Sometimes it is impossible to single out a favorite MBLAQ song. But when I start to focus on specific criteria, like written and composed by G.O, for example, it narrows the selection. And even though I love each and every one of his songs in and of themselves that he has written and composed, it is 봄여름가을 그리고. . . [Spring Summer Autumn and . . .] that I must single out as my absolute favorite.
When I sat down to write this post, I thought about which performance of the song I would use and although it may have seemed obvious to choose the performance from the Curtain Call shows of November 2014, I decided upon the performances of the song from the June 2015 Omiya shows when MBLAQ took the stage for the first time as a trio.
Because this song is attached to much sadness found both in the story of the song itself, and the fact that it was on the 7th and final mini album MBLAQ recorded as a five member group (Winter), it would have seemed a painful choice for MBLAQ to place in the playlist of their very first appearance as a trio.
But a beautiful and melodic ballad is what G.O knows best. What he feels the deepest, it would seem. I watched him achingly sing this song, a song he wrote for five voices, at Curtain Call. All of the emotion of what was going on with the group coursed through him like a live wire seeking to be grounded. However, that is how he sang every song those two nights in late November 2014.
At Omiya in June 2015, however, much time had passed. The emotion was still evident, but the pain perhaps lessened somewhat. G.O approached the song with a quiet restraint that he let build gently. As is true overall, being soft and gentle is often more powerful than being course and rough. 봄여름가을 그리고. . . [Spring Summer Autumn and . . .] was as equally powerful with three voices as it was with five.
I wanted to run into you at least once
I hope fate will bring you to me just once . . .
Ok, on second thought, maybe the pain was still very much there. This pain. This sadness. This heartbreak. All are facets of a cruel muse that ignite G.O’s creativity. On one hand, I want to hate her for what she does to him. She is relentless and often shows him no mercy.
On the other hand, perhaps he doesn’t mind. For when he sings his songs, they become pleas that allow her to release him, if only briefly or, . . . if only until the next song.