ATEEZ' Longstanding Interest in Latin Music Comes Into Focus

Brazilian funk, Latin trap and reggaeton are not genres typically associated with K-POP, however on its latest EP "GOLDEN HOUR : Part.5," ATEEZ places those sounds at the center of its musical identity, continuing a direction the group has built over several years.

On June 26, ATEEZ unveiled their 14th EP "GOLDEN HOUR : Part.5," another installment to the GOLDEN HOUR series which has been ongoing since 2024. This time, the title track "BAD" was described to have a Brazilian funk sound which interested audiences as Latin sounds and inspiration have over the years come to the forefront of ATEEZ's sound. Alongside this, the B-side "MAMACITA" also incorporated Latin trap and reggaeton sounds with recurring Spanish lyrics.

This musical direction did not begin with "BAD." Songs such as "ARRIBA" introduced reggaeton-inspired rhythms and Latin brass, while "WORK" and "BLIND" expanded that palette through Spanish lyrics, Latin percussion and dance-oriented grooves. Rather than treating Latin music as a one-time concept, ATEEZ has gradually incorporated different regional styles across multiple releases. In this case "GOLDEN HOUR : Part.5" builds much of its identity around these Latin influences.

Since debuting in 2018, ATEEZ has become known for exploring a wide range of musical styles across its discography opposed to just limiting itself to a single concept. Songs such as "Wave" incorporated Afrobeat influences, "The Real" blended traditional Korean instrumentation with hip-hop, "Guerrilla" leaned into industrial rock, while "BOUNCY (K-HOT CHILLI PEPPERS)" introduced Western-inspired guitar riffs and country influences. This willingness to experiment with different regional and genre-specific sounds has helped the group not just build a diverse international audience but also has allowed the group to continue to define ATEEZ' unique sound.

Moreover, the music video for "BAD" reinforces the group's musical direction through its visual storytelling. Set in familiar neighborhood spaces, the video features bustling streets, local barbershops and community celebrations that mirror the neighborhood settings that many Latin American viewers were able to recognize. Especially as it seemed to depict the same types of scenes and dramatics that a classic 1990s Latin American telenovela would have. That tied alongside the song's Brazilian funk foundation, expand the album's Latin influences beyond just the music itself, with many fans viewing them as evidence of an appreciation that extends through more than surface-level references.

ATINY (ATEEZ's fandom) and Latin American listeners alike took to social media to share their reactions to the comeback. Many praised the group's continued exploration of Latin music, with comments including, "It has that ATEEZ signature style. They're still leaning into their Latin style music which lots of fans wanted." and "ATEEZ incorporating the latino culture in their music will do it for me every time." While mainly all of these responses were positive, there were some Latinx fans who were a bit hesitant about ATEEZ' use of Latin American culture when they have barely had any activities within the continent as of late.

Some fans questioned whether the group's continued use of Latin musical influences felt at odds with its limited activities in the region in recent years. A fan wrote "I want you to explain to me HOW does a group that claims to love Latin America so much... It's been three years since ATEEZ came to Brazil…" while another also highlighted their frustration about the lack of activities in the continent claiming, "What's bothering me is to see them do a whole concept while not even adding a latam leg in the tour. They skipped us entirely on the last tour and it won't be pretty if they still don't come after this comeback."

Debate also emerged over the recurring Spanish lyrics featured throughout the album. Some audiences questioned whether the inclusion of individual Spanish words and phrases added meaningful cultural context. Others, however, argued that evaluating Spanish differently from the English expressions commonly found throughout K-POP applies an inconsistent standard. English words have long been incorporated into Korean lyrics for rhythm, style and memorability, regardless of grammatical completeness. In that sense, some audiences viewed ATEEZ' use of Spanish as part of a broader songwriting convention rather than something unprecedented, particularly given the group's continued incorporation of Latin-inspired music across several releases and the fact that this is not the first time the group has used Spanish words or lyrics within their songs.

While those concerns have been echoed by some fans, others argued that a lack of recent Latin American activities does not also necessarily reflect the group's appreciation for the region or the music that has influenced its recent releases. Throughout multiple interviews, the members have spoken positively about Latin music and their desire to continue exploring different genres. Tour routing, however, is ultimately shaped by a range of logistical and business considerations, including venue availability, promoter partnerships and scheduling which often require months, if not years, of planning. As a result, many fans view the group's musical direction and touring schedule as two separate discussions rather than direct reflections of one another.

Although some fans continue to hope ATEEZ's appreciation for Latin music will eventually be matched by more activities across Latin America, much of the conversation surrounding "GOLDEN HOUR : Part.5" centered on the music itself. While opinions differed on the group's use of Spanish lyrics, many audiences noted that multilingual lyricism has long been a hallmark of K-POP. Ultimately, it was the album's willingness to distinguish these genres between each other rather than treating Latin music as a single aesthetic which led many listeners to view the comeback as a reflection of the group's growing appreciation for the genres themselves.