Photo Courtesy of the B-Girls

What started as covers has now transpired into their own original music. With their debut single "NONSTOP" out now, it caught the eyes of fans intrigued by their story and approach. Each member brings something completely different from trainee days for K-pop companies for choreography. I spoke to the founding member Hyeri, performance director Veronica, and insight from producer Peter Chen. We talk about the industry, Berklee College, encouraging professors and what's next. 

You’ve just debuted with your new single "NONSTOP", and it's already received a great reaction. Having performed K-pop covers, how surreal does it feel to now have your own song out there for people to listen to? 

Hyeri Han, President/Founder of B-Girls: We’ve been performing covers and original songs for a while, but we’ve never released an official music video or established a proper digital presence. I write a lot of K-pop tracks for various labels, but seeing a talented group of girls bring one to life with choreography and a full visual treatment is incredible, and it’s a special feeling that not everyone gets to experience. 

Normally, because I write so much, I don't get overly attached to my songs. But as someone overseeing the entire process for B-Girls and listening to these tracks hundreds of times, seeing this finally come together makes it feel truly real rather than just another song out in the world. I think what’s unique with “NONSTOP” is that now that it's on the internet, not only the Berklee community but also general fans of K-Pop are viewing it and recognising our work. Adding comments on it, it feels rewarding regardless of whether the comment is positive or not. 

The music video is packed with so many strong ideas and sharp editing. When you were putting together the video concept, what were some of the ideas that you all ran through of what you definitely wanted to showcase? 

Veronica Leong, B-Girls Performance Director, MV Director of ‘NONSTOP’: We had performed “NONSTOP” a few times before shooting the music video, so I started developing the visual concept based on what we were already wearing and how we were presenting the song on stage. We wore black and gold, with gold symbolising power and boldness and black symbolising mystery and chicness. As I took on the director and editor role for the music video, I saw a music video as the visual personality of the song, which guides the audience to know what this song is conveying. I wanted it to feel authentic to who we are as a group. 

The song itself is very bold and versatile, with both strong vocal and rap sections, so I wanted to highlight each member’s individual strengths. For the rap section especially, I wanted to make the visuals feel playful and connected to the lyrics. I brought some of these ideas into rehearsal and worked with the members to develop them. For example, in Mind’s verse-two rap, there’s a line that ends with “on the other end". I designed the camera movement to follow her hand and pan to the other side, where it transitions directly into Krystal’s part. Then Krystal’s line ends with “going down", so the camera literally moves downward with the lyric. Christine then picks up the camera from a first-person perspective, which became one of the fun visual moments in the video. 

From another perspective, since two of our members, Krystal and Ann, choreographed the song, I also wanted to showcase their choreography through the camera movement and shot design. Especially for the signature hand movement in the choruses, I chose a medium close-up for the first chorus so the audience could clearly see the choreography and appreciate the details of the movement. 

Another fun fact is that I came up with an idea for the gun movement the night before the shoot. I asked the members to hold that movement for two full eight-counts while we were filming, which gave the cameraman enough time to move into a side angle. Then, when I was editing, I sped up the footage and added motion blur to create a more dynamic effect. It was a really fun moment for me because I got to experiment with something that I’ve never tried before, combining both the shooting and editing processes to create something that wasn’t originally planned.

What was the creative process behind creating an original K-pop song as a group of music students? Did you find it easy, as you write and choreograph all your work? 

Hyeri Han, President/Founder of B-Girls: When it comes to choreography, we take a mixed approach: we either recruit choreographers from the Boston Conservatory’s Commercial Dance programme or invite our own members to step up. For instance, the choreography for 'NONSTOP' was created by our members Krystal Tang (who has now graduated) and Yuhan An (who is now taking a gap semester). 

We take a similarly flexible approach to our music. Our repertoire currently features seven original tracks, including 'NONSTOP', which we source in three ways: opening up application forms for K-Pop demos, reaching out to Berklee’s K-pop songwriting and production club, 'Kampfire', or writing them ourselves. That third option (writing in-house) usually ends up being our primary path, as both Christine and I are songwriters, and there are members pursuing a songwriting major as well. I’ve also been part of the K-Pop songwriting club ‘Kampfire’ for a few years, listening to Berklee talents create new music every week. If a strong demo never gets pitched to a label, I’ll often ask if B-Girls can perform it instead. Otherwise, Christine and I leverage our own network of producers to create tailored tracks specifically for the group. 

'NONSTOP' was born from our own songwriting process. We were invited to perform at K-Pop and Beyond, an event organised by Professor Ray Seol. When we heard that songwriting veterans EJAE (K-Pop: Demon Hunters, voice of Rumi) and Andrew Choi (voice of Jinu) would be attending, we used their presence as inspiration: 'What if B-Girls were characters in K-Pop: Demon Hunters?' It was an incredible opportunity to get feedback from industry veterans we deeply respect. We had initially opened an application form for external demos, but after not finding the right fit, we reached out to a producer friend, Jae Han, who created a beat for us to topline over. Over the summer, with me in Korea and Christine in Boston, we traded voice memos, melodies, and lyric ideas back and forth across time zones before finally meeting up in Boston to finish the track.

When it comes to your K-pop influences, do you find you take more inspiration from past generations, like 2nd gen, or do you like to mix with the current groups too? 

Hyeri Han, President/Founder of B-Girls: B-Girls originally debuted with a medley paying homage to the 1st-generation K-pop girl group S.E.S., fully leaning into that classic '90s vibe. As the group expanded and we formed our sub-units, Kitties and KLAWS, our influences evolved: Kitties drew inspiration from NewJeans and S.E.S., while KLAWS channelled the bolder energy of groups MEOVV and BLACKPINK. As a heavily multicultural group, we also take a lot of inspiration from KATSEYE. As B-Girls have been existing for a few years now, we’ve been growing our own identity as well with such influences.

How does studying music at Berklee influence the way you approach K-pop? Was there a particular professor you felt really rooted in to pursue this venture? 

Hyeri Han, President/Founder of B-Girls: B-Girls actually started because I wanted to put on a girl-group-focused show at the Berklee Performance Center, a venue that typically requires an impressive portfolio and faculty backing. I reached out to Professor Ray Seol, who leads K-Pop and Beyond, and he suggested we form a girl group to perform at their upcoming event so we could use that footage for our application. What began as a one-time performance quickly evolved into something much bigger. We’ve since transitioned into an official Berklee student organisation, giving us a stronger support system and broader outreach to students who want to get involved. 

Photo Courtesy of the B-Girls

Surprisingly, I wasn't deeply involved in K-pop before coming to Berklee. I always grew up in an international community, but fundamentally because I am Korean, it was always around, but my main influences were Western pop stars like Ariana Grande, Beyoncé, and Taylor Swift. Once I arrived at Berklee, people encouraged me to try writing K-Pop. From there, I immersed myself in the scene, attending K-Pop and Beyond events, participating in co-writing sessions through clubs like Kampfire, and eventually found B-Girls. Now, I believe I’m known as the 'K-Pop person' at Berklee; when people see me, that’s immediately what they think of. It truly became my niche. 

Academically, Professor Michael McCall’s songwriting courses—specifically Topline 1, 2, and 3 (which I took twice)—played a huge role in my development. He has worked with numerous K-Pop groups and constantly emphasises its impact on today’s music industry. Taking his classes fundamentally shaped my approach to songwriting and heavily influenced my K-pop work. 

Although I haven’t taken this particular course, our Club Advisor Professor Sam JC Lee leads Berklee’s K-Pop Ensemble, and our members have participated in that course as well. Professor Ray Seol has also been leading courses relating to K-Pop and Korean culture, which I believe some of our members took.

With many of you studying songwriting, production, and music business, do you feel in some shape or form that these insights are giving you a helping hand when it comes to understanding what direction you want to take the B-girls in? 

Hyeri Han, President/Founder of B-Girls: Absolutely. That collaborative spirit is the foundation of how B-Girls operates. We bring together talent from across various Berklee departments to build this entire ecosystem. Everyone working on the project aspires to enter the music industry, bringing unique expertise from their respective majors to make B-Girls what it is today. 

As the leader, I wear many different hats, and this actually aligns perfectly with my background as a professional music major, a programme that allows us to focus on up to three distinct areas, mine are performance, music production, and songwriting. I apply all three directly to B-Girls: I perform as a member, write the music, and handle the business side, including recruitment, marketing strategy, general oversight, and a lot of problem-solving. 

Photo Courtesy of the B-Girls

Beyond my role, our executive team includes dedicated managers who handle operation work like scheduling, such as Molly Yang, a Music Industry Leadership and Innovation major, and Marcus Lee, a Harvard-Berklee dual degree student. Meanwhile, many of our performers and choreographers come from the Boston Conservatory or are pursuing a dance minor. Berklee is truly the ideal environment for a project like this. It provides an incredible pool of passionate, highly skilled collaborators. 

As you’re still students who are still actively in a K-pop group. What originally made you all want to pursue studying music at Berklee? 

Hyeri Han, President/Founder of B-Girls: This is my final semester at Berklee and my last with B-Girls, following Christine’s graduation. Growing up, I always wanted to pursue music, but I never envisioned it as my primary focus. My original plan was to attend a traditional university to get a broad education while pursuing music on the side. I almost didn't apply to Berklee; I auditioned on a whim simply because it was a dream school, even if it didn't fit the academic path I had envisioned.

Looking back, I truly believe it was fate. Out of the ten universities I applied to, I was rejected or waitlisted everywhere except for my two safety schools. Berklee was the final decision I received, and it was the only school focused purely on music. Expecting another rejection (especially since it’s a top-tier music institution), I was shocked when I got in. It felt like a calling. It wasn't the path I originally planned, but it was exactly what I needed. I can't even imagine what my life would look like if I had gone to a traditional university. I fell completely in love with this path, found where I belonged, and never looked back.

B-girls consist of two subunits - KLAWS and Kitties. Both vary in sound, style, and overall vibe. Was creating the subunits a conscious decision to showcase the different personalities of the group? 

Hyeri Han, President/Founder of B-Girls: Yes, absolutely. In commercial K-pop, groups usually debut with a specific concept and only evolve toward something more mature over the course of several years. We operate a bit differently. As a student-led organisation driven purely by passion, our roster naturally evolves as members graduate and join. Creating sub-units is our way of giving members the platform to showcase different sides of their artistry and embody the styles they resonate with most. 

For example, I joined Kitties because it fits my personality and the kind of songs I like to write. Stylistically, KLAWS leans more heavily into rap and hard-hitting energy, whereas Kitties focuses on vocals and more of the traditional K-pop idol vibe. That said, we also write original songs that blend these two worlds, bringing members from both units together. In addition, this semester we’re launching a boy group at our upcoming showcase, along with full-ensemble tracks that feature all our members performing on stage at once.

A fun fact: the names 'Kitties' and 'KLAWS' are inspired by Berklee’s mascot, ‘Mingus the Jazz Cat'. 

Has it helped you explore your own musical tastes too? 

Hyeri Han, President/Founder of B-Girls: Definitely. When putting out callouts for original demos, I always assemble a reference playlist to outline the direction we’re looking for. This mirrors how the professional K-pop industry operates, where briefs are built around specific sonic references. Because our sub-units cover such a wide range of concepts, I constantly listen to new music to find fresh inspiration for our sound. 

KLAWS is bolder, and I can see influences of Babymonster sprinkled in. Growing up, were there any specific artists that got your attention and one that eventually steered you towards the K-pop scene? 

Veronica Leong, B-Girls Performance Director, member of KLAWS: Among the KLAWS members, we often talk about our favourite artists, and we realised that we share some iconic groups like BLACKPINK, BTS, Red Velvet, and BIGBANG, who were all part of what introduced us to K-pop. More recently, we’ve also taken inspiration from KATSEYE. As a multinational group ourselves, we really admire how boldly they approach their concepts while embracing the different backgrounds of their members. 

For me personally, my very first K-pop role model was Wonder Girls. I started listening to their music when I was 3 years old, so they were really my introduction to K-pop. But the group that ultimately made me want to pursue K-pop myself was BLACKPINK. I was so drawn to their sense of girl power and completely blown away by their confidence, individuality, and talent. As someone who has grown up dancing and singing, seeing them own who they were really motivated me to believe that I could chase my own dreams in the K-pop world.

Kitties on the other side is the traditional bubbly, bright vibe we see in groups like New Jeans. Yet you have a message of self-love and empowerment embedded in your work. How important is it for you to make sure that is key to your music? 

Peter Chen, producer for Kitties' original songs “Love Me Like I Do” and "Magik", visual director of B-Girls, and creative director of the upcoming showcase: Self-love and empowerment are central to the music we create for Kitties Unit and B-Girls as a whole. While writing and producing for the unit, I sometimes wondered whether audiences might bring certain assumptions to traditionally feminine aesthetics, which have often been misunderstood. But to us, empowerment means embracing any style that feels authentic and rooted in self-love, regardless of outside judgement. Since the beginning of B-Girls, the members’ energy, confidence, and sense of self have continued to inspire my approach to songwriting, production, and, more recently, creative direction.

Photo Courtesy of the B-Girls

Hyeri Han, President/Founder, Member of Kitties: I see it imperative that empowerment is a message that B-Girls send. We are a group that is based on diversity, our members and collaborators root from different backgrounds and come together as one. We are women-led, based on a niche music genre, embrace the LGBTQ+ community, and always support the possibly marginalised. 

Sometimes the traditional “cute and girly” songs out there embody a timid, less confident persona. We should be proud and unapologetic.

Hyeri, as one of the founders and songwriters, you have shaped and played a key role in the group since the beginning. What was your original vision for the group, and over time how has that vision changed? 

Hyeri Han, President/Founder of B-Girls: As I mentioned earlier, B-Girls was originally intended to be a one-time showcase to build a portfolio for the Berklee Performance Center (BPC). Our name was inspired by '90s girl groups, aligning with the throwback theme of our debut at K-Pop and Beyond, which featured Jae Chong from Solid as a guest speaker. At the time, I was studying abroad in Valencia, managing the launch remotely while Christine stepped up as co-leader on the ground. Christine was originally set to perform, but after a leg injury, we recruited Veronica Leong to step in—who is now our Performance Director and the mastermind behind the 'NONSTOP' music video. Meanwhile, Peter Chen, who produced our debut performance track, now serves as our Visuals Director in the Executive Board and a Creative Director for our upcoming showcase. 

Photo Courtesy of the B-Girls

What started as a small group of friends bonded by shared passion has expanded dramatically. Every semester, we recruit new performers, managers, and executive board members. While it remains a tight-knit community where we have fun, everyone involved is pursuing their future career in real time, pushing for professional excellence. As an ambitious leader, I constantly push for new opportunities to grow B-Girls, always keeping an eye on how our work today will propel our members' future careers and my own. My hope is for B-Girls to keep expanding long after I graduate, serving as a powerful stepping stone for our members' careers and a lasting network where alumni always feel a sense of belonging.

With the new single out, can we expect more music to come? What does the rest of 2026 have in store? 

Hyeri Han, President/Founder of B-Girls: We have so much coming up! First, 'NONSTOP' is just one of seven original tracks in our repertoire. We’re in the final stages of completing our next music video, which is a mashup of 'Love Me Like I Do' by Kitties and 'ICE' by KLAWS. Both of these tracks actually predated 'NONSTOP', and the new video features a unique narrative twist that blends the distinct worlds of both sub-units. 

We’re also having our biggest showcase yet on October 29th at the Berklee Performance Center (BPC), which we believe is the first ever solo show by a student K-pop group at this venue in the history of Berklee. Reaching this stage is a full circle moment for me, as performing at BPC was the original goal that sparked B-Girls in the first place. My schedule has always been packed, but this semester has hit a whole new level of busyness as we prepare! Tickets are available via the link in our Instagram bio, and supporters everywhere can tune in via our virtual livestream. 

Photo Courtesy of the B-Girls

Looking ahead, we’re actively exploring ways to officially distribute our original music on platforms like Spotify. While navigating releases as a student group comes with unique challenges, I’m hopeful that all of our original songs will eventually be out in the world!

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