up listening to old cumbia songs that my parents played for me, but in high school, I started listening to new stuff and new genres, so I think that's why my musical style is more versatile. So "F—ing Amor" is more Sierreño, has more bass, and the congas and percussion; the vibe of that song reminds me of how, in high school, I would drive my truck listening to Natanael Cano. 

Peña: Mine is "Echándote De Menos." Ever since we recorded it, it has that rhythm in the middle where we all drop, on that note… I like all of them, but that one, in particular. 

Cantú: I have to go with two. When I first listened to them, "Los Dos," our collaboration with Morat, and "Por Qué Será" with Maluma. That song, when they first showed it to me, I felt chills down my back.

Guerrero: Mine is "Los Dos," with Morat, because we liked Morat before being with Frontera.

Cantú: To make a song with them is an achievement for us because our big song ["No Se Va"] was a cover of theirs. So making a song together is pretty cool — not many people get to do that.

Solis: We had people tell us that we were stealing their song! We get that Morat is some people's favorite group but we were like, bro, it is our favorite too, that's why we did that song!

What is your dream for this new record?

Solis: We were talking about this yesterday in the van. We don't want to expect anything out of it — success, or big numbers — because this album was made from the heart. We are just so happy and proud to be releasing it into the world.

Guerrero: I just hope that people like it, because, as Payo says, we explored a lot of different genres, so we hope people dig that. We put our best into it.

Cantú: I want what Payo and Carlos said, but also, to go to Japan to play our songs.

Peña: I want what the three of them want, but for people to really connect and identify with the songs. Even if they connect with one or three, what I want for the album is that — to connect with people.

Meet The Gen Z Women Claiming Space In The Regional Mexican Music Movement