Embedded Files
Director's Note
Director's Note
This is the translated Director's Note from n.SSign 1st ARENA CONCERT BIRTH OF COSMO LIVE & SPECIAL FEATURES DVD.
You can learn about the director's intentions behind the staging of the first Ariake Arena concert. The song titles are linked to fan-recorded videos, which were generously allowed to be recorded at the show. Enjoy!
A report on the first act of the blood, sweat, and tears of youth
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In 2018, when I was in charge of the music business at CJENM, I regretted that we could not broadcast the Japan-Korea audition simultaneously in both Korea and Japan while promoting Produce 48 as a joint project with Japan. Therefore, nCH began preparing for the next audition program around 2020 with the slogan, "Let’s create the first audition program to be broadcast simultaneously in both Japan and Korea”.
And that very program was an audition show called Youth Star. Kazuta, who had been working part-time in Japan, was convinced that he would grow up to be a big star in the future. Robin, who I saw in a video dancing in the hallway of an Australian junior high school, had a certain star power even though he was young. Hanjun, whose talent had been diverse since childhood. Doha, who had failed an audition program for another broadcaster, but whose limitless potential I saw in him. I began preparing for the program while training various members.
At the time, COVID-19 was still prevalent, so even if we booked a venue in advance, we risked losing all the venue fees if COVID-19 didn't subside. We planned everything carefully, knowing the risks, and made all necessary preparations, including venue reservations. A few months after the broadcast, we took the finalist team of Youth Star to perform, and one or two months later, all the nCH artists performed together.
After many twists and turns, the broadcast finally began, and fortunately, COVID-19 subsided to some extent, allowing the performances to take place without issues. Instead of debuting immediately, we continued with various activities, planning to debut while gradually showing different musical genres and demonstrating our abilities. Starting with street gigs, we steadily built up our skills, and through performances and activities, our abilities became more and more visible.
And then, the arena... After seeing the ZEPP tour performance, Mr. Nishi, president of the production company On The Line, a longtime acquaintance of mine, said, "Mr. Jeong, this is my gift to you. Would you like to perform n.SSign at the arena once?" Since COVID-19 had subsided and arenas were booked up to three years in advance, it was difficult for us to perform in an arena. I was thankful for the opportunity, but I worried that it might be overexerting for a just-debuted group like ours. I would like to express my sincere appreciation to the members of n.SSign and COSMO, who skillfully overcame the challenges and successfully completed this impossible task, creating a successful performance.
n.SSign has just begun. The journey so far has not been smooth, but they are a team that is eager for the future. n.SSign is a project that the artists themselves, the nCH production staff, and COSMO are all working together to create. We hope that with the support of COSMO, we can continue to succeed and grow into the best team in the world. I hope that we can cry, laugh, and have fun together along the way, and that I can grow alongside you.
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Intro
We needed to create a grand entrance for n.SSign, but I was initially unsure about how to make their appearance truly stand out. Since their name is derived from “net of Star Sign," starting from outer space and bringing them to Earth felt like the perfect concept. However, due to production costs, we couldn’t use an elaborate stage device. Instead, we came up with an ingenious idea—using lighting trusses and LEDs on the sub-stage. Since a lighting truss was already in place, we thought adding a few LEDs and having them descend from the air would serve as an effective and visually striking alternative to a large-scale stage effect. Then, I thought, “Why not have a spaceship floating through space, landing on Earth, and then the cool n.SSign members emerging.”
When the spaceship-shaped video design was first revealed, my initial reaction was, “What is this? It looks like a train, not a spaceship.” However, the other staff members reassured me, saying, “No, it looks like a spaceship.” So, we decided to move forward with that design. After seeing it multiple times, it started to resemble a modern spaceship, which wasn’t bad after all. I remember the on-site reaction being quite positive. (Laughs)
We felt that a simple descent would be uninteresting, so we added a temporary "malfunction" mid-descent, making the spaceship appear to stop momentarily before restarting (with added smoke effects) and then descending urgently to create a dramatic sense of tension. To enhance immersion, we divided the intro music into several sections, composing different patterns that gradually intensified the atmosphere. Before the performance, I instructed the lighting director to study the program patterns in advance and create a complex lighting sequence—something that, admittedly, gave the lighting supervisor quite a challenge.
The music from the intro to the spaceship’s descent was composed by Yoo Han-Jin, vice president of n.CH and the creator of Wormhole: New Track and Monologue. A huge thank you for the incredible music!
Choosing the first song was a challenge. During the ZEPP tour, we opened with LUCIFER—a song that isn’t originally by n.SSign but leaves a strong impression. So this time, we wanted to start with another powerful track. I had been discussing Wormhole: New Track with Yoo Han-Jin, the company’s vice president, since its early stages, saying, “Let’s definitely create a rock version of this song and perform it at the concert!” With that in mind, I thought, “Let’s kick things off with a rock version of Wormhole: New Track.”
However, I wanted to add even more impact. Instead of a typical prelude, I thought, “What if we started with something even more dramatic?” To heighten the tension, I placed a silent break just before Kazuta and Doha’s bridge section, followed by the explosive sound of gunpowder to launch into the song.
For the performance, the first chorus in the first half was displayed on LED screens, while the break in the middle visually represented the transition from a “divine being to a human being.” The use of dancers with flags, headbanging, and smoke effects all served to amplify the raw energy of rock music.
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After three high-energy songs, we added an intro to give the audience a chance to catch their breath. Initially, I attempted to create a unique swinging-style song, but it didn’t quite fit the mood, so I changed it to a more dance-like track instead. If you listen carefully, you can hear the melody of Wormhole: New Track (zola-) and the melody of BOUNCE! (wowowoh-) acting as signals, bridging the two songs. During this section, Kazuta and Hanjun had a dance battle, serving as a cue that BOUNCE! was coming next. (Though I’m afraid not many people noticed...) The highlight of this part was Junhyeok’s impressive kick.
For the arena concert, we rearranged BOUNCE! into a funkier version. In the middle of the song, we emphasized the brass sounds, making it feel even more fun and lively compared to the original. The tempo was also significantly increased, going from 108 BPM to 115 BPM, making the song feel much faster.
To heighten the energy of this song, we added shouts from the members at the beginning and increased the BPM from 115 to 133. I experimented with increasing the speed in increments of 5 BPM to find the perfect tempo. However, since the cross-shaped formation of the dancers in the video was a key visual element, we settled on a balance that kept the performance engaging without making the choreography look unnatural. Even at this tempo, the song is much faster than the original, so if you listen to the original afterward, it might feel surprisingly slow! I also included the "HEY! HEY!" chant in the middle to encourage audience participation.
The first half of the grand narrative was led by Junhyeok’s powerful call: "Let's go, Ariake!" This shout fit Junhyeok perfectly. Some may wonder, "What’s different from the ZEPP tour version?" The biggest change is that the music was extended, and the section where Junhyeok runs forward and headbangs with the wind in his face was made even more intense.
Since the show started in outer space, our next stop was the ocean… We incorporated lyrics from the next song, Beautiful, into the subtitles along with Japanese commentary.
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This was the only performance that utilized the second-floor stage. The staging was designed to create a contrast between the people in the video and the performers on the second floor. The rocking interlude was inspired by Taeyeon's solo stage performance of Run Devil Run during Girls' Generation’s first arena tour, which I had directed in the past. (Laughs)
The title of both the drama and the song may evoke the color blue, but when I first heard this song, I imagined black and white. I felt it had a unique charm, especially when backlit. To enhance this atmosphere, I used only white lighting and LED backgrounds, avoiding any other colors.
Although the song's promotional period was short, I think it has a different feel compared to the bright and energetic NEW STAR. With this song, I wanted to create a deeper connection with COSMO.
The Video of the Speaker Explosion
Similar to how Fight for Your Right by The Beastie Boys represents rebellious fun, this segment aimed to comically portray 1980s culture. I created a fun parody of the famous speaker explosion scene from Back to the Future, starring Michael J. Fox, and the members did an excellent job bringing it to life.
Unfortunately, we couldn’t include covers of Fight for Your Right by The Beastie Boys and 100 Miles and Running by Logic due to copyright approval issues.
The Beastie Boys fused black hip-hop and rock music, making a huge impact in the 1980s, while Logic is a white hip-hop artist from the 2010s. Meanwhile, Give It Away by the Red Hot Chili Peppers is an alternative rock song from the 1990s. We thought it would be interesting to blend these different styles, each representing the energy of youth in their respective eras. I especially wanted Eddie and Robin to showcase their unique styles, particularly with the rapid-fire rap in 100 Miles and Running. They absolutely nailed it—it was like they were in their element. They don’t often get the opportunity to showcase their rapping skills on their own, but this was their moment. Give It Away embodied the sense of freedom that only n.SSign could express. The combination of smoke, fans, headbanging, fireballs, and other special effects helped maximize the energy of the performance.
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When I first heard this song, I somehow thought about a space wanderer drifting through space. It felt a bit like Gravity, directed by Alfonso Cuarón. If we had a bigger budget for production, we could have created a better capsule. Due to various constraints, the set had to be significantly scaled down from our original vision—but we couldn’t give up on the capsule.
This song is originally from the Mexican singer Luis Miguel’s Tengo todo excepto a ti. I have loved this song for 30 years and always wanted to remake it. With n.SSign, that dream finally came true. I assigned a different room to each member, using distinct colors to represent them. I thought it would be great if the members' white outfits appeared colorful, and the interplay of colors in the rooms and outfits became a defining charm of this version. Unlike the original, Kazuta’s break in the bridge adds a unique touch to the live performance.
I wanted to capture the vibe of standing in formation, like in Quentin Tarantino’s Reservoir Dogs. During the ZEPP tour, the group expressed a masculine image using guns, but this time, I thought fists could bring out n.SSign’s coolness. The highlight of this video is Junhyeok’s final spinning kick, showcasing his taekwondo skills.
Since the previous video had such an intense, violent tone, I thought it would be cool to carry that energy into Wormhole: New Track. Originally, I planned to use various props like nunchakus, but the group delivered an equally powerful performance using only chairs and square timbers.
The LED box, which lowered in the previous video to mark the introduction, was raised this time to shift the dynamic. The connection between the two performances lies in the audience’s uniforms on stage, giving Wormhole: New Track a distinct yet complementary feel. Unlike the original, the live version includes a dance break.
For the first time, 100 dancers—selected from various schools and academies—joined the stage, putting in immense effort. The combination of smoke and red-and-white lighting was used to evoke the raw intensity of sweat and struggle, reinforcing the powerful energy of the performance.
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During the ZEPP tour, I think many COSMOs were thrilled by the intro of Lucifer. Unlike the ZEPP tour show, the arena performance was staged more dramatically with a double lift. In addition to the existing dancers, 100 extra dancers were brought in for this performance. When they all jumped together during the break, it felt as if the entire arena was shaking.
Even now, my blood still pumps with excitement when I hear Rising Sun. I remember how much energy it brought to nCH World LIVE and the ZEPP tour, and how many COSMOs were thrilled by its explosive intensity. When thinking about how to make the performance even more powerful, I decided on a climactic moment—I'm sure you must have felt the thrill when all 100 dancers collapsed to the ground at Kazuta's signal at the end. (Laughs)
Video of Letters
The theme of the next song is love, and I wanted to express a kind of love that would make the performance even more dramatic and moving. I thought about love for a teacher and imagined a story where the singer, now successful, performs in honor of his late teacher. This idea made the performance even more poignant. The background music, Amapola, also added to the emotional depth.
I still remember the joy on Kazuta’s face when I jokingly said, "Kazuta, this song is a present for you," and he replied, "Thank you very much."
I have a habit of listening to classical music in the morning, and about four or five years ago, I came across a CD of Plácido Domingo singing this song—I instantly fell in love with it. Since then, I’ve listened to many versions and thought, "I’d love to bring this song to life in a performance." Eventually, I had the idea that it would be beautiful if Kazuta changed his singing style to a classical vocal approach. I'm incredibly grateful to Kazuta, who dedicated himself to classical vocal exercises despite his busy schedule and delivered a stunning performance. His hand movement at the end was particularly striking. The applause continued long after the song ended, so we delayed the start of the next song to fully savor the audience’s emotional response.
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Video of Letters
The members’ heartfelt messages and past activity footage were already deeply moving, but when the narration played, the camera focused on their facial expressions, capturing their seriousness and making the emotions even stronger. To lighten the mood, I decided to end the video with a bit of a joke, adding a playful touch at the end.
Sen no Kaze ni Natte (I’m a Thousand Winds)
This is one of my personal favorite Japanese songs. I’ve previously performed it with SUPER JUNIOR and SHINee at the SM TOWN LIVE concert. Following the previous video, I felt this song carried a heartwarming and comforting tone.
I fell in love with this song the moment I heard the demo and decided on it immediately. From the first listen, I envisioned the final concert scene—where the lift rises, confetti flies, and the song plays in the background. Unlike the original version, I added a break in the middle to heighten the emotional impact, with Hanjun continuing to shout. I also staged a prayer scene during the break, symbolizing the members’ journey through hardships to finally stand on this stage. The sincerity of n.SSign was deeply conveyed to COSMO, filling my heart with emotion.
When deciding on a video to play before Do Re Mi Song, I thought it would be fun to create a concept inspired by The Sound of Music—a family with a mom, dad, and seven kids (nine in total). The story revolved around the kids causing mischief when their parents weren’t home. One of the little joys in making this video was the makeup—Laurence, in particular, was perfect with the wig! (The members and staff discussed who should play the role of "Mom," and everyone unanimously agreed on Laurence!) Another personal favorite moment was when Kazuta trembled while holding his mug after breaking a bottle of alcohol, just as mom and dad appeared. (Laughs)
The children dance freely, and the mother, unable to control them, eventually joins in. The scene was set as children rebelling against a strict father, with both parents ultimately blending in with their playful energy.
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When we chose Woo Woo as the first title song, I remember thinking, "Will this song still bring a smile to COSMOs' faces 10 years from now?" The thought alone made me smile. From the beginning, Woo Woo has held a special meaning for COSMOs.
This song is particularly versatile—it can be arranged in countless ways, yet no matter how it's performed, it always conveys a sense of joy, fun, and warmth. During the last ZEPP tour, we did an acoustic version while sitting down, which had its own charm. For this show, we aimed to create a playful marching feel with a dance break, which ended up looking quite cute. The introduction in the first half of the song followed the same concept, and I felt that both the song and the members’ expressions matched perfectly.
Originally, I planned to transition from In Summer to Need U in an EDM style, building up to a climax with Need U. However, when Need U transformed into a band-style rock song, In Summer had to adapt as well, taking on a mix of band music with strong electric elements.
After deciding on the SPICE ballad version as the closing song, I wanted to choose a song that would create a fun and energetic interaction with fans before the ending. I thought Need U, incorporating elements of HEY! HEY!, would be a perfect fit with the right arrangement.
I took a bold step and reworked it as a band-style rock song—and I absolutely loved how it turned out. I’m especially grateful to Mr. Hwang Song-jae for working directly with me on the composition. Thank you so much for your hard work on the final stage, along with the 100 dancers who performed I Need You with us.
We wanted to close the performance with an emotional ending, so we transformed SPICE into a ballad to make it even more moving. We also incorporated videos sent by fans, adjusting the arrangement to encourage fan participation.
The composition was like a gift to n.SSign, who had overcome so many challenges to reach this moment. In the latter part of the song, I also expressed my gratitude to COSMO for their unwavering love. The audience was so deeply moved that both the members and I—who directed the performance—felt as if all the time and effort we had invested had been truly rewarded.
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SPICE
n.SSign doesn’t have a large discography yet, but their original songs are so wonderful that they were chosen for the encore stage. The members dressed up as their favorite animals, looking absolutely adorable and charming. (Laughs)
Ichigo (Strawberry) (Doha forcus ver)
We have always performed this song as an encore since nCH World LIVE, and it has now become a signature part of n.SSign's performances. Yuzu (*the original artist) has approved our cover of the song, and I believe you’ll get to hear the studio version someday. _^^
I wanted to find the best way to highlight and showcase Doha’s vocal ability, and I realized that Monologue was the perfect song for it. In particular, I thought the beginning should be as long and impactful as possible. I also liked the idea of having him appear unexpectedly when the audience thought the performance had ended—then surprising them by holding an extended high note for as long as possible. I felt this would create a powerful and memorable moment.
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