The Billlies belong to that very rare category of groups that do not follow the market: they question it, bend it, move it by a millimeter and transform it. Seven artists — Moon Sua, Suhyeon, Haram, Tsuki, Sheon, Siyoon and Haruna — grew up within the almost cinematic vision of Mystic Story, a label that doesn’t think in comebacks but in narratives. They never simply enter the scene: they slide into a universe that seems already written, but which opens, shifts and deviates with each step they take.
Their music thrives on soft contrasts, lucid fractures, theatrical moments and emotional micro-explosions. Pop, sure, but only on the surface. Inside, a structure that breathes like a story, a set of levels that overlap, open and close like in a film. This is why, in the fourth generation panorama, the Billlies are often described as an “auteur” project.
In KPOPPED, the Apple TV+ series that puts K-pop and Western pop on the same level for the first time, Billlie confirmed this identity with surgical precision. First the performance with Megan Thee Stallion — a “Savage” rewritten by Moon Sua, Sheon and Siyoon into an electric, calibrated, elegantly restless hybrid. Then Patti LaBelle, with Suhyeon, Haram, Tsuki and Haruna in a contemporary, layered “Lady Marmalade”, a cultural bridge that is built without the need for translations.
We sat down with the Billlies and the first thing that strikes us is the continuity: what in KPOPPED appears as storytelling, live is pure identity. Seven artists who do not simply perform a narrative universe, but wear it like a second skin. The meeting confirmed what the stage suggests: coherence is not a directorial effect, it is their nature.
For those discovering you for the first time through KPOPPED, how would you describe today’s Billlies, musically and artistically?
HARUNA: The name Billlie reflects our desire to express the “hidden self” that everyone carries inside, our B-sides, those parts of us that are not always easy to show, through music. I believe that today Billlie goes even beyond the meaning of the name, sharing a wide range of emotions and moments through her storytelling. We don’t just focus on bright emotions; indeed, we even embrace honest feelings like confusion in our music and performances, and pay more attention to the process and story than the end result. That’s why Billlie’s music and performances feel like a series of connected scenes, something everyone can interpret in their own way.
HARAM: I would describe today’s Billlies as a team that continues to ask questions and expand. Our music and our performances always carry with them a narrative and emotional dimension, and within them there are intimate stories in which anyone can recognize themselves. Instead of showing only the smoothest or most perfect sides, we believe that Billlie’s artistic direction lies in sincerely expressing even our most vulnerable moments. When this sincerity arrives, I believe that even those who discover us for the first time can be naturally attracted to our story.
KPOPPED puts K-pop artists in direct dialogue with Western music icons. How has it changed the way you see the role of Korean female artists on a global stage?
SHEON: Through KPOPPED, I found myself reflecting on what mindset I should have as a Korean artist on a global stage. Communicating directly with Western artists reminded me that music connects people through emotion, across linguistic and cultural differences. This process pushed me to want to naturally showcase Billlie’s color and creativity as K-pop artists. Rather than trying to explain or prove something, I believe that sharing music and responding to each other is my role in the global scene.
HARAM: Experiencing the program firsthand has greatly expanded my way of thinking about the role that Korean female artists can have in the world. It’s not just about giving a strong performance: we can become a bridge that connects different cultures naturally through music. Talking to Western artists, I realized that even though our languages and backgrounds are different, the emotions and sincerity in the music still come through. This experience confirmed to me that empathy is the most important language on a global stage.
Performing with artists from such diverse musical backgrounds requires adaptability. What has this experience taught you about communication beyond language and genres?
TSUKI: At first it took a while to find a natural balance, since we had different musical backgrounds and languages. But as we rehearsed together and built the stage as a team, I realized that we could fully communicate through music, expressions and energy, even without words. In mutual respect and collaboration, new ideas arrived on their own. I understood that in music shared emotions matter more than genre or language.
HARUNA: With KPOPPED I learned that true communication goes beyond words. It’s about sharing the same emotional intensity and the same level of concentration. Even though we came from different genres, the way we looked at the stage and our sincerity towards the music united us deeply. This has been our strongest common language.
Billlies have always stood out for their conceptual storytelling. How did you translate this identity into a show designed for an international audience?
MOON SUA: Rather than changing the structure of our storytelling, we focused on making emotions and atmospheres more immediate and intuitive. Even if the language and cultural context change, tension, energy and emotional flow are universal. So we built the stage so that the story felt naturally, through performances, choreography and expressions.
SIYOON: For this stage we wanted to bring the narrative to life, not explain it. We didn’t want to break down the story for an international audience: we wanted them to immediately immerse themselves in the emotions. We paid a lot of attention to expressions, movements and energy, so that the Billlie vibe could overcome any language barrier.
KPOPPED doesn’t feel like a competition, but a cultural exchange. Has this changed the way you see collaboration in global music?
SUHYEON: From the beginning we approached KPOPPED thinking more about the experience than the competition. Sharing the stage with international artists was special, because it doesn’t happen often. Of course, there were language barriers and we were nervous at first, but in the end we realized that the best thing was to sincerely enjoy the prepared performances. This made us realize how much music overcomes barriers, even linguistic ones.
SHEON: What struck me most was the ease with which artists from completely different cultures were able to connect with music. Collaborating on a global scale isn’t about adapting to a single direction, it’s about respecting each other’s differences. Keeping our color created a stronger synergy.
Working in front of a live audience in Seoul, knowing that you will be seen globally, creates a particular tension. How did you balance authenticity and global visibility?
HARAM: Knowing that fans from all over the world were watching us made me feel nervous, but it also gave me a sense of responsibility. The more I felt that pressure, the more I tried to focus on the audience in front of me. I didn’t want to perform just to show something, but to really connect with the people there.
SIYOON: Just sharing the stage with Megan in Seoul was amazing. During the performance I felt the energy of the audience and hoped that it could also reach those watching from afar. I wasn’t thinking about showing myself: I was thinking about living that moment fully.
Global visibility often brings the risk of simplification. How important was it to protect your artistic complexity?
MOON SUA: We didn’t want to limit ourselves to a single frame. We left open many different directions and ways of expressing ourselves. On stage it was important to show different sides, not stick to a fixed image.
SHEON: Precisely because everything can be simplified, we felt it was essential to maintain the complexity Billlie. We are not definable by a single emotion or concept. Showing these layers is what allows you to connect beyond the first impression.
After KPOPPED do you feel more confident in experimenting with genres and collaborations outside the traditional K-pop framework?
TSUKI: Working with international artists already in rehearsals made me realize how much there was to learn. It was inspiring. Seeing the final result gave me confidence: we can face even more varied musical attempts.
SIYOON: Yes, much safer. This experience made me realize how many possibilities exist inside and outside of K-pop. We used to wonder if something “was K-pop”. Now we just ask ourselves: “Do we really want to try it?”.
Many fans see this project as a milestone in your international journey. For you, is this a turning point or a natural evolution?
MOON SUA: For me it’s a natural evolution. With the world tour we had so many opportunities to meet international fans, and KPOPPED was another step forward. It wasn’t a sudden change: more of a natural expansion.
SUHYEON: I don’t think it’s a turning point — at least not yet. We are in a preparation phase for greater possibilities. But one day, looking back, we could say that KPOPPED was truly a turning point.
Looking ahead, how will this experience impact Billlie’s global growth without losing your identity?
HARUNA: This experience gave us confidence: our storytelling can work anywhere. Instead of chasing trends, we want to deepen and expand what we have already built.
SUHYEON: At the same time, it showed us that our history can be reinterpreted in different ways, depending on cultures and stages. And this encourages us to continue on a global scale, keeping our identity increasingly defined.
