Cover Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’, will be coming to Hong Kong in February 2026 (Photo: courtesy of Carlyle & Co)
Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’, will be coming to Hong Kong in February 2026 (Photo: courtesy of Carlyle & Co)
1 / 1
Ahead of his visit to Hong Kong next month, rapper and composer Danny Chung reflects on creating chart-topping hits for Blackpink and contributing to the global phenomenon ‘KPop Demon Hunters’—both now on everyone’s lips
With his ash blonde buzz cut, ring-shaped earrings and plain denim coat, Danny Chung’s understated streetwear and relaxed demeanour might not immediately mark him out as a global music powerhouse. Yet this Korean American lyricist, rapper and composer is a creative force reshaping both pop and film today.
As one of the key songwriters behind some of Blackpink’s most defining tracks—including Kick It (2019), How You Like That (2020), Lovesick Girls (2020), Pink Venom (2022) and Shut Down (2022)—Chung has long helped shape the sound of modern K-pop. Now he’s captured the world’s attention again as the voice of Baby Saja, an endearing fan favourite in the animated sensation KPop Demon Hunters, which this week picked up multiple Oscar nominations.
Chung, who will be coming to Hong Kong for a talk at Café Carlyle on February 9, has become a name synonymous with both the artistry and authenticity that define the modern K-pop sound. In KPop Demon Hunters, a Netflix animation about a K-pop girl group moonlighting as the protectors of humanity, he further merges his experience as a composer and rapper with the demands of animation storytelling, representing a full-circle moment in a career that bridges cultures, sounds and generations.
Don’t miss: Oscars 2026: Asian talents nominated, from Ejae to Chloé Zhao
Above Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’ (Photo: courtesy of Carlyle & Co)
Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’ (Photo: courtesy of Carlyle & Co)
1 / 1
Chung’s involvement in KPop Demon Hunters began when his long-time friend Agnes Lee, the associate producer of the film, invited him to join the project during its early conceptual stages. “It wasn’t even sketched out, really,” he says, explaining that the idea was still taking shape when he joined. At the time, Chung was actively writing under the renowned Korean label The Black Label, founded by Teddy Park, the producer responsible for shaping the sound of 2NE1, Big Bang and Blackpink.
Lee, keen to inject genuine K-pop artistry into the film, brought The Black Label on board to ensure that the music would authentically reflect the heart of the genre. As Chung worked closely on the film’s soundtrack, his voice unexpectedly became central to one of the characters. The production team had grown accustomed to his tone during demo recordings and found his delivery suited the archetype of Baby Saja—the youngest, cutest member of a fictional boy group who surprises audiences with his deep-toned, powerful rap verses.
Though Chung never planned to enter voice acting, he embraced the opportunity as both a creative challenge and a dream realised. “It’s everyone’s kind of dream come true to be able to relay that experience to kids and people around the world and offer a bit of fantasy,” he says, describing the joy of contributing not just musically but emotionally to an animated world.
Above Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’ (Photo: courtesy of Carlyle & Co)
Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’ (Photo: courtesy of Carlyle & Co)
1 / 1
The process of composing for KPop Demon Hunters required a shift from his usual K-pop workflow. In commercial pop music, the focus often lies in melody, groove and memorability. That means delivering a song that resonates emotionally while thriving sonically on stage and streaming platforms. In contrast, for animation, every piece of music had to serve the story.
Chung elaborated that each song in the film, as in theatre, was “purposefully narrative”—written to move the plot forward or deepen the characters’ emotions. A prime example was Soda Pop, one of the film’s standout tracks, which balances addictive pop hooks with a deeper conceptual core. The song, about the allure of something that feels irresistible yet might not be good for you, was developed collaboratively between Chung, Park’s production team and the film’s executive music producer Ian Eisendrath.
“We were very true and dear to the fact that I had to stay K-pop. So it had to be 100 per cent K-pop and 100 per cent story-driven. So [the result] had to be 200 per cent,” he says. The team achieved a rare balancing act: music that felt both cinematic and unmistakably Korean pop. It marked a significant milestone in how K-pop can evolve beyond the airwaves into other storytelling mediums.
Above Saja Boys in ‘K-Pop Demon Hunters’, with Baby Saja second from the right (Image: courtesy of IMDB)
Saja Boys in ‘K-Pop Demon Hunters’, with Baby Saja second from the right (Image: courtesy of IMDB)
1 / 1
He is thrilled to celebrate the animation’s success, especially when seeing how his fellow songwriter Ejae “blossomed into the limelight, evolved and leaned into it” after she won Best Original Song at the Golden Globes for Golden. This week, Golden has further become the first K-pop song ever nominated for an Academy Award. “It’s been incredible to see her evolution and meteoric rise within just six months,” he says.
At the heart of Chung’s artistic identity lies his work at The Black Label, where he serves as both lyricist and A&R. The company, once a small, tight-knit unit under Park’s leadership, has evolved into one of South Korea’s most influential creative hubs.
Its ethos, as Chung describes, is simple yet profound: music first. This philosophy has shaped some of K-pop’s most memorable global hits, with Chung playing a pivotal part. The Philadelphia-raised songwriter credits Park for recognising his strength not only as a writer but as someone who could bridge cultures by bringing an English-language sensibility to Korean lyrics without compromising authenticity.
In case you missed it: Golden Globes 2026: The Asian nominees you should know in films like ‘Hamnet’ and ‘KPop Demon Hunters’
Above A film still from ‘KPop Demon Hunters’ (Image: courtesy of IMDB)
A film still from ‘KPop Demon Hunters’ (Image: courtesy of IMDB)
1 / 1
Growing up in the US as a Korean-American gave Chung a nuanced appreciation of both languages and cultures. He understands the subtleties behind how certain phrases or tones resonate differently with global listeners. His lyrical contributions helped make tracks like Pink Venom and How You Like That simultaneously powerful, playful and accessible to audiences beyond Korea—while staying true to the bold essence of Blackpink.
His relationship with music began in childhood. His uncle worked as a party DJ. From a young age, he was immersed in the energy of hip-hop, long before realising that someone who looked like him could hold a place in that space. The turning point came when he first encountered Korean pop culture through imported magazines and VHS tapes, where he saw performers who rapped and looked like him.
“It was the first time I’d seen someone on television who was Asian and rapping,” Chung says, describing how representation lit the spark that would define his career. That revelation turned curiosity into vocation: from writing rhymes in detention halls to producing hits for one of the most globally recognised K-pop collectives. His story encapsulates the importance of visibility: seeing yourself reflected in culture can create the courage to dream differently.
Above Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’ (Photo: courtesy of Carlyle & Co)
Danny Chung, who lent his voice to Baby Saja in ‘KPop Demon Hunters’ (Photo: courtesy of Carlyle & Co)
1 / 1
For Chung, the evolution of K-pop is both natural and necessary. Once defined by its fusion of hip-hop, EDM and experimental production, he believes the modern era of K-pop has grown beyond sound. Now, it is about world-building. Whether for a group or a film, K-pop today creates immersive universes where fans and artists exist in symbiosis.
He sees the genre’s global success as an ongoing conversation between creators and audiences. As he prepares to greet fans in Hong Kong, his reflections are grounded in gratitude but also creative momentum.
While unable to share specifics, Chung hinted that 2026 has already begun as an “active” year. But if his past work and his passion for honest storytelling are any indicators, his next creative chapter will be every bit as boundary-pushing as the world of KPop Demon Hunters itself.
NOW READ
Zabrina is the Senior Editor, Arts and Culture of Tatler Hong Kong. She specialises in performing arts, visual art and film. Her wanderlust was first fuelled by the Mighty Rovers Antarctica Expedition 2010. Over the years, she has interviewed A-list artists and filmmakers, including Oscar winners Chlóe Zhao and Tim Yip, Golden Horse winner Sylvia Chang, In the Mood for Love cinematographer Christopher Doyle, Pachinko author Min Jin Lee, and Coachella’s first Chinese solo singer Jackson Wang. She won gold at the WAN-IFRA Asian Media Awards for her 2021 feature on the waves of hate crimes targeting Asian Americans.
