IU (Lee Ji-eun) is an artist who takes direct control over the entire creative process of her solo musical works—from lyrical content and aesthetic direction to sound structure.
The album Real (2010) marked the beginning of IU’s shift toward controlling her music production process. Palette (2017) solidified her position as an artist with full authority over songwriting and album production. According to Circle Chart, Palette sold over 97,000 physical copies in its first year and topped the digital charts for several weeks. The title track, a collaboration with G-Dragon (Big Bang), achieved a PerfeSmilect All-Kill—meaning it ranked No.1 across all real-time music charts in South Korea.
The lyrics in IU’s compositions tend to lean toward direct introspection, favoring narrative structures over abstract emotional expressions. Twenty-Three (2015) is a prime example: the song reconstructs IU’s image as someone under observation, analysis, and judgment—from the public to the media. She uses her lyrics as a form of antithesis, making herself the subject of dissection rather than evasion. The song sparked controversy due to its portrayal of the fictional character Zezé from the novel My Sweet Orange Tree. IU acknowledged the interpretation was contentious but did not alter her creative direction in later works.
IU has released songs in a wide range of genres: ballad, pop, alternative R&B, retro funk, synth-pop, and acoustic folk. For instance, Through the Night is a minimalist ballad built around acoustic guitar; BBIBBI features a sparse R&B beat and clipped talk-singing vocal style; LILAC is structured as a retro pop track with disco-inspired bass and synths reminiscent of the ’80s; while Eight blends pop-rock and alternative styles, with an emotionally charged chorus driven by electronic drums and layered guitars.
Her precision in rhythm placement and storytelling structure sets her apart from most performers in the K-pop industry. As noted by Billboard (U.S.) in a March 2021 article: “IU’s strength lies in her precision and narrative control.”
As of June 2024, the Korea Music Copyright Association (KOMCA) lists IU as the registered copyright holder for over 70 songs as a writer. Her catalog spans television OSTs, independently released singles, and collaborations—covering a wide spectrum of genres and formats.
IU is truly unique in that she independently determines every aspect of her music—something rare in South Korea’s entertainment industry. Songwriting for her goes far beyond expressing personal style—it’s a way to exercise full control over her work, from lyrical content to business strategy, all while maintaining the public image of an artist with a radiant smile that draws people in and makes her deeply relatable.
