!['Do you still not know' 250. 2023.07.16. (Photo = Provided by Sejong Center for the Performing Arts) photo@newsis.com *Resale and DB prohibited](https://realkpop.com/wp-content/uploads/2023/07/NISI20230716_0001316615_web.jpg)
‘Do you still not know’ 250. 2023.07.16. (Photo = Provided by Sejong Center for the Performing Arts) photo@newsis.com *Resale and DB prohibited
Reporter Lee Jae-hoon = Late 1980s or early 1990s. In the afternoon, when neither parents nor older siblings came, the elementary school student was sitting alone in front of the TV watching the animation ‘Dooly the Little Dinosaur’. However, in the 1980s and 1990s, the overall sentiment in Korea was sad. to TV animation. Not only ‘Dooly’ but also ‘Magpie’ and ‘Hani’. Everyone had a sad story.
Is the dance music of a producer and DJ born in 1982 so sad? Lee Oh-gong (250, Lee Ho-hyung)’s first album ‘Pong’, released under his own name last year, is still being rediscovered. A masterpiece that reinterpreted trot, also called ‘bbongjjak’ or ‘bbong’, with electronic music over a period of about 4 years. Trot, which disappeared again helplessly after wanting to be rediscovered through a TV audition program, is still fluttering when it meets 250.
On the 15th at 9:00 pm at the S Theater, Sejong Center for the Performing Arts, the performance ‘Don’t you know yet’ was a place to rediscover the power and fascination of 250 music offline.
Last year, they performed on the stage of the non-stop hardcore mulberry party ‘Future Tourism Medley’ held at the Gukilgwan, a ballroom in Jongno-gu, Seoul, and toured Japan, but this is the first time 250 has shown a proper solo performance in Korea with a ‘Mulberry’ album. As if to prove the value of his name, the performance was sold out as soon as the ticket reservation was opened.
It’s only been the first half of the year, but 250 on this day’s stage, which dares to be proud of as one of the best performances of the year, is enough to be called a ‘live performer’ without the producer of the syndrome girl group ‘New Jeans’ or the 4 winners of the ‘Korean Music Awards’. did. It was a feast only for ‘Pong’ and electronic music, not relying on idol music.
!['Do you still not know' 250. 2023.07.16. (Photo = Provided by Sejong Center for the Performing Arts) photo@newsis.com *Resale and DB prohibited](https://realkpop.com/wp-content/uploads/2023/07/NISI20230716_0001316620_web.jpg)
‘Do you still not know’ 250. 2023.07.16. (Photo = Provided by Sejong Center for the Performing Arts) photo@newsis.com *Resale and DB prohibited
When the four beats of “Kungjjakkungjjakkungjakkungjjakkungjjakkungjjak~♪♬” were woven into electronic music sounds and the red and blue lights were in full swing like a K-pop group dance, the dreaminess reached its peak.
In particular, the appearance and exit of the featurings had the elegance of a ‘dissolve’ that shallowly overlaps the two screens in the video. It is a method of shining light on the featured protagonist who was located in the dark on both sides of the 250 seated in the middle on a high stage. It was a directing technique as if the music was spreading without obstructing the movement on the stage or the audience’s eyes.
Above all, like the album ‘Pong’, the featured lineup was outstanding. In ‘Royal Blue’, saxophonist Lee Jung-sik joined in and gave the ‘adult sound’. The saxophone, a woodwind instrument that uses a wooden reed, and the electric sound meet to show the virtuous cycle of life in which the texture of sound is dismantled and combined.
The vocals of Kim Soo-il of ‘Everything Was a Dream’ and Oh Seung-won of ‘Finale’ led electronic music to embrace the uniqueness of analog. The theme song of ‘Dooly the Baby Dinosaur’ sung by Oh Seung-won was sung not by his voice but by the audience.
!['You still don't know' Lee Jung-sik, 250. 2023.07.16. (Photo = Provided by Sejong Center for the Performing Arts) photo@newsis.com *Resale and DB prohibited](https://realkpop.com/wp-content/uploads/2023/07/NISI20230716_0001316614_web.jpg)
‘You still don’t know’ Lee Jung-sik, 250. 2023.07.16. (Photo = Provided by Sejong Center for the Performing Arts) photo@newsis.com *Resale and DB prohibited
When 250 played notes with a synthesizer and this song with a sad melody was sung in chorus by men and women of all ages, the lyricism or nostalgia reached its peak. Even though 250 didn’t give any signal to sing together, a magical moment was created when the melody inherent in ‘collective memory’ was automatically lengthened and lifted, and that is the power of content.
The performance, which was difficult to find fault with in terms of the texture of the sound and lighting and the direction of the performance, was also perfect narratively. In the beginning, when the audience stood in a straight line in the standing seats as if no one was there, ‘… The narrative, which started the performance with ‘And there was no one’, went through ‘It was all a dream’ and ended with ‘Finale’ (finale), was complete. It did this with a relatively short running time of 70 minutes.
The encore version of “Let’s Dance” (original song by Eun-suk Jang) combines Na Un-do’s languid yet vague voice and Han Sang-cheol’s strong guitar performance to radiate the emotion of not having children. In terms of Korean poetry, it is like Jo Ji-hun’s ‘Seungmu’. It’s sad, but I’m not holding on to my sadness and crying, but I have to dance because I have to do something. That is the basis of 250 dance music, and the performance on this day became the basis for that origin. The affirmation of affection gave birth to mournful dance music. 250 is someone else’s producer, but it has enough of its own identity.
The performance on this day was part of the Sejong Contemporary season ‘Sync Next 23’, which the Sejong Center for the Performing Arts has been ambitiously undertaking since President Ahn Ho-sang took office. The Sejong Center for the Performing Arts, located in the center of Gwanghwamun, still has a high wall image among the public and pop culture artists. With the openness that made the black box theater a standing club (there were reserved seats on the second floor) on weekend nights and good music with beer, the Sejong Center for the Performing Arts became a mecca for hipsters on this day. It was the beginning of a new performance culture, not ‘everything was a dream’.