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Home / News / Yseult vs Kpop: When Inspiration Borders on Imitation

Yseult vs Kpop: When Inspiration Borders on Imitation

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A few days ago, a new scandal rocked the Kpop world.
Another one, some will say. Yes, again.

But what’s going on this time?
Yseult, an independent French singer known for her hit “Alibi”, a collaboration with Sevdaliza and Pabllo Vittar, has found herself at the center of a heated debate surrounding the song “Damdadi” by Korean songwriter and DJ R.Tee, featuring Soyeon of I-DLE.

It all began on Twitter, when several users pointed out striking similarities between Yseult’s music video “B** YOU COULD NEVER”* and the MV for “Damdadi.”
As more fans began comparing the two side by side, from camera angles and choreography to visual motifs, the discussion quickly snowballed.


Observers noted that both videos share several nearly identical shots.
Both include a sequence where objects fall in sync with the beat, shelves collapsing, glass shattering, a visual moment that closely mirrors the tone of Yseult’s video.
Even the choreography feels eerily familiar: sharp, contemporary movements contrasting with stillness, framed in wide, symmetrical shots. From lighting choices to color palettes and narrative pacing, the resemblance is difficult to ignore.

Yseult, who remains fully independent and deeply involved in her creative process, took to Twitter and Instagram to defend her work.


Her supporters emphasized that as an independent artist, every aspect, the vision, production, and execution rests entirely on her, calling for both respect and acknowledgment.


On Twitter, however, the debate quickly spiraled out of control.
Words turned vicious, and hateful personal remarks flooded the feed, transforming what began as an artistic discussion into something far more toxic.


Amid the chaos, Soyeon, who only featured on the track, suddenly found herself dragged into the controversy.
Many demanded to hear her side, while her fans insisted she had no involvement in the creative direction, reminding others that she merely lent her voice to the song.


Still, that hasn’t been enough to calm the storm of frustrated fans determined to seek justice by any means necessary.

But this situation runs deeper than one MV.
It raises uncomfortable questions about how power, visibility, and artistic credit are distributed in the global music industry.

How many times has this happened before?
How many lesser-known artists have stayed silent, crushed under the injustice of it all?
Do they always get ignored?
Or, seeing a battle already lost, do some no longer bother to fight for their rights?
Is the system itself designed to keep them quiet?

And perhaps, as labels play gods, setting rules, claiming ownership over art and artists alike, we too have become complicit, watching in silence while creativity is traded for control.

Yseult and her fans continue to demand answers.
While the artists involved have yet to break their silence, the director behind the production described the situation as a “misunderstanding”, one he intends to clarify soon, assuring that none of the featured artists were involved in production decisions and that the matter will be handled transparently.


The debate hasn’t cooled.


This isn’t just about one song.
Plagiarism accusations in music are nothing new. But when an independent, Black, Francophone artist like Yseult raises her voice, the power dynamics feel impossible to ignore.

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