Perfectionism
In an interview in June, Jackson Wang freely admitted that his previous music was
“wack” While Wang’s perfectionism is no secret, a look at his early work helps
explain why he’d be so harsh in critiquing his own music. Released three years after
his debut with GOT7, his 2017 solo debut single ‘Papillon’ now sounds like it was
released by a different artist altogether. While catchy, the track was at times juvenile
and uninspired, and felt more like a young man he was more serious
than people thought, instead of doing much to establish his identity as an artist.
But Jackson Wang is nothing if not willing to grow, and ‘Magic Man’ is proof. As
he’s tried on concepts and genres – going from hip-hop to pop, and now rock and
grunge – he’s become more than a performer or musician. He’s a storyteller, laying
the foundation for his own cinematic universe where music is interlaced with complex,
moving narratives that unravel the pulsating threads of his mind. The Jackson Wang
of those universes is a driven, boundless figure, overcoming everything from personal
inhibitions to even death (see the music video for ‘100 Ways’) to say what he wants to.
Something to Desire
‘Magic Man’ is a glorious manifestation of Wang’s growth. Take the singles ‘Blow’ and ‘Cruel’,
through which Wang set the stage for the album. Both were miles away from the pop sound
we heard on 2021’s ‘LMLY’ – with distinctly alt-rock and grunge progressions complimenting
his husky voice and distorted guitar riffs, they feel like the musical equivalent of sneaking
away to an underground gig clad in fishnets, Doc Martens and chokers. Credit is due to Wang’s
willingness to commit. Not only does he deftly wear this new sound, but also combines it
seamlessly with his previous influences to delightful results.
We hear this on ‘Drive It Like You Stole It,’ which starts with a pop-rock beat supported by
bass and twinkling sound effects that keep appearing throughout. Even so, Wang keeps a
tight leash on the sound, spinning an alluring after-hours tale that never veers too much
into either pop or rock. Similarly, ‘Go Ghost’ starts off as a dark pop song, but the drums
and electric guitar on the pre-chorus and chorus bring a fresh flair, even if the lyrics leave
something to be desired. The angst on the track seems ill-fitting with lines like “I’mma
need a cake, I’mma eat like an entrée, she want me to put a ring on it like Beyoncé.”
"While Wang’s perfectionism is
no secret, a look at his early work helps explain why he’d be so harsh in critiquing his own music.""
Staying Committed
The experimentation on ‘Magic Man’ does have its
weak moments, especially towards its conclusion.
While ‘Blue’ starts with an interesting guitar riff,
the slow pace of the song never quite delivers the
satisfaction one hopes for. On ‘All The Way,’ the
transition from a pared-down guitar arrangement
into an intense, full-blown chorus is exciting, but
the song loses momentum once you realise the
progression offers little variety throughout.
The best moments on ‘Magic Man’ come when
Wang combines his commitment with a casual, cool
attitude that’s borderline playful – when he edges
close to the mysterious, charming persona of the
album’s title. Even if these moments are accompanied
by lyrics that sometimes are a little juvenile or
self-aggrandising, the underlying confidence makes
all the difference. Wang’s almost effortless in
these moments.
‘Champagne Cool,’ the best song on the album,
boasts some of its most ostentatious lyrics:
“I take my troubles with my bubbles, and I keep my
champagne cool,” he declares. Sonically, Wang
surprises at almost every turn, going from steady
drums overlaid with playful guitar and soaring backup
vocals, to a pre-chorus with beats reminiscent of jive
before seamlessly segueing back into the initial vibe.
A similar cavalier attitude permeates ‘Come Alive,’ which starts off with smooth bass
that complements the song’s flirtatious style before breaking into a thrilling chorus. .
Wang repeats this pattern on ‘Dopamine’ and ‘Just Like Magic.’ On the former, the
drop on the chorus feels like its namesake – a burst of satisfaction after Wang’s
deliberate yet teasing set-up.
The latter blends rock with reggae hip hop influences, Wang segueing into a paced
chorus as backup vocals complement his voice, giving the song an ethereal, atmospheric
feel. It’s these moments that make the record such an enjoyable listen – if his previous
releases told his coming-of-age story, ‘Magic Man’ is where Jackson Wang steps up
and fully embraces his own potential.
“I take my troubles with my bubbles, and I keep my
champagne cool,”
"I’m still in the process of
Evolving, trying to figure out more
And more about myself,"
When Jackson Wang emerged from a self-described
mental breakdown he had last year, he craved a fresh
artistic start. “I’m not saying that I wasn’t being me
[before],” he tells Vulture on a recent afternoon.
“It’s just, I feel like I should have been more honest
and more connected to my audience — showing my
other sides, no matter if it’s bad or if it’s good.” That
mindset culminated in his new album MAGIC MAN,
which ventures into the realms of rock, punk, and
pop, adding a decidedly new tone and color to his
discography. Studded with references to alcohol,
cigarettes, and complicated relationships, the record
has an undercurrent of emotional turmoil that
permeates even an upbeat track like “Champagne
Cool,” where he sings of taking “my troubles with
my bubbles.” And thanks to experimentation in the
studio, Wang’s vocals shine in a way that he hasn’t
fully showcased before, from husky low notes on
“All the Way” to falsettos on “Come Alive.”
“I’m still in the process of evolving, trying to
figure out more and more about myself,” reflects
the Hong Kong-born singer and producer, who
first shot to fame as the lead rapper of K-pop
group GOT7. “Like, hey, I didn’t know I could
do that.”Three years after debuting with GOT7,
Wang founded his own record label and kicked
off a solo career with the hip-hop track “Papillon.”
But this era hasn’t been without its challenges.
The 28-year-old Chinese artist says he’s been
continually pressed to release catchy, commercial
music. That makes him especially proud of
MAGIC MAN, which he considers a step in the
right direction. Essentially, it’s the album he
always wanted to record — even though he
predicts it won’t top the charts. “You just can’t
be too greedy in wanting to have everything in
life,” he says. “For this specific album, I just
chose to be me.”
The chaos of living across multiple cultures and relentless schedules can get too much. Magic Man is him processing burnout. Jackson Wang advocates living for the moment and doing what makes us happy, no matter what universe we find ourselves in. It’s something his music has always stood for, averse to being asked what does it mean? He sticks by, “Entertainment is entertainment, it’s supposed to make people happy.” Jackson Wang is proud of his Chinese roots, and lives in Korea, but also effortlessly assimilates into local cultural norms in the West, speaking the language expertly. In London with James Corden,
"You just can’t be too
greedy in wanting to
have everything
in life,"
He was willing to try a stargazy pie of fish heads, quickly picked up some Spanish in an LA interview and adopted the American teasing attitude towards parents on The Kelly Clarkson show last month. Iconic music videos like Pretty Please, his multilingual songs and private respectful disposition are never tied to just one culture creating a persona that ensures he is never stuck in one box. A hard worker, to maybe excessive extremes, the Magic Man album is Jackson Wang’s metaphorical pot boiling over. An emotional release. A realisation: “Words mean a lot” and having positive friends around you is everything, on set and after work.
Having posed for Fendi, his striking high cheekbones and melancholic evasive tendency give him a supermodel quality. In this interview, dressed in a powerful black suit he sometimes shyly avoids eye contact or stutters on his points, despite being articulate.
Exceptionally slick in front of the screaming crowds at Coachella, his athletic elegance comes from his disciplined youth growing up with Olympian parents. But this June he’s stepping away from his k-pop rap identity into a rock infused theatrical character: Magic Man. Blow his first single off the album introduces us to a Dorian
Grey-esque character: a perfectly handsome man and dark hedonist. This Magic Man persona is the fire element. The first of three subsequent personas the album explores. All gritty and on the darker side of the spectrum. Blow seems to revel in excess and succumbing to temptations. Meanwhile the next elements water and void explore emotional turbulence, solitude and acceptance. His career and this album show there is always a new world to explore and the only category that can confine Jackson Wang is entertainer.
