Hailing from the renowned K–Pop group BLACKPINK, LISA stands out even among her talented bandmates. Born and raised in Thailand, she’s among the few Thai idols that has made a name for herself in the brutal K–Pop industry. She serves as BLACKPINK’s main dancer and lead rapper, known for her fiery performances and raps, as well as her viral dance covers.
Following BLACKPINK’s 2023 decision to remain as a group with YG Entertainment but take their solo talents elsewhere, each member of the quartet spent time investing in their own creative side–projects with different record labels. Group leader JENNIE created her label Odd Atelier, collaborated with The Weeknd on the panned TV series The Idol (although it did spawn the viral song “One Of The Girls”), and developed her debut solo project Ruby. Main vocalist ROSÉ released her debut album, rosie, with Atlantic Records, and created one of this year’s biggest hits in “APT” with Bruno Mars. Lead vocalist JISOO focused on developing her acting projects while making just enough time to debut a solo extended play, AMORTAGE.
But LISA was the first of the four to debut new solo material outside of YG Entertainment. Under her self–created label LLOUD, the Thai rapper released “Rockstar” in June of 2024 to a rapturous response. Critics praised the artist’s bold and braggadocious sound, with her cheeky lyric “Lisa, can you teach me Japanese? I said, ‘Hai, hai’” going viral on social media. LISA showed herself capable as a solo artist—and when she announced she was releasing a solo album, fans were excited to listen to what the rapper had to say outside of her group.
Alas, when Alter Ego dropped at the end of February 2025, fans found themselves with an album that doesn’t have much substance besides highlighting the rapper’s boastful persona. And despite LISA’s insistence on the concept of Alter Ego—where each song on the album is meant to highlight a different persona—her ‘secret identities’ wouldn't hold up at even the simplest CIA training. Alter Ego presents a strong performer with a flimsy narrative and a strong need for backup, leaving the project very one–note.
LISA is strongest on the songs that actually attempt to showcase her many sides. Album opener and fourth single “Born Again” is a glossy disco–pop offering and breakup anthem. While the soundscape is well–worn, LISA’s delivery and vocal timbre are just as shiny as the disco–pop instrumentation. Also outstanding is the charismatic second single “New Woman,” where LISA’s soft pre–chorus vocals wonderfully contrast with her confident vocal delivery in the verses and chorus.
But both of the aforementioned are group projects. “Born Again” features an equally alluring Doja Cat, with a rare vocal delivery in tandem with her rapping skills, and the operatic vocalist RAYE, who wrote and produced the original demo before it landed in LISA’s hands. As such, much of the song’s sonic DNA is not strictly LISA’s. “New Woman” features ROSALÍA, whose slow–tempo, mid–song contribution brings the extra spice that the song needs to be a full package.
Venturing into LISA’s material with no additional contributing vocalists, her biggest weakness is on full display; the Thai rapper is not a singer. Even back in her BLACKPINK days, her vocals were underdeveloped and metallic, better suited for the mid–range choruses and rap contributions she’s usually relegated to.
Take “Moonlit Floor (Kiss Me),” the album’s third single. A disco–tinged song interpolating Sixpence None the Richer's "Kiss Me,” LISA attempts a soulful performance to match the track’s lovelorn lyrics: “Green–eyed French boy got me trippin’ / How your skin is always soft / How your kisses always hit / How you know just where to.” But her vocals sound like she’s trying to cover her own song, with none of the passion and spirit the song is meant to have. The album track “Thunder,” in addition to being a bad song altogether, features a vocally–restrained LISA that isn’t the most pleasant to listen to and pretty uninspiring lyrics where “when [she] steps in, you gon’ see why.” (The reason “why”, of course, is never mentioned in the song.)
None of this is to say LISA is not talented. Focusing mainly on rap is not a bad thing for an artist, and many female rappers in the west—Nicki Minaj, Megan Thee Stallion, Cardi B—are not known for their vocal delivery and tone. It is okay for LISA to be a mediocre singer! After all, her role in BLACKPINK is as its main rapper. LISA must do far better on her rap–focused songs, right?
As it turns out, this is the album’s second biggest weakness; none of her rap songs are particularly inspiring or distinctive either. Songs like “BADGRRRL” (“Feels like a Lambo from the way I whip it”), “Lifestyle” (“This, that, mm, she make millions / That’s that, mmm, fuck your opinion”), and “FXCK UP THE WORLD” (“Only do things that are makin' history / tryna make moves that’ll make ‘em miss me”) feature extremely overused rap tropes of making money, being a bad bitch, and being number one at something. That’s not to say other current rappers don’t do the same, but LISA adds little to nothing that makes these clichés interesting. Heck, even her mixed–reviewed debut single “LALISA” sounds more diverse than most of the tracks on the album, as the song includes sounds and instrumentation signifying her Thai heritage and identity.
Furthermore, “FXCK UP THE WORLD” is one of the two songs on the album that oddly includes both a featured version and a solo version, each representing an “alter ego.” Future, who makes a rare crossover outside of the rap sphere, has a fiery verse on the track that is removed in the solo “Vixi” version. Megan Thee Stallion, too, had her verse removed from the quirky “Rapunzel,” producing a one–note, uninspired solo “Kiki” version of the song tacked onto the end of the tracklist. While it’s understandable that LISA might rarely get to perform the songs with either of the two artists, it’s frankly a little insulting that two renowned rap artists get removed from these songs, taking away what would otherwise be the saving grace from the tracks in favor of two non–distinctive alternative versions.
I would like to reiterate again that LISA is a charismatic performer. Anytime she’s offered the opportunity to perform, like at the VMAs or the Victoria’s Secret fashion show, she can sell any song with great choreography and a fierce attitude. It’s just a shame that one of K–Pop’s best performers produced an album that feels so devoid of the passion that we see in the performances.
Her BLACKPINK bandmates, though each with their own flaws, sound genuinely interested in developing their craft. JENNIE’s Ruby showcases genre diversity paired with an artistic vision of self–development and vulnerability. ROSÉ’s rosie, while lyrically immature and underdeveloped, carries over a sense of authenticity of her “girl with a guitar, singer–songwriter” persona. JISOO, who is understandably more focused on her acting projects, still plays into her tongue–in–cheek personality and cool–girl aura in the tight AMORTAGE EP. LISA, on the other hand, takes a “throw it at the wall and see what sticks” approach on Alter Ego, without ever really stepping out of her comfort zone.
So where does the Thai rapper go next from here? There are a few spots in this 15, nay, 13–track album that she should explore further. Her duet with Tyla, “When I’m With You,” showcases LISA balancing swagger with vulnerability. Slower tempo songs like “Chill” and “Dream” are cases where LISA’s vocal color is utilized correctly, offering a warm and dynamic performance with a refreshing cadence. If LISA wants to retain her braggadocious persona, “Elastigirl” mixes her rapping ability with confident vocals, even if it still relies heavily on the bad girl image she’s curated.
LISA is still a blossoming artist, and it’s clear that she wants to diversify her portfolio. In addition to releasing Alter Ego, LISA also found herself a role in this wild season of The White Lotus, where audiences are praising her acting abilities. Clearly, as she has demonstrated time and time again, she wants to make her way to the top. Let’s just hope that next time, she does a little more editing and is less afraid to explore the edges of her musical abilities.
