ILLIT’s ‘It’s Me’ sparks debate over identity shift despite chart success

ILLIT has shaken up the music scene with “It’s Me,” the title track from its fourth mini album 'MAMIHLAPINATAPAI.' The song immediately topped Japan’s AWA chart upon release, ranked high on China’s QQ Music charts, and quickly claimed No. 1 on Korea’s YouTube trending music chart.

Despite the strong commercial response, the album has also sparked divided opinions regarding the group’s musical direction and identity. Beyond simple differences in taste, some listeners argue that the dreamy and “magical girl” image once associated with ILLIT has faded, replaced by colder and more mechanical techno-based sounds.

Within the fandom, reactions remain sharply split between praise for the group’s willingness to experiment and concern that ILLIT may be losing its original color. The discussion has expanded beyond the group itself, reflecting growing fatigue toward what some perceive as a recurring “HYBE sound formula” and a stronger desire for artists to maintain distinctive storytelling and individuality.

The title track “It’s Me” marks ILLIT’s first full-scale venture into techno-pop. Heavy kick drums and sharp synthesizer loops dominate the song from the opening verse, embracing the intense energy of club music. Compared to earlier releases such as “Magnetic” and “Cherish (My Love),” which leaned toward easy-listening sounds and pluggnb-inspired pop, “It’s Me” ventures deeper into electronic dance music territory.

Some critics view the shift as an attempt to reflect the global resurgence of rave-inspired music trends led by artists such as Charli XCX. However, others argue that the transition feels more strategically trend-focused than naturally tied to ILLIT’s established narrative.

The debate has also spread to the broader sound direction of HYBE-affiliated girl groups. Songs such as KATSEYE’s “Pinky Up,” LE SSERAFIM’s “Celebration,” and ILLIT’s “It’s Me” have drawn comparisons for their rhythm-driven techno foundations, leading some listeners to question whether multiple groups are beginning to sound too similar.

Still, supporters argue that ILLIT’s transformation is more layered than critics suggest. Earlier tracks such as “NOT CUTE ANYMORE” already hinted at breaking away from fixed expectations and embracing a more self-defined image. Meanwhile, B-side tracks like “GRWM” and pre-release song “Bubee” continue to preserve the group’s brighter and softer emotional style.

Many fans also point out that the group’s central message — valuing oneself and embracing individuality — remains intact even as the sonic presentation evolves. From this perspective, ILLIT’s experimentation is not an abandonment of identity but an expansion of what the group is capable of expressing.

Ultimately, the mixed reactions surrounding ILLIT reflect the larger challenge faced by many K-pop groups balancing reinvention and consistency in a fast-moving industry. Whether “It’s Me” becomes remembered as a temporary trend experiment or the foundation of a new ILLIT identity may depend on how the group continues to develop and communicate its evolving story moving forward.