Hwasa María Album Review: Why This Solo Debut Surprised Even Hardcore K-pop Fans

Hwasa María album review scores reveal a stunning achievement - an 8.9/10 overall rating with three perfect 10/10 songs, something rarely awarded by critics. Released on June 29, 2020, through RBW, this debut extended play marked Hwasa's official solo introduction to the K-pop world beyond her Mamamoo identity.

The album, named after Hwasa's baptismal name, features five diverse tracks including notable collaborations with rapper Zico who produced "Kidding" and DPR Live who features on "I'm Bad Too". Surprisingly, despite being her first mini album, María demonstrated remarkable commercial success by debuting at number five on the Gaon Album Chart and selling over 47,000 copies in its first month. The hwasa maria album tracklist includes two powerful singles - "Twit," which reached number one in South Korea, and the emotionally charged title track "María," both contributing to the intense fan reaction that followed its release.

Hwasa’s Solo Debut: Background and Release Timeline

Before becoming a critically acclaimed soloist, Hwasa established herself as a powerhouse vocalist within Mamamoo. Her solo journey officially began with the release of "Twit" on February 13, 2019, which showcased her distinctive style and vocal prowess. This pre-release single immediately captured attention, topping charts and demonstrating her potential as a solo artist.

From 'Twit' to 'Maria': The Solo Journey Begins

The path from "Twit" to her full EP took approximately 16 months, during which Hwasa continued performing with Mamamoo while carefully crafting her solo sound. During this period, she collaborated with various artists, furthermore honing her unique musical identity that would eventually define the María album. Her company, RBW Entertainment, strategically planned this gradual introduction to establish her individual artistry apart from her group identity.

Why 'Maria' Is Named After Her Baptismal Name

The album title holds deep personal significance as "María" is Hwasa's baptismal name given at birth. She chose this name deliberately to reflect the album's introspective nature and personal narrative. This naming decision signaled to fans that the project would reveal more vulnerable aspects of her identity, beyond her public persona as Hwasa of Mamamoo.

Teaser Campaign and Pre-Release Buzz

RBW orchestrated an extensive teaser campaign beginning three weeks before the album's release. The campaign featured concept photos, video snippets, and a tracklist reveal that generated significant anticipation. As a result, the "María" music video accumulated millions of views within hours of its premiere, while pre-orders exceeded initial projections, indicating the strong market response to Hwasa's official solo debut.

Tracklist Breakdown: Song-by-Song Review of the María Album

María's seven-track collection stands as Hwasa's most sonically diverse offering yet, blending dance, R&B, and Latin pop influences throughout.

Intro: Nobody Else – A Sonic Rollercoaster

"Nobody Else" opens the album with an atmospheric journey beginning with natural water sounds and eerie synths before transitioning to piano accompaniments. Subsequently, the track intensifies with heavy percussion before concluding with a powerful dance instrumental—all while Hwasa delivers lyrics about self-reflection and inner darkness.

Maria – The Title Track's Emotional Core

Written in A Minor at 129 BPM, "María" brilliantly merges trap and synth elements with an upbeat Latin pop bridge. The song's lyrics address the mental health challenges of fame, essentially functioning as a conversation Hwasa has with herself.

Kidding – Zico's Playful Production

Produced by Pop Time and ZICO, "Kidding" delivers a playful R&B melody with distinctive 90s influences. The track begins with acoustic guitar before shifting into a groovy, jazz-infused beat that perfectly complements Hwasa's expressionless delivery of lyrics about infidelity.

Why – A Crunchy, Western Pop Ballad

"Why" embodies Western pop sensibilities with its suspenseful verses and robust, crunchy chorus. This dynamic contemporary ballad incorporates trap synth elements while exploring the emotions of unrequited love.

I'm Bad Too (ft. DPR Live) – A Lighthearted Collab

This collaboration originated after Hwasa featured on DPR Live's work, creating a mutual admiration. The track maintains a lighthearted atmosphere despite addressing relationship frustrations, with DPR Live adding brotherly perspective to the narrative.

LMM – A Soul-Stirring Ballad

"LMM" (Lost My Mind) showcases Hwasa's vocal range through a breathtaking orchestral arrangement centered around piano and violin. The music video portrays her surrounded by arrows—symbolizing criticism—yet finding inner strength.

Twit – The Pre-Release Hit That Set the Stage

Concluding the album, "Twit" features bouncing trap beats and tropical house elements. This pre-release single effectively balanced Hwasa's rapping abilities with her powerful vocal performances, establishing the foundation for her solo journey.

Musical Style and Composition: Genre Blending in María

The sonic landscape of "María" reveals Hwasa's musical versatility through an intricate fusion of genres rarely combined in mainstream K-pop.

Dance-Pop Meets Latin and R&B

At its core, María seamlessly integrates dance-pop foundations with R&B sensibilities and Latin-inspired rhythms. This triple-genre approach gives the album its distinctive character, setting Hwasa apart from typical solo ventures. The deliberate genre-blending creates emotional contrast throughout the EP, allowing her to express both vulnerability and strength across different musical textures.

Trap and Synth Layers in 'Maria'

Written in A Minor with a tempo of 129 BPM, the title track "María" masterfully layers trap-influenced beats beneath atmospheric synths. The song shifts unexpectedly into an upbeat Latin pop bridge section before transitioning to orchestral string arrangements. Hwasa herself noted, "Just like my previous song 'Twit,' 'Maria' has a touch of sadness on top of an exciting beat".

Orchestral and Acoustic Elements in 'LMM'

"LMM" stands apart through its orchestral composition centered around piano and violin. This soul-stirring ballad creates what critics described as "a flowing ocean of sounds", providing space for Hwasa's vocals to expand and breathe. The instrumental arrangement complements the song's emotional narrative about losing oneself.

Zico's Influence on 'Kidding'

Zico's production on "Kidding" introduces a playful R&B melody with distinct 90s personality. The track begins with acoustic guitar and chirpy vocals before dramatically shifting to a funky, minimal bassline paired with jazz piano sequences—an unusual combination in K-pop. This production approach showcases Hwasa's versatility in navigating complex musical arrangements.

Commercial Performance and Fan Reception

Upon release, "María" rapidly achieved impressive commercial milestones, solidifying Hwasa's position as a formidable solo artist beyond her group identity.

Gaon and Billboard Chart Rankings

The EP debuted at number five on South Korea's Gaon Album Chart, with the title track securing the top position on domestic music charts. On international fronts, "María" maintained presence on Billboard's World Digital Song Sales chart for four consecutive weeks, climbing from 22nd to 13th position. The track peaked at number two on Billboard's K-pop Hot 100, number 79 on Japan Hot 100, and claimed sixth position on the World Digital Song Sales chart.

YouTube Views and Streaming Stats

"María" became Hwasa's first solo music video to reach 100 million YouTube views, achieving this milestone in approximately four months and seventeen days. The video later surpassed 200 million views in just 310 days, making it the fastest MAMAMOO music video to reach this mark. Additionally, the album recorded massive streaming success, receiving platinum certification from Gaon Chart after exceeding 100 million cumulative streams, and similarly dominated China's QQ Music platform with over 100 million streams.

Critical Acclaim and Fan Reactions

The title track earned Hwasa multiple prestigious awards including "Best Dance Performance - Solo" at the 2020 Mnet Asian Music Awards and "Best Digital Song" at the 2021 Golden Disc Awards. Time magazine notably stated that "of the solo releases [that] year, Hwasa's 'María' leaves the most searing impression". Spotify ranked her fourth in their "2020 Most Played Female Korean K-pop Artist" list, confirming her widespread appeal.

Why Even Hardcore K-pop Fans Were Surprised

Even devoted K-pop enthusiasts expressed surprise at the raw vulnerability displayed throughout the album. The EP effectively deconstructed Hwasa's fearless public image, instead portraying "a young woman who is at once vulnerable and confident, playful and seductive—idol and human". This authentic approach challenged industry norms, particularly through its honest portrayal of mental health struggles amid fame.