Gaho, born Kang Dae-ho, has emerged as one of the most versatile voices in the modern Korean music scene. While many first encountered his powerful vocals through “Start Over” (시작) —the record-breaking anthem from the hit series Itaewon Class—his artistry extends far beyond the screen. As a singer-songwriter and producer, Gaho has spent years crafting a unique sonic identity that blends soulful R&B with soaring rock energy.
Alongside his band KAVE , a collective of skilled producers and musicians, he is currently captivating international audiences on his 2026 Europe Tour. The live performance is meticulously structured to showcase this evolution, opening with the atmosphere of “Beautiful Night” and “High“, before diving into the emotional depth of tracks like “Lost My Way”. By merging the polished emotionality of K-Drama soundtracks, such as the evocative “Running”, with the raw, experimental spirit of a self-produced band, Gaho is redefining what it means to be a solo artist in a globalized industry.
The concert transitions through cinematic interludes, featuring technical mastery in both Piano and Guitar solos, leading into high-octane performances of “Venom”, “Die for U”, and “Power”. In this exclusive feature, we explore the creative philosophy and technical precision required to balance personal growth with global television phenomena, culminating in a tour de force that spans from the grit of “Stone” to the infectious energy of “Dangerous”.
In this exclusive feature, we explore the creative philosophy and technical precision required to balance personal growth with global television phenomena.
When the public identifies you so strongly with a specific OST “mood,” does that expectation act as a foundation for your solo growth or a ceiling you feel the need to break?
Personally, I think it’s both. To create an opportunity to make my name known, I tried many OSTs. For any singer or artist, once a representative song is created, the pressure to “surpass that song” or “write a better song than this one” is, I feel, natural. But honestly, I don’t think of it as a realm that I have to “surpass.” It’s just one of my well-known songs, and another song like that might be written or appear again. I just feel grateful for the situation.
If your voice is a “tool” for a drama, how do you prevent the character’s emotions from bleeding into your personal diary-like songwriting?
Because I was someone who dreamed of being a composer, I’ve written OSTs, I’ve written my own songs, and I’ve written K-pop idol songs. I think all the fields are just different. If you compare it to food, it’s like different genres of food—Chinese, Japanese, Western, Korean—it feels like that, so I’m just happy to work across them.
“Start Over” has outlived its drama’s original run, notably through global covers like THE BEAT GARDEN’s Japanese version. How do you feel about your work being reinterpreted in other languages, and does seeing the song’s core message translate across cultures change how you view your own “original” version?
Regarding The Beat Garden, we did form a connection through that song “Start,” but my perspective on the original hasn’t really changed. Since the message of this song itself is about overcoming hardships—literally representing the word “Start”—I think there are people everywhere in the world, whether in Korea, Japan, or France, who face difficulties and need to stand back up. I felt more like, “Ah, finally this message is reaching people.”
Elisa Cutullè