Jennie, a member of the famous k-pop grupo Blackpink, released her first solo album, Ruby, on March 7th 2025, marking a significant milestone in her individual artistic journey. Following the release of her single SOLO in 2019, many fans and critics eagerly anticipated this album, which promised to showcase a more intimate and personal side of the singer.
Ruby, Jennie's first album
The final project as a whole presents some inconsistencies: while Jennie’s versatility deserves praise, the overall coherence of the album is questionable. The tracks often feel like standalone pieces, with some being more effective than others, making it difficult to find a unifying thread that creates a homogeneous and cohesive project.
Musically, Ruby leans toward a pop sound with repetitive and familiar melodies, while the lyrics tend to be superficial, undermining the album’s polished and energetic production. While this makes some tracks catchy, it lacks a truly distinctive element that sets Jennie’s work apart from other contemporary pop releases. A clear example is Start a War, which stands out for its pleasant melody, though it carries a similar mood to other songs on the album.
However, much of the record leans toward constructing a "baddie" image, an attempt that is often undermined by lyrics that feel forced or even cringe-worthy, such as like JENNIE and with the IE (way up). Similarly, extraL positions itself as an anthem for confident women but becomes excessive and repetitive, making the constant reinforcement of the concept tiresome. The same issue persists in Mantra, which follows the empowerment song formula but lacks thematic variety, ultimately becoming monotonous. Zen stands out for its interesting production, yet its lyrics once again emphasize the idea of an untouchable artist immune to public judgment. While this message is admirable, especially in the music industry where artists are constantly under scrutiny, its repeated presence throughout the album makes it redundant.
Jennie’s collaboration with Dua Lipa on Handlebars is enjoyable, but it lacks the spark needed to make it truly memorable, as both the lyrics and melody feel overly simple and predictable.
The second half of the album suffers from a certain monotony: Seoul City and Damn Right share a nostalgic flow that makes them sound quite similar, while Filter revisits the theme of judgment. The album closes with Twin, a track with a delicate and pleasant melody, yet it is weakened by lyrics that feel forced in their metaphors and lean toward an indie aesthetic, without fitting coherently within the overall album. The result is a song that risks coming across as somewhat childish.
A clear stylistic choice is evident in Jennie’s departure from K-pop to embrace a more international sound. It’s commendable that the album highlights her attempt to move away from Blackpink’s signature style in favor of a more personal direction. However, while this shift broadens her potential audience, it also risks diluting Jennie’s artistic identity, making her solo work feel less distinctive compared to her previous projects.
In conclusion, Ruby marks an important step in Jennie’s solo career, but it doesn’t fully convince. While the album showcases her talent and stage presence, some tracks fail to maintain the same level of quality, raising questions about the musical direction she has chosen. It will be interesting to see how her solo journey evolves in future projects.
You can listen to Ruby by Jennie here: