ANN/THE KOREA HERALD – Swedish songwriter and producer Alex Karlsson has quietly played a key role in shaping the sound of K-pop for more than a decade.
Since partnering with SM Entertainment in 2013, he has blended elements of Swedish pop craftsmanship into a wide range of K-pop releases. His portfolio includes tracks for some of the industry’s biggest names, such as BTS’ We Are Bulletproof: The Eternal, SuperM’s Tiger Inside, Enhypen’s Fever, Tomorrow X Together’s Loser=Lover and Ateez’s Bouncy (K-Hot Chilli Peppers). He has also collaborated with veteran acts like TVXQ and Super Junior, as well as leading girl groups including Twice, Red Velvet and Itzy.
As K-pop’s global reach has expanded, international collaborations have become more common. However, few overseas songwriters match Karlsson’s depth of experience or understanding of the industry. Having lived in South Korea for several years, the Sweden-born producer has witnessed the genre’s transformation up close.
Speaking with The Korea Herald during the Fete de la Musique 2026 conference in Seoul recently, held to commemorate the 140th anniversary of diplomatic relations between South Korea and France, Karlsson shared his thoughts on the debate surrounding BTS’ Swim, the latest main track from the group’s fifth LP Arirang.
A CALCULATED RISK
Some fans and critics argue that the song lacks the commercial punch of BTS’ previous global hits such as Dynamite and Butter. Karlsson disagrees.
“Lower energy songs can take over the world too, and I absolutely think BTS could have had Dynamite-level success with a chilled out song,” Karlsson said. “Other K-pop artistes have had major chill hits such as NewJeans’ Cookie, Red Velvet’s Psycho and Enhypen’s Fever. Every time a band comes back they’re taking some level of risk. Even when the songs are great, it’s not a guarantee of success.”
Karlsson described BTS’ decision to move away from familiar sounds in Arirang as a bold but worthwhile creative gamble.
“They took a risk, and as a result, it seems to have generated a wide range of opinions – which I believe is all part of a healthy fandom culture. They could have taken a more cautious approach with sounds more similar to their previous hits, which likely would have led to a more stable commercial success, but my guess is that wasn’t what they were after,” he said. “If I were in the studio, I would have fully supported this bold move.”
GRAMMY HOPES, TEMPERED EXPECTATIONS
Asked about BTS’ long-standing pursuit of a Grammy Award, Karlsson said it remains too early to predict the group’s chances at the 2027 ceremony.
“Currently, there are other artists earning favour from the industry within the pop segment, and since there is still plenty of time left until the Grammys, it is very difficult to easily predict their chances of winning,” he said.
Potential contenders in the pop field include artistes such as Taylor Swift, Bruno Mars, Olivia Rodrigo and Harry Styles.
Still, he urged fans not to define success solely through awards recognition.
“Given that walking away with a trophy is a monumental feat for any artiste, I hope fans won’t be disappointed even if it doesn’t end in that specific ‘happy ending’.”
BEYOND BTS
Karlsson recalled discovering K-pop through Psy’s viral hit Gangnam Style. He said he first came across the music video when it only had around 30,000 views on YouTube, long before it became a global phenomenon.
After Psy’s explosive rise and subsequent decline in global mainstream attention, many questioned whether K-pop would ever produce another artiste capable of reaching a similar level of international recognition. BTS ultimately proved those doubts wrong.
Now, as some industry observers wonder whether another act can match – or even surpass – BTS’ unprecedented global success, Karlsson believes it would be unwise to underestimate K-pop’s ability to evolve once again.
“The fan appetite is rapidly changing. While idolisation has been at the core of K-pop, it has reached a point of saturation. The market needs to adapt quickly if it doesn’t want to fizzle out like the Y2K boy bands did,” he said.
Karlsson noted that fans are increasingly seeking artistes they can relate to rather than simply admire from afar.
“We are moving from admirability to relatability,” he said. “Not a complete shift, but the change in discourse on the Internet in the past six months is undeniably different from last year. K-pop fan rules are less rigid, casual fans have entered the arena, and the collective mindset of listeners is adjusting accordingly.”
That shift, he believes, may already be shaping the industry’s next generation.
“I think that very well might already be here,” Karlsson said, pointing to newer acts such as Long Shot, Cortis and AllDay Project. “They have captured this more played-back idol image that newcomers can appreciate alongside the traditional K-pop fandom. It’s just the tip of the iceberg and more will follow.”
-- Courtesy of Borneo Bulletin
