Bringing a vibrant fusion of comic-book-like imagination (Sonyeonmanhwa) and high-octane indie rock to Berlin, South Korean singer-songwriter kimseungjoo  delivered an unforgettable performance at the K-INDIE ON Festival 2026 – No Borders, Just RocK!. Hosted by the Korean Cultural Center Germany at Berlin’s Säälchen on September 20, 2026, the festival celebrated the bold diversity of Korea’s vibrant independent music scene.

Since claiming the Grand Prize at the prestigious 32nd Yoo Jae-Ha Music Contest, kimseungjoo has earned a reputation as one of the most inventive voices in Korean indie. Known for his candid storytelling, infectious melodies, and dynamic band arrangements, his music translates deeply personal scenes into rich auditory experiences. In this interview, he breaks down his creative process, his approach to remaining authentic amidst shifting trends, and the raw, reciprocal energy he felt on stage with the Berlin audience.

Your sound is often described as having a comic-book-like imagination (‘Sonyeonmanhwa’) combined with a dynamic band sound. When you outline a new song, how do you translate vivid visual scenes and emotional moods into specific musical arrangements and melodies?

I simply write down the emotions and images I experience in my everyday life. When I translate them into music on the computer or on sheet music, I just experiment with whatever I feel like doing in that moment.

I really enjoy it when the musicians playing with me listen to my demos and say things like, “That’s hard to pull off in real life” or “I’d need three arms for that!”

My friends have to put up with a lot because of this, but I want my feelings and visual images to reach the listener’s ears as directly as possible as pure sound. haha

The Korean indie festival scene is full of unique voices, yet your blend of narrative lyricism and characteristic band sound makes your work instantly recognizable. What core philosophy guides you to stay true to your own distinct style without conforming to trends?

Not being envious.

Honestly, I believe envy can be a pretty cheap form of motivation. But I try to tell myself, “That belongs to that person”—and avoid letting myself get distracted from what I can do within the framework I have.

Bringing solo-written, narrative-driven music to a live, energetic festival audience in a venue like Säälchen requires a lot of personal presence. How do you transition from the quiet, imaginative mindset of writing songs to the high-energy state needed for artist life on stage?

I don’t really flip a switch consciously. It feels more like the people coming to my concert that day are guiding me somehow.

Elisa Cutullè