At its best, a live performance can captivate the audience with a single measure. It’s called “live,” after all, because it allows singers to bring their songs to life. Even casual fans may find themselves revisiting those unforgettable memories, singing along with the songs they heard and wishing they could experience them in person all over again. That speaks to the strength of live performance, which is dynamic in a way that can never be totally recreated by a studio recording.

That’s what my experience with Sung Sikyung was like. I vividly remember the first time I saw him perform live. Until I saw him as part of my work on Bae Chulsoo’s Music Camp, where I work, I’d always thought of Sung as only being a decent singer. For the same reason, I showed up with measured expectations that day. But his vocal performance at the studio was unbelievably good. His sure-footed intonation and smooth transitions between falsetto and modal voice offered no room for criticism. I berated myself for rushing to judgment before I’d even given him a shot.

Sung’s powerful stage presence may help explain his nickname “Moda Sikyung,” which was coined after a concert in 2004. This soft-spoken balladeer’s attempts to hype the audience with some energetic but clumsy footwork on Smiling Angel, his only dance song, were memorialized in a meme that continues to circulate the Internet to this day. That may be how I became enamored with watching Sung’s live performances, which can be played as often as one pleases on his YouTube channel. Of the many types of playlists on his channel, I enjoy watching two in particular: one focusing on dining, the other on live performances. Since I love chowing down on good food as much as listening to music, I’m fond of both lists, but I keep coming back to the live performances because of their high level of quality.

Sung’s live renditions are no simple affair — he’s not just crooning over prerecorded arrangements. Rather, he’s singing along with live performances of a range of cover songs, including memorable versions of Somethin’ Stupid and You’ve Got a Friend, which surely deserve a place in the pop pantheon. Sung often invites friends and colleagues to join his ad hoc ensembles. A perfect example is his recent rendition of Kim Kwangjin’s masterpiece The Letter, which I found remarkably moving. It’s the kind of performance that makes you think — this is the beauty of music. Another selling point for this playlist is that it covers the hits that everybody should know (and not just Sung’s fans): songs like On the Street, Touched, The Road to Me and We Are Pretty Well Matched. Whichever video you choose, I bet you’ll have a similar response.

People often play up the importance of songwriting, but in the end, a song is only as good as its singer — as Sung’s career makes clear. After all, the best song in the world can be spoiled by a poor performance. Sung’s vocal talent ensures pretty much all his songs maintain a certain quality. The finest example in my mind is On the Street. The song made a lasting impression on me and still seems to encapsulate the ballad genre all these years later. Even now, I find myself firing up the song, which I can only describe as the perfect ballad. If somebody were to ask me to recommend a single Korean ballad, I suspect this is the one I’d offer. The song combines Sung’s unembellished vocal delivery with the soulfulness of Yoon Jongshin, who helped write the song and lyrics. It’s the kind of song that can trip you up during karaoke if you’re not fully prepared for it. The lush melody and the high notes in the chorus are really tough to pull off. When I took a shot at it, I thought my throat was going to give out. A good singing voice is an undeniable talent. I wish I had that: better luck next life, I guess.

It’s hard to believe, but Sung is now a seasoned singer with nearly 30 years under his belt. In a country as fast-paced as Korea, it’s not easy for a popular artist to maintain success on the charts after so many years, but Sung has achieved that feat. When he released his eighth album ㅅ (Siot) in 2021, it shot up several charts at the same time, showing that he’s as popular as ever. Sung never neglects his music, not even when he’s sipping on soju and enjoying a hearty bowl of gukbap (rice served in soup) at a diner during a YouTube filming session. To sustain a long-running career, chasing trends isn’t enough: you’ve got to have a firm command of the basics as well. That goes not only for popular media but for life in general.

The Road to Me (2001)

This was Sung Sikyung’s first single, as well as the song that made his name. His unassuming yet tuneful voice announced that a new star had risen in the constellation of Korean balladeers. In the early 2000s, when this song came out, ballad melodies tended to linger in a high vocal register. But Sung and composer Kim Hyeongseok focused on the pleasant resonance of the middle register, turning out songs that would stay fresh even when played on repeat. A debut single can’t be a mere song — it must be a vehicle that transforms a nobody into a singer. In that respect, The Road to Me enabled Sung to forge a distinct musical identity for himself.

HeeJae (2003)

Composed by Yang Jungseung, this song appeared on the soundtrack of the film Scent of Love. If The Road to Me is a soothing song that keeps its emotions under wraps, then HeeJae puts its heart on its sleeve, echoing the film’s anguished narrative. The song’s yearning is maximized by naming it after the film character who suffers a tragic death. I’d say that this song best illustrates the melancholy tenor of Sung’s vocal technique. If you need proof, just ask any of the people who have been touched by the song without ever having seen the film.

Two People (2005)

Two People would have to be near the top of a list of Koreans’ favorite wedding songs. Intoned over sparse instrumentation, the lines “Clumsy and lacking as I may be, / I’ll always remain by your side” have an aching sincerity that can touch the heart like the greatest of songs. Sung’s voice fits perfectly with the uncomplicated acoustic guitar plucking, suggesting that Sung’s fundamental genius lies in evoking the greatest emotion from the simplest of arrangements.

IVE, REVIVE+

Girl group IVE’s second studio album exudes a collective energy, breaking with the individualistic bent of their earlier work. Along with the smoldering charm of the double title tracks, which are EDM-influenced and a shuffle groove, the group’s six members each have solo tracks, demonstrating their willingness to take risks to achieve their goals. This album treads a tightrope between curiosity and anxiety as part of the group’s unending quest to break the mold.

Lang Lang, Piano Book

This album by world-renowned pianist Lang Lang contains masterpieces by classical greats such as Beethoven, Debussy and Chopin. It also doubles as a guidebook to piano music, featuring a piano arrangement of the Korean folk song Arirang.

J. Cole, The Fall-Off

J. Cole returns with an album looking back on his musical evolution as he scrutinizes it from the distance of a decade. The punchlines on these minimalistic boom-bap and jazz beats showcase the introspective mood J. Cole has brought to the rough-andtumble rap genre.

Yunchan Lim, Bach: Goldberg Variations

Yunchan Lim evokes the life of J. S. Bach. His appeal is distinct from Glenn Gould’s idiosyncratic recording, marked by a divisive habit of humming. True to its name, the Goldberg Variations offer infinite variety for interpretation as demonstrated by Lim in this live recording at Carnegie Hall.

Various Artists, Bridgerton Season Four (Covers from the Netflix Series - Pt. 1)

This album from the Netflix original series Bridgerton creatively attempts to marry modern-day pop with classical orchestration. Tracks that give today’s tunes a classical makeover bridge the gap between the period setting and contemporary sensibility, leading us gracefully into the ballroom.

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