LISA’s PRESS PLAY: Between Thai identity and global pop
Once an artist becomes a sensation on a global scale, there is pressure in terms of reinventing themselves without losing what made them unique at first. In LISA's case, where her popularity is due to the success of the girl group BLACKPINK followed by a more individual development, PRESS PLAY represents a new challenge of making music that both differs from and reflects what she had done prior to that moment while using more elements of her Thai culture. Pressed for release on October 23, 2026, through RCA Records (exclusive license provided by LLOUD Co.), the EP does not mark the artist's entry into the industry but rather explores the possibilities that have been available to her already.
In about 16 minutes and 20 seconds, PRESS PLAY ranges from aggressive rapping to melodious choruses and danceable tunes, and from a more atmospheric sound to more dance-oriented production techniques. The EP consists of six songs: “SaWaDiKa”, “V12”, “Cobra”, “Tarantino”, “Cut U Off”, and “Sweat”. Each of them has a distinct creative personality of their own, forming a kind of universe within an audiovisual concept. The idea itself is impressive, yet whether the music lives up to the expectation remains questionable.
LISA, whose real name is Lalisa Manobal, started her solo discography in 2021 with the song "Lalisa". The first solo studio album by LISA titled Alter Ego was released in February 2025, just two months after the artist revealed her deal with RCA Records in April 2024. This move was very significant as it showed that there was a plan and a structure in the work that she wanted to do independently of BLACKPINK. PRESS PLAY, the first solo EP from LISA, comes almost one year and eight months after her debut solo studio album, making it part of a well-established discography and less about proving herself as a performer.
The notion starts with a problem of identity. As reported by Billboard and Complex, in her appearance on The Tonight Show Starring Jimmy Fallon, LISA stated that the EP is about her story, about who she was and who she became. Moreover, the singer drew attention to the fact that there are Thai elements in the EP. Every song, LISA said, has its own vibe, but at the same time all songs were conceived as elements of one big experience, which is similar to watching a movie. The album title "PRESS PLAY" clearly encourages listeners to dive into the EP and think of songs as elements of some bigger artistic work.
This is an interesting point of entry for discussion, although a concept does not equate with completed composition of music. The film is capable of shifting moods as its scenes contribute to the development of the narrative. The EP needs to create comparable relations through sequencing, arrangement, motif and performance. PRESS PLAY reveals its cinematic vision especially in visuals; however, whether the songs make a cohesive flow is an issue for debate.
It should be started with the opening song “SaWaDiKa”. The title is the Thai greeting that translates to “hello”, which is pronounced in the form of sawatdee kha. The song was released prior to the release of the EP, and singles tend to introduce some characteristics of the artist. In case of “SaWaDiKa” it means that this song highlights her cultural identity. The music video was shot in Bangkok where LISA was born. This song was directed by Bang Jae Yeob and features the recognizable places of Bangkok, dynamic choreography, costume changes and Thai boxing references.
From a musical perspective, this song incorporates this cultural allusion into contemporary pop-rap music rather than isolating it from this tradition. According to Complex, the song involves strong rap accompanied by heavy bass and sharp percussion, whereas InMusic commends her confidence and energy in her delivery of the message. Consequently, one can say that this song involves an introduction that is based on the concept of presence: the greeting turns into an easily memorable line that is repeated until it becomes almost a declaration of the singer.
Nevertheless, there is some difference between visibility of the heritage in the lyrics and deep exploration of it through music. “SaWaDiKa” manages to introduce the elements of the Thai identity in the vocabulary of the song; however, it lacks evidence of its deep involvement in the culture of traditional Thai music in terms of instrumentation and music itself. “SaWaDiKa” can be said to represent cultural positioning of the singer.
The same quality is also responsible for the diverse critical reactions to the hook of this song. LOS40 underlines how memorable the hook of “LISA” is and how much attention the rap of LISA receives. Other reviews wonder if the hook still works after repeated hearings. It is obvious that one more problem of the modern popular music is the repetition which helps to form collective consciousness but makes development impossible due to lack of transformation of the song.
“V12”, the second song, focuses on power and movement forward. According to LOS40, the main elements of the song are bass, silences, different types of vocals and cool rap performance. This combination of the elements forms interesting interaction of the physicality of the song with its calmness. There is no necessity in continuous increasing of the energy for creation of the feeling of power. It can also be achieved via restraint and control.
While the title hints at mechanical acceleration, its exact meaning in terms of the plot is still up for interpretation, not a stated goal of the creators. However, from a music point of view, what is important is how the arrangement exploits this theme by means of increased rhythmic density, interruptions, and vocal phrasing. The use of silence and variation makes the song interesting enough; yet, in order to make it successful, their interaction within the limited time frame is needed.
“Cobra”, taking the third place, has more evident dance appeal. According to LOS40, its production is infectious, and its chorus is easy to remember, as the track interpolates Missy Elliott & Timbaland’s “Pass That Dutch”. This connection puts the track into the context of hip-hop music characterized by the performance which is full of rhythm and movement. In comparison with the cultural background of “SaWaDiKa”, the rhythmical performance is much more important for “Cobra”.
The interpolation provides a clear example of a musical reference; however, it does not prove the track to be a nostalgic one. It is important due to the correlation between a clear lineage of hip-hop music and LISA's performance as an artist. The song's value is determined by the way the connection is turned into an identity of its own, not just a reference.
"Tarantino" is the most obvious manifestation of the EP's filmic nature and the main track of the album. Its music video shows LISA trying to bring a letter to her favorite director Quentin Tarantino through all the difficulties and action scenes. This particular video has a clearly stated goal and story which makes it more evident than mere stylized performances in a row, as the premise was reported by Sony Music Japan and The Korea Herald.
This is crucial. While cinematic imagery is merely decorative, a story necessitates an effort towards achieving an aim, and the video does precisely that. LISA is both a performing artist and protagonist moving around the fictitious space where action plays a defining role. Although the title hints at a certain filmmaker, it would not be reasonable to argue about the fact that the video uses a certain distinct style of cinematography typical of any specific Tarantino’s movies, for it is a shot-by-shot comparison that can determine that. The success of the video is that it transforms the theoretical concepts of the EP into an actual story.
The track adds another dimension to the talk about LISA’s performance style in relation to rap music. In their October 23 review, Ratings Game Music called the sung chorus one of her best vocal tracks so far and pointed out the fusion of different styles like pop, K-pop and rock. This idea reveals an essential difference between the style of “Tarantino” and the rest of the EP, where the rhythmic delivery of vocals is used more often.
That does not necessarily mean there is a marked advancement in singing technique. That would take an analysis of past works in relation to such aspects as transition from singing to rap, articulation, dynamics, and the creation of melody lines. However, what it shows is that LISA has a recorded identity that goes beyond the elements of her performance that we have seen before. Perhaps the biggest achievement of the song lies in giving room for all of the skills to coexist.
“Cut U Off” is the fifth track and takes us from cinematic actions to personal isolation. According to Ratings Game Music, it is a song about deciding to get away from an old friend, whereas LOS40 sees an ominous start, where a whistle linked to Elle Driver in Kill Bill: Vol. 1 is heard. The link creates an ominous atmosphere and brings the connection between the song and the whole EP without depending on the video of “Tarantino".
The production adds another element to the story. The description by Ratings Game Music includes vocal panning, harmonies, and dynamics, whereas LOS40 mentions the change in sound towards something light and airy following the introduction. These production decisions impact the placement of the voice in the mix, affecting the perception of distance and density. Such a contrast can be seen as an evolution from tension towards detachment, representing separation as a deliberate choice instead of an emotional conflict that is yet to be resolved. However, no solid evidence exists that would support the assumption that the lyrics narrate a particular event from LISA's life. The more plausible interpretation lies in the relationship between the topic of the song and its production context.
The last track, “Sweat", provides a completely different type of closure. LOS40 describes it as the most laid-back song on the EP, featuring an atmospheric production that includes the instructions related to stretching and breathing. Ratings Game Music pays attention to the subtle texture and spatial effects used in the track, making it immersive in the process. The confrontation characteristic of previous songs is replaced with a focus on the body and the surrounding sound.
Its placement in the last track implies that the EP can be understood as a transition from making claims to liberation. This reading is suggestive but far from being conclusive; neither the title nor the atmospheric ending could guarantee that the EP contains some coherent message beyond its tracks. However, “Sweat” presents another kind of presence, a presence that is less related to the claims and more related to the textures and sensual experiences.
This diversity of the performances shows that the EP was produced collaboratively. Among other people involved in the EP creation are such people as Thom Bridges, Dem Jointz, Ojivolta, Johnny Goldstein, and 8AE. Kuk Harrell was responsible for the vocal production, while Manny Marroquin got the credits for the mixing. Different production crews were involved in each of the six tracks, namely Thom Bridges and Ojivolta in “SaWaDiKa”, Dem Jointz in “V12”, Johnny Goldstein in “Cobra” and “Cut U Off”, and Dan Farber in “Sweat”. In “Tarantino”, Thom Bridges works with Beau Nox.
The credits published by Qobuz indicate that LISA is credited with writing and composing all six tracks. The “SaWaDiKa” song is listed with more writers and composers: Danny Chung, Raul Cubina, Rachel West, and Mark Williams. “Cobra” is also credited to Missy Elliott and Timbaland. These sources provide evidence of collaboration in creating music but do not say anything about how ideas have emerged, how many contributions people have made, and who was responsible for making the creative decisions.
There is an earlier account of LISA’s working process to contextualize the described collaboration. In her October 5, 2026 interview with Billboard on the trailer of Always Lalisa, she told about the difficulty of stepping out of the production and writing environment in South Korea and working with different producers and songwriters who did not know her yet. She had some problems showing her vocal skills since she felt uncomfortable working in an unfamiliar environment. The mentioned information cannot be used as proof of the difficulties in making PRESS PLAY as the documentary covers only the creation of the EP Alter Ego.
The critical opinions about the EP tend to focus more on its strengths when it comes to production than on its success as a consistent piece. AsInMusic says, its tightness, variety of styles, and link between the Thai background of LISA and her solo artist identity are praised. According toRatings Game Music, the vocal work of “Tarantino”, the space effects of “Cut U Off”, and the soundscape of “Sweat” are notable; however, there is a doubt concerning the cohesiveness of the pieces. Showbiz by PS, which reviews the EP in its October 23 article, believes that several songs feature recurring themes, and “SaWaDiKa” has become less powerful because of this repetition.
These opinions concern an issue more important than the question whether the chorus is catchy. With its 16 minutes and 20 seconds,PRESS PLAY does not have enough time to waste on any extra lyrics, however, it does not mean that brevity guarantees precision. Short format helps to accentuate the main idea of the song, but at the same time, it may make it difficult for the lyrics to develop properly, the instruments to be transformed and the moods to change gradually.
The cinematic theme of the EP creates a common context, but the strength of the EP comes from the songs that create the connection between the sound, the performance, and the presentation of the music. “SaWaDiKa” introduces LISA’s Thai background; “Tarantino” creates a link between her vocal performance and a certain visual story; “Sweat” brings the trilogy to a close by means of atmosphere instead of action. In other parts of the project, the diversity becomes clear, though the exact narrative function of “V12”, “Cobra”, and “Cut U Off” remains open to speculation rather than being a clearly identified part of the larger narrative.
In this way, the project of LISA reflects the larger trend in the development of the global pop. Since the members of BLACKPINK continue building their individual careers along with the collective, each separate work should develop a certain artistic language without breaking away from the tradition, which makes such a development possible. In this way, LISA combines her Thai background, pop-rap from around the world, her melodic singing, and cinema-inspired presentation. It does not have to create something new to become significant, but the significance lies precisely in the dialogue.
In its totality, however, PRESS PLAY becomes most fascinating in its capacity to be analyzed as an inquiry into the nature of an artist's identity than as a declaration of having reached somewhere. Its six songs present varying styles of presence, ranging from the cultural presence in “SaWaDiKa" to the theatrical in “Tarantino" and the ambient in “Sweat". While the cinematic theme offers a common language for all these styles, the question of cohesion remains partially unresolved. What the EP proves most of all is that LISA's solo career progression is not so much about breaking free from an existing group identity as it is about selecting what pieces of herself to emphasize, what languages to speak.
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