Jennie has always been BLACKPINK’s wildcard – an effortless trendsetter, a symbol of cool detachment and fiery intensity. Yet, her solo career before ‘Ruby’ felt hesitant, as if she were testing the waters rather than diving in. That changes now. Jennie has long been known for her icy rap flow and effortless charisma, but ‘Ruby’ expands her artistry.
She leans into R&B, hip-hop, alternative pop, and even acoustic elements, showing she’s more than just a BLACKPINK member branching out – she’s an artist with a distinct voice. At its best, ‘Ruby’ is an exhilarating listen that proves Jennie is capable of much more than she’s been given credit for.
The album’s opening track is unexpected – soft, dreamy, almost weightless. ‘INTRO : JANE with FKJ’, produced and written solely by Jennie and FKJ, feels deeply personal, her voice floating over delicate synths and lo-fi beats. It’s a prelude to the emotional depth that follows, a moment of calm before the storm.
If there’s a defining moment of ‘Ruby’, it’s ‘Like JENNIE’. Produced by Diplo and co-written by Zico, the song is a brash, self-referential anthem where she fully embraces her star power. It’s built on a crisp drum loop and bouncing synths that give it a club-ready feel. The standout moment comes in the second verse when Jennie delivers the only Korean-language moment on the album. Otherwise, the structure moves quickly, jumping straight into the chorus after just 10 seconds, which makes the song feel slightly rushed. However, its confidence is undeniable.
A change of pace, ‘start a war’ has a dreamy, melancholic quality. The layered harmonies and soft falsetto in the chorus bring a SZA-like vibe, making it Jennie’s most vocally impressive moment so far. The instrumental is understated – slow R&B percussion, subtle electric guitar – but it complements the song’s mood. The lyrics are some of the album’s most compelling, depicting a toxic love that’s both destructive and irresistible. However, the track lacks a true climax, which keeps it from being as emotionally impactful as it could be.
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‘Handlebars (feat Dua Lipa)’ is an undeniably feel-good, summery anthem with Dua Lipa. The funky bassline and pulsating beat and the song’s carefree energy are infectious, as Jennie croons, “I heard that fools rush in / That’s me”, capturing the reckless thrill of falling for someone too quickly. While it doesn’t push any boundaries sonically, it thrives in its simplicity. It’s the kind of track that’s easy to put on repeat, making it a definite highlight. The chemistry between the two pop stars is undeniable, their voices weaving together over a pulsing, retro-tinged beat. It’s a track made for blasting in the car with the windows down – effortless, confident, and infectious.
Produced by K-pop star producer Dem Jointz, ‘with the IE (way up)’ leans into hip-hop, featuring a bouncy beat and cocky lyricism. There’s a nod to J.Lo’s ‘Jenny from the Block’, and the chorus is one of the most addictive on the album, built around a confident, rhythmic delivery rather than a traditional melody. The production is top-tier, but the song feels more like a flex than a fully fleshed-out concept. It’s fun and dynamic but lacks depth.
Next up, ‘ExtraL (feat. Doechii)’ – now this is how you do a feature. Doechii’s high-speed verse is electric, pushing Jennie to match her energy. The production is tight – stuttering hi-hats, aggressive bass, and a distorted vocal loop that runs through the background, creating an almost chaotic energy. Jennie’s delivery is sharp, alternating between playful taunts and rapid-fire rap. It’s one of the collaborations where Jennie doesn’t fade into the background – she holds her own and thrives, with a perfectly fitting partner.
A sleek, confident track that feels made for strutting down a runway, ‘Mantra’ was written by hitmaker Billy Walsh (behind Post Malone’s ‘Sunflower’, ‘Circles’, and other hits). The production is clean, driven by a bouncing bass and claps that build tension. Jennie’s vocals are restrained, almost teasing, making the eventual drop into the chorus more satisfying. “Pretty girls don’t do drama, unless we wanna” is the kind of cheeky, quotable line that makes this song stand out. Mantra is catchy, anthemic, dripping in confidence, and undeniably catchy.
A smooth, intimate track, ‘Love Hangover (feat. Dominic Fike)’ brings out Jennie’s most R&B-influenced and organic vocal delivery yet. Dominic Fike’s influence is evident in the mellow, guitar-driven production, which gives the song a breezy, late-night-drive feel. Jennie sounds the most natural here – her voice glides over the track effortlessly, and the melodies are some of the best on the album. It’s a song that grows on you, revealing more depth with each listen.
Industrial, minimal, and hypnotic, ‘ZEN’ stands out for its stark production that plays with tension. The beat is minimalist, built around heavy stomps and metallic percussion. Jennie’s delivery is detached, almost robotic, adding to the track’s eerie feel. It’s an intriguing experiment, but it feels more like an interlude than a fully realized song.
Produced by Mike WiLL Made-It, ‘Damn Right (feat. Childish Gambino & Kali Uchis) oozes 90s R&B nostalgia and allows each featured artist to bring their signature style to the mix. Jennie’s vocal tone is softer here, floating over the beat rather than cutting through it, and Kali Uchis follows with her signature breathy vocals, seamlessly transitioning into the song’s second section, adding a dreamy, almost ethereal quality. Toward the end comes Childish Gambino, delivering a sharp, conversational rap verse that plays with cadence and rhythm. The song ends with Jennie taking back control, repeating the hook with more intensity, giving the track a satisfying full-circle moment. While Damn Right might not have the flashiest production, its effortless coolness and seamless collaboration make it one of Ruby’s strongest moments for R&B lovers.
‘F.T.S.’ is one of the most defiant moments on Ruby, acting as Jennie’s direct response to scrutiny, criticism, and public expectations. Over sparse, eerie synths, Jennie delivers a biting performance that feels both rebellious and exhausted. The track is a cathartic vent session, blending frustration with empowerment, making it one of the most emotionally charged songs on the album.
‘Filter’ is one of Ruby’s most introspective tracks. The production is relatively subtle at first, with soft synths and a steady beat that gradually builds throughout the song. However, the real highlight comes in the latter half, where the beat speeds up unexpectedly, shifting the energy and adding a sense of urgency to the message. Jennie sings, “I love me more… with no filter”, making it clear that Filter is about her self-acceptance and authenticity.
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One of ‘Ruby’s most atmospheric and immersive songs, ‘Seoul City’ is a love letter to both the city and Jennie’s own identity within it. Produced by Mike WiLL Made-It, the track blends moody synths, a deep bass groove, and layered vocal effects to create an almost hypnotic, and cinematic effect. Her vocal performance here is more controlled, almost whispered at times, allowing the song’s production to carry much of the mood.
‘Starlight’ is a song of contrasts – it starts as a ballad, slow and emotionally driven, before shifting into an upbeat, percussion-heavy groove. This transition is one of the album’s most interesting structural choices, giving the track an unpredictable energy that keeps it engaging. Starlight is not the most lyrically intricate song on Ruby and the main transition is smooth, but the melodies aren’t as memorable as the album’s best tracks. It fits well within the album’s vibe but doesn’t stand out individually.
The closing track, ‘twin’, is one of Ruby’s most intimate and heartfelt moments. Built around acoustic guitar and minimal instrumentation, it has a rawness that sets it apart from the rest of the album. The production is subtle, with a slight country influence, allowing Jennie’s voice to take centre stage, and there’s a warmth to the track that makes it feel deeply personal. Lyrically, Twin reads like a letter to a past love or a once-close friend, reflecting on the complexities of human connection. The song’s message is bittersweet, and it’s a fitting way to end ‘Ruby’ – quiet, thoughtful, and deeply personal.
9/10
Words: Maria Letícia L. Gomes
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