COVER STORY: Eric Nam Brings His Sound to India

On an oddly cold and rainy day in my city last week, I was tearing my hair over an unstable network shortly before this interview. That night, at 10:30 p.m. IST, Eric Nam was joining me on Zoom to go over his impending gig in India at Lollapalooza 2024. And there he was, just in time; only the anticipatory anxiety in me came true thanks to awful weather and spotty internet. We got off to a shaky start, and Nam was like, “Sorry, I didn’t catch the second part of your question” and “Could you please repeat? It’s choppy” a couple of times while I whistled in the dark to keep it cool. However, and thankfully, better along the way, we had roughly a 40-minute conversation—unfolding a freewheeling artist. One wearing his heart on his sleeves through music, who creates what he feels, is willing to challenge himself persistently, explore unchartered territories, and loves India—he is “so stoked” to finally return to India.

How does connecting with an Indian audience [live] make you feel ahead of the concert? I ask, “I’m very, very excited. I have been looking forward to this,” he says. Anecdotally, he hasn’t been back to India since 2011. “I imagine there’s a lot that has changed in 13 years, and I’ve never performed in India either. So, I’m very curious, I’m very excited, and it’s with a lot of anticipation to know what the crowd in India will be like. But more than anything, I think that for the fans who are there to see me, I’m going to bring out a lot of the old hits but also some of the new ones, and we’re going to have a good time and dance, hopefully like no one’s watching,” he adds.

The Asian-American singer-songwriter, performer, and media personality has come a long way. Setting off through the Korean TV show Star Audition: Birth of a Great Star 2, which unveiled a career in South Korea (2011–2012), he headed to release his maiden EP, Cloud 9 (2013). En route, he gained steam as a host alongside subsequent music releases, a slew of international tours, and significantly more, consolidating his renown over time.

It’s been quite an experience, though. He went out without a map, relying only on his gut and what he was feeling. “Nothing in my life acquainted me with doing music until I just did it,” he remarks. Nam was supposed to be a consultant and an analyst at Deloitte. So, he took this big leap. “I had to go to Korea to build a career to then be able to try to reverse and generate back in the States and use that like a pop artist but also like a K-pop artist, to, like, you know, tour the world and do shows like Lollapalooza. It has been a while.”

I cock an ear closer to my laptop as Nam opens up about his journey, what his sound essentially captures, and how impacting people remains the centerpiece of what he does, while simultaneously comprehending the need to be at peace with what he maintains is so important—that he should create something and people should listen to it. “Creating is a form of therapy for me. I have to create for myself, and I have to be selfish,” he says. And in a bid, he has been on it, making a career that feeds his artistic passion but navigating challenges in the process—one being how the world sees him.

I ask him about it and a gamut of other things, working way up into the exchange—like, he’s been seeking answers to questions raised in his songs—striving to live up to his full potential and pursue success, happiness, love, and other objectives. He has always had a fascination with trying to understand cultures and places that seem so different, for instance. Stands to reason his interest in visiting India. “It’s also literally on the other side of the world.” “So, it feels so distant,” in his words, yet he feels connected in that with some of his Indian friends, he shares a commonality of values and morals.

As it turns out, Nam is never done indulging in his heartfelt explorations and experiencing the world—his current stop is India, and he dubs the whole thing a “fun process,” also one that he can “learn from and feel a lot out of.” It encompasses how he makes himself distinct and manifests with what he creates and puts out. And his honest replies incrementally reiterate that. Here are the condensed excerpts.

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Engaging with and experiencing the best of both domestic and international music has become what Lollapalooza is. Any specific artist or performance you’re looking forward to?

I’m looking forward to Kenny Beats. I’ve heard some great things about his show. I’m also obviously very excited for my friends, The Rose. We have been on tour pretty much on the same timeline, but we haven’t been able to catch up with each other. So, I’m hoping that I’ll be able to see them.

And then Sting [Obviously]. He’s a legend, and I think younger audiences might not realize how much he has influenced so many songs and music and how cool it is to be able to hear him and Kenny both of them.

And then finally, OneRepublic is a band that I loved when I was growing up, particularly in college. I went to see them in Boston when nobody knew about them, and I was like, “Oh my God, this is great!” I have seen them multiple times, but I haven’t seen them since college. So, I’m very excited to hear them.

As a Korean American guy from Georgia, traveling to Korea to be able to tour, sing, and perform all over the world must have been crazy and time-consuming. I would like to hear more about this experience.

Yeah, I mean, it has been a crazy ride, you know. I think the hardest thing has been that there isn’t a blueprint and there are a lot of people who have had to do it the way that I have had to do it because to be specific, there aren’t many Korean-American singers or K-pop artists. And so, for so many of us, we are figuring it out as we go because we haven’t traditionally fully belonged in either category. We haven’t fully belonged in Korea, and we haven’t fully belonged in America, but somewhere in the middle. And to have to create a career path and a trajectory of how the world sees or treats you is a challenge. And that’s a challenge on top of the challenge of being or becoming a musician in and of itself. So, it’s been very complex. But I think it’s been a lot of great learning and I want to say, I was trying things I haven’t done before which has been hard but at the same time rewarding.

Does your concert repertoire include a song that you always have to perform?

There’s like two or three, that we always have to do. “Love Die Young” is one we always have to do, and “Honestly” is another one that we always have to do. “Honestly” was like K-pop but doing it on my terms, and then “Love Die Young” was my first English release that was part of my first English album.

After the show, do you have plans to spend a little more time in India—maybe visiting some places, exploring the city, sampling Indian food?

I absolutely would love to. However, I am straight off back to another schedule; I have some shootings that I have to do. But I guess I would be there a little bit early. I have a few days, so I’m hoping to try the food and explore some of the places when I get there early. So, I am very excited about that.

You mentioned your affinity for Indian culture and music in one of our previous interviews. I’m curious about when and what exactly piqued your interest in things Indian.

First of all, India is massive. And so, I feel it’s a place you can explore forever and always come across new things. I think that’s something I remember because India is so big and overwhelmingly large and there are so many people; it’s like, where do you even begin? It’s overwhelming to think about and process this. But I’ve always had a fascination with trying to understand cultures and places that seem so different. That’s why I was very interested in visiting India in the first place, and once I got there, I realized, “Wow!” The movies are so different, the songs are so different, the colors, the fashion—everything is so different. And not that I even have a baseline understanding of what’s going on, but to be in it, be open to it, and try to embrace it—to me, it’s a very fun process. But also, one that I can learn from and feel a lot out of. I think that’s always been my fascination, and again, I’m not very well versed, and I haven’t been back in so long. So, I’m very excited to go, to kind of do it all over again and to try to experience as much as possible.

Is anything new coming soon in terms of an Indian artist you’re collaborating with?

I can’t tell you [laughs]. I don’t know exactly what’s going on, where, or how yet. But, you know, if and when there is, you’ll be the first to know; Rolling Stone India will be the first to know.

You have been making incredible content where you give artists, especially those from K-pop, a platform to be transparent and honest about their mental health and personal lives. Was there a personal reason behind you creating this property, or because mental health is just so relevant?

I think we started it because people in our community wanted it. We were having a conversation about a podcast, and our community was like, “We like this content,” and for us, we were like, “Oh, okay,” but “How do we do this? How do we figure it out?” because everybody is talking about it in a way that is helping them and enjoying the stuff that we are doing, so we were like, “Can we make it more structured and make it a platform and more sustainable?” At the same time, for me, it was very scary when we were going through the first iterations of it because I was talking about things that I had never talked about publicly. I was talking about my struggles, my pains, and my obstacles. And not a lot of people have done that, especially those coming from K-pop. So I was very nervous.

But you know, I’m very glad that we did it because, as I’m on tour and (as we’ve been doing activities with Mindset), we meet so many people who’d be like, “Thank you for what you do because this has positively impacted my life and my mental health,” and as an artist and as a person, impacting people through music, art, or a film is always like a big focal point of what we do. But to do it with the stories of who we are and what we’ve lived is also just as important and very valuable. So, yeah, that’s kind of how we came across that journey.

What do you think is the best way to sustain and thrive for an artist in a rapidly changing environment?

Honestly, it’s pretty difficult; it’s pretty challenging because media changes constantly and the platforms are changing constantly. Algorithms seem to be more important than ever, and I think that’s kind of the most difficult part. When I’m in a songwriting session or when I’m talking to my artist friends, we’re like, “Okay, but what is the algorithm? Can it feed people?” So, we have lost a lot of what feels like a natural discovery—people searching for good music and searching for what they like.

Our platforms are kind of a beat to us, and so that’s what I think is the trickiest part. We have to write and think in a certain way, writing for the algorithm. But that’s weird, for I think artists should be creating what is true and honest and resonates with them. So, that’s a challenging part. Also, people’s attention spans are so short. We so quickly forget what we watched and what we consumed, so our music is losing value in front of people. For most artists, we spend months and years working on something, and within a matter of a few hours, minutes, or days, it would be like moving on. So, I would be lying if I said that it’s not difficult.

There are times when it’s discouraging, and at times it gets very difficult, but the way I think about it is that creating is a form of therapy for me, something that I love to do and appreciate. And I just can’t create for other people; I have to create for myself, and I have to be selfish. That in itself is a very difficult thing to come to terms with, especially as an Asian-American. As an Asian, I feel we’re always told to mind our manners and think of other people and what people around us are going to think—that’s so much a part of how we’ve grown up. But in art and creativity, I think it is about “me.” It is about “I.” You have to be selfish. How does this make you feel? How do you want to create it? What do you want to say? What do you feel is so important that you should create it and people should listen to it? which is kind of at odds with how I’ve been raised and many others perhaps, and so, coming to terms with that and fighting for yourself and advocating for yourself is the thing that I’m learning, and at the end of the day, if I’m happy with it and feel fulfilled, then that’s all that should matter.

Over the years, your career has flourished, and you have engaged in a variety of activities, including singing, creating songs, hosting shows, doing interviews, and much more, to the point where you are also a household name on television. Have you ever felt that maybe this was negatively affecting your music?

I think there was a point when I was so busy doing other things that I didn’t have the time or the energy to put into music. That’s probably what made it most difficult and negatively affected my music. But it’s a catch-22 situation because I think the media and the world we live in thrive on trends like who’s hot and who’s not. So, the hardest part was that I had to do all these other things to create buzz and relevance and be on trend, but also create music, albums, and tour.

It’s just so many things to do at once. And that’s just kind of the life of a solo artist, which is very hard. I look at peers who are in a group, and if they have 10 members, one or two of them can do the TV, one or two of them can do the radio, and one or two can do YouTube—split the responsibilities. But for me, I never had that, so being constantly booked and busy, which is a blessing—don’t get me wrong, I’m very grateful—just made it hard to spend time on my music. I think that was difficult sometimes.

Your songs are deep and tell stories, I feel. Which song—that one—made you feel truly happy and convinced that it best captured your feelings, how you live, who you are, and your essence?

I think it’s going to be “House on a Hill,” because I think it is like a universal song for people who are living life in today’s time and age where we see so much and we’re exposed to so many things that we all have, like this goal, this northern star that we’re trying to get to.

It could be [literally] like a house on a hill; it could be some degree or job or wealth or a relationship, whatever it may be—that is the “House on a Hill.” What I’m trying to get there—the people around us, what other people have, the things around us—can be very distracting. It can seem and feel as if everybody has everything because the grass is always greener and the sky is always bluer on the other side. But, if and when you get there, you’re often left feeling like, “Okay, I have it; now what?” Like, “Oh, I have this beautiful crazy car that I thought I wanted, but the person next to me has a different color, like the newer model or the model with a little bit of an upgrade.” There is always going to be something bigger and better than what you have. And so, to me, I think it’s trying to say, let’s live in the now, let’s live in the moment, appreciate what we have already, and not too much worry about keeping up with our peers or the people around us and finding that happiness in the process or the happiness within you, which is, you know, a very complex thing to share within a three-minute song.

Even a few days ago, I was rehearsing and going through meetings and talking to people, and this idea kept coming up to me: just be grateful for what we have. We just have to be very, very grateful. So, that’s why “House on a Hill” might be the song that kind of best represents who and where I am right now as a person.

Your songs raise questions regarding life, love, and the spectrum of emotions one may experience, as you have pointed out on various occasions. Have you found an answer yet?

I think the answer changes every day. I don’t think there’s an answer, but even if there’s an answer, it’s important to think about it. If you’re pondering these thoughts and these questions, I think it channels your intentions and how you live your life. Because so much of what we pursue in life is these things. That’s why many of us live, work, study, and do what we do. To do it aimlessly may seem meaningless and not as fruitful. But I’m trying my best to live and be the best version of myself that I can be, pursuing happiness, love, relationships, success, and whatever it may be in the best way possible. I think that there is value in that.

When an initiative fails or you receive a negative review, it’s easy for an artist to become overwhelmed and start doubting things. What are your thoughts on this?

I think it’s more about finding value in the creation and the project itself than the reviews or feedback from critics or audiences. I think as an artist, you’re creating with the best intentions to tell your story or whatever it is that you want to express in the best way possible. And sometimes, maybe, that doesn’t come through. That’s unfortunate; you just have to figure out what you could have done differently to get that message across. But at the end of the day, you also have to take time and think it’s okay. You created what you felt you needed to create and put it out to the world. And there is value in just having accomplished that. There is value enough.

I think so much of our time in society we spend wanting the validation of others, and if we get it, it’s great, but I don’t think it’s the healthiest thing for that to be the only thing that we hang our hat on. And I think I learned that early on in my career because, even doing TV, I’ve done so many TV shows, either as a guest, as a host or as a cast member. And like, you want everything to be great; you want everything to be the buzz of the town, to be trending, and to get all the good reviews, but it’s not all in your power. There are so many other things that go into it. There are so many other people—there’s a director, there are other cast members, there’s the editors, there’s the music people—what time it is being broadcast, what network is it on, is there anything else competing? These things can apply to music as well, or anything that we put out. So, there are so many other things that are not in your control that just happen. You can’t change it, but you just have to accept it and say, “I put my best effort forward, and that’s all that matters.”

You also acted in the psychological suspense movie Transplant, correct? How did that happen?

I was on tour, and they were like, “Hey, there’s a great script that’s getting made in the coming months, and we think you should audition for it,” and so we did a lot of auditioning. A lot of reading, a lot of taping, and I went through this entire process, and I got the role, and we shot that. It was a very difficult project for me; I’ve never acted before. And like you were saying, it’s a psychological thriller, so it wasn’t an easy role. There was a lot to think about and a lot to process. I was stressed constantly, but I learned a lot. To me, it has kind of given me this curiosity about the world of film and TV and acting and writing. That’s kind of where I’d love to spend some more time in the coming years figuring that part out and challenging myself more.

Perhaps you’re thinking of doing a K-drama?

Yeah, I mean with K-dramas, traditionally I’ve always kind of said “no,” and I’ve always kind of stayed away because I wasn’t very confident in that, and I was like, “I don’t know if I can do a good job at it.” But now I’m feeling, “Why not?” If the right role comes up and if the right opportunity comes up, then I’ll just go for it and try it. I think what I have to be okay with is that I can’t control everything. There will be others, there will be writers, and there will be people who will work with me to make sure that I’m making the best choices as an actor in whatever role that I’m playing, and I just have to trust them. So, if they see it in me and I see it in myself, and we just trust each other, then we can try it out; we can try to have some fun on a K-drama. I’ll be down.

What are the things you wish you had understood earlier that you understand now?

You know, one thing I keep coming back to is saying to create for yourself and interest your gut instinct. I think that took me a long time to come to terms with. It’s like trusting your gut, believing in it, and giving yourself full authority. It’s hard because when you’re young and when you’re not experienced, you’re like, “Is this right?” Everybody seems like they are making things up in the process; it’s all about how they feel. But your feelings and my feelings are just as valid as anybody else’s. Maybe I’m not as experienced, but there is truth to that feeling and to that emotion. And so, making sure that you listen to yourself—I think that is invaluable, and it’s also what makes a great artist. I think someone very much in tune with their emotions and feelings should put that into a song, a TV show, a film, or something.

In the same vein, just start. Just start earlier. I think I was terrified because I didn’t know where to start or how to start. When I debuted, I was late. I was old, and people were saying I was old; I was 24 and they were like I was so old. I was like, “Oh! Okay, I guess I’m old, but I can still try.” But I wish that even if I started a few years earlier, who knows what my life would be like? I have no idea. But I would like to think that I would have had more experience under my belt.

What is your upcoming song, album, or project that you’re working on?

I have been touring a lot lately, so I haven’t had time to put out new stuff after “House on a Hill.” I’m still touring until May. I’ve tried to write a few things while I’m touring, but it’s really hard. So, for now, let’s just focus on putting on the best tour possible.

This year starts with India, and then we go through Asia in February, then Australia and New Zealand through March and April, and then let’s see where life takes me and how I feel. I think if anything, it’s about following that emotion, like what you want to create now. I think maybe there will be some changes in the musical direction. According to what I’ve been listening to recently, it has been very different. So, I think there might be some changes, but nothing that we have started or anything that we feel strongly enough for me to say like this is what’s coming.

Your message before the concert

I’m very, very excited! So stoked to finally be going back to India. I cannot wait to see everybody; I cannot wait to re-experience the people, the culture, the food, and everything about it. I hope everybody comes ready to dance, ready to sing, and have a good time, and I think that’s what music is about—coming together and having a really good time. So, I’m just really excited, but it’s going to be hot and humid, I think, so please stay hydrated, healthy, and safe, and I’ll see you soon!

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