KARD Continues Pushing the K-Pop Boundaries with “Touch”

Photo: DSP Media

KARD is no stranger to breaking boundaries in the K-Pop industry. Since their inception in 2016, the co-ed group has been navigating a space that wasn’t necessarily open to them to begin with, and has done their best in forming a core identity amidst it all. In an industry that (maybe not openly but definitely silently) frowns upon the concept of a co-ed group, KARD has solidified themselves in that time as a shining example that the co-ed group can work, unlike their previous counterparts. While they have never gained significant popularity in Korea, they are certainly one of the groups out of K-Pop that has found solid popularity worldwide, and to this day remains probably the most successful co-ed group out of K-Pop. Since they are more popular worldwide, it’s easy to see their musical transformation to focus more on that market since their debut, and that continues to be true with this most recent release. 

Back in 2023 when KARD toured stateside, there was no denying at their show that their recent release “Icky” was a mega-hit with fans. This track itself was particularly groundbreaking in terms of K-Pop, considering that the industry itself frowns upon blatant sexuality and innuendo. No, for true success in the industry, the presentation of more mature themes, regardless of age, must be more subtle and understated. With that in mind, the latest title track “Touch” absolutely continues to push this boundary, to the point that after one listen I’m actually a bit surprised they have an M!COUNTDOWN performance at all. This seems to me like the kind of concept and song that broadcasters would straight up censor up front.

The lyrics by themself are not as overtly sexual necessarily, and the innuendo isn’t as strongly implied as it is in “Icky.” But, the message comes across pretty easily. In terms of musicality, I don’t feel it’s KARD’s strongest release. The rap verses are generally what you’d expect from BM and J.Seph, but it does feel like there’s a bit of a shift in the vocal composition. Somin and Jiwoo take turns back and forth in the chorus having a less singing-focused line and more talk-focused vocals, if that makes sense. I feel like the lower register of those lines limits their vocal abilities, and the hook of the song doesn’t have as strong of an impact as previous releases. 

The music video is particularly provocative, mostly in videography, but the choreography also has its moments. Having grown up in the 2000s music scene, this video reminds me of the kind of thing you’d see in pop and hip-hop songs from that era, with lots of women in the frame basically just shaking their body in suggestive ways and twerking on the members–think like Jay Park’s “MOMMAE.” Personally, I’m really not a big fan of this concept, as I’m not a huge fan of oversexualization in music. I don’t need to see shots of women’s barely covered backsides, people making out, and bumping uglies; it feels very shallow. But there’s no denying that there is a market for this kind of concept, and in the YouTube comments of the music video you’ll find a lot of positive feedback. 

Watch the music video for “Touch” below.

Edited by Cara Musashi