“Know yourself, know your enemy,” wrote Chinese philosopher Sun Tzu. The advice still fits modern K-pop, where a group’s self-defined image and confidence can determine whether it survives in the cutthroat scene.
For girl group ITZY, a team built on unapologetic self-belief, the saying feels more timely than ever. The five-member act under JYP Entertainment returned Monday with “TUNNEL VISION,” its 11th mini-album and first since June’s “Girls Will Be Girls.” It also marks their first project since renewing their contracts with the label, creating an opportunity to showcase their artistic evolution.
For years, ITZY has embodied confidence. From the bold announcement of “DALLA DALLA” (2019) to the glossy self-assurance of “WANNABE” (2020), the group became a symbol of fearless energy.
But after defining its early years with empowering hits, ITZY has struggled to recapture that spark. Recent projects like “GOLD” and “Girls Will Be Girls” leaned too much on the same formula, with bold declarations and chant-heavy hooks, but lacking impact.
K-pop girl group ITZY / Courtesy of JYP Entertainment
Unfortunately, “TUNNEL VISION” arrives in the shadow of those less successful endeavors. The intent is clear: refocus, evolve, and prove that ITZY still knows who they are. But as the album unfolds, it becomes hard to tell whether the group — particularly its A&R production team — actually does.
The eponymous title track, produced by global hitmaker Dem Jointz, known for working with K-pop’s biggest names like BLACKPINK’s Jennie, NCT, and aespa, starts off with a thrilling promise. The song’s opening feels experimental and textured, suggesting sonic reinvention.
But the excitement fades as the song collapses into a too-familiar, predictable pattern: chant-like hooks and a chorus that reaches for anthem status but lands flat. The “Ah-yah, ah-yah” refrain, meant to sound hypnotic, ends up numbing. What’s missing here is catharsis, that sense of release that great pop songs deliver.
Instead, “TUNNEL VISION” circles around its own concept, fixated on message until it forgets the music. The track seems more preoccupied with explaining ITZY’s focus than letting listeners feel it. It’s almost as if the group, once known for explosive confidence, has turned inward, fighting to justify itself rather than express itself.
K-pop girl group ITZY / Courtesy of JYP Entertainment
Still, there are still flickers of brilliance. Ryujin’s husky low register cuts through the mix, giving her rap verse a sharpness that commands attention. Lia, often known for her bright vocals, also shows a more nuanced side, reminding listeners of how much range the group possesses. Yeji, Chaeryeong, and Yuna also deliver, each adding contrast with controlled dynamics.
The skill and the chemistry are there, but are rarely allowed to breathe by ITZY’s production team and their increasingly formulaic framework.
This is all the more disheartening at a moment when JYP’s label junior NMIXX seems to have found its own rhythm. After a few uncertain steps, the younger girl group has begun to bridge experimentation and approachability with October’s “Blue Valentine,” a song that captures both brightness and emotional warmth.
During ITZY’s fan meeting event in September, it was individual performances and solo covers that went viral online, rather than official tracks. The members themselves are compelling artists, but unless the music reflects that truth, the gap between ITZY’s potential and its product will only continue to widen.
Great pop doesn’t need to explain itself — it resonates on its own. While “TUNNEL VISION” is another ambitious attempt by ITZY to define its focus, the group still seems to be finding its way through the tunnel rather than reaching the light at the end of it.
