Song Review: Natty – Nineteen

Girl group fans will likely know Natty as a contestant in both Sixteen (which went on to form Twice) and Idol School (which formed fromis_9). She has the unlucky distinction of being eliminated in episode eleven of both series, which has got to be maddening. But now, after five years in the public consciousness, she’s finally debuted as a solo artist with the single Nineteen.

Few performers can make it as a convincing solo artist in the K-pop idol world. Groups have so many personalities and charms within one package, ensuring that fans will rarely become bored. A solo artist has to grab attention all on their own and maintain it through the space of an entire song. In this regard, Natty has plenty of charisma in her arsenal. Nineteen positions her as a trendy dance singer while asserting her refreshing youth and energy. In this way, the track’s overall approach reminds of 2017’s Sixteen by fellow trainee-turned-soloist Kim Samuel.

Nineteen may not have Brave Brothers at its helm, but the producers here manage to harness a satisfying funk, highlighted by some well-placed bass guitar and touches of strings. The song has a welcome breeziness to it, whipping itself into an easy hook that layers Natty’s light tone in satisfying fashion. The pre-chorus breakdown is Nineteen’s main calling card, offering a rhythmic detour that pairs that aforementioned guitar with a catchy refrain perched halfway between melody and hip-hop. And although the track’s verses are definitely less energetic than its chorus, their structure is tight and memorable. This all adds up to create a song that was worth the long wait. Hopefully, it’ll be the start of a promising turnaround for this survival series veteran.

 Hooks 8
 Production 9
 Longevity 8
 Bias 8
 RATING 8.25

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8 thoughts on “Song Review: Natty – Nineteen

  1. .
    This is the bass line that Chungha “Stay Tonight” is missing.

    I don’t think I am in the target demographic, so except for that awesome bass line, it doesn’t do much for me emotionally. It’s cute.

    Intellectually, it sounds like it is aiming to be like BoA Number 1 and Atlantis Princess. Vocally, that little baby nasal is very similar. = However = … … So, a side story, which may be urban legend. Tom Jones was interviewed about his song “Sex Bomb” many years ago. He had the lyrics changed from “I’m your sex bomb” to “you’re my sex bomb”. That little bit is so that the audience is part of the fun, and it isn’t just about Tom Jones. Everyone dancing along is pointing at the next person, you are my sex bomb. He is now 79 years old, still singing it and getting everyone all sex bombing boogie-ing. BoA, You are my number one, you’re still my number one. And then there is BoA performing her earlier hits, she smiling, smizing, half laughing, charisma set at 11, using every single expression of her body and soul to include everyone in on the party. I feel like Natty is hitting her marks, smiling! But between the lyrics “Nineteen, its you” meaning the number 19 not you ooo ooo, and charisma set at 8 or 9, it is a fine debut but the next one should be extra.

    Liked by 1 person

  2. Yes, I totally agree with you. I wish her all the best. This girl has so much potential and I hope the company utilizes it fully and plays to her strengths in the future.


  3. I’m really enjoying this new trend of having a minimal, bass driven drop, but in songs like this it has a flaw. After a build up of energy in the bridge, we lose all of that when we return to the minimal chorus. Then the song relies on the second part of the chorus to dial the energy back before the end. I noticed the same thing in Cignature’s Assa. Dal Soobin’s Ketchup had a similar problem for me.

    In the final chorus in this I wanted ad libs, or more bombastic instrumentals or something. From 2:47 to 3:01 it loses so much steam.

    As a side note I know she rhymes “Nineteen” with “Cruising,” but I hear “Christine” and I prefer it that way.


  4. Something about this video and song reminds me of LOONA’s predebut discography. Maybe it’s the nasally vocals, the various little production flourishes, the solo dancing in way-too-aesthetic alleyways. I’m gonna call this a high-quality LOONA song, and a middling-to-decent quality solo song.

    I’m digging the bass groove, but I don’t love the one-note chorus that floats on top of it, and her voice also doesn’t do anything for me. Still, I appreciate her for doing a dance track, and I’m rooting for her to go far after all the setbacks she’s faced.


    • There are only two good one note choruses out there.
      Shinee Lucifer
      SuJu Sorry Sorry

      Many others have tried, and many have failed.


  5. I like the song but it feels like it’s waiting to blow up and constantly building towards something. I think it needed a stronger, more robust chorus. There is some unleashed potential here.


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