In November 2022, barely two years after debuting, TREASURE faced the absence of two members all at once. The change forced the group to rebuild its vocal and performance axis simultaneously, and the prevailing view was that the team’s musical fabric would unravel. Three and a half years later, by May 2026, TREASURE had crossed 970,000 in cumulative attendance for solo concerts in Japan, became the first K-pop fan-meeting tour group to land on the Tokyo Dome stage, and watched its previous mini album LOVE PULSE rewrite its own ceiling with 1.13 million copies sold in the first week on the Hanteo chart — the group’s first-ever million-seller. And on June 1, 2026, they return to the genre that defined their debut identity: hip-hop.
After the regrouping into a ten-member lineup, TREASURE didn’t merely patch over a crisis. They turned it into a catalyst for self-reliance, secured a top-tier position among fourth-generation K-pop boy groups in the Japanese market, and earned a reputation as one of the most raw, hand-on-the-mic live acts of their generation. One month away from their sixth debut anniversary, NEW WAV — the fourth mini album — arrives as a declaration that the past six years have travelled toward this essence without a detour.
A Discography the Members Wrote Themselves
TREASURE’s most verifiable point of difference is built inside the writing room. Anchored by leader Choi Hyun Suk, the group’s self-production capacity ranks among the strongest in their generation. As of 2026, fan-compiled data from KOMCA (the Korea Music Copyright Association) credits him with at least 39 registered songs. He shares the writing credit on the debut title “BOY” and has his name on most of the group’s hit tracks since — “JIKJIN,” “BONA BONA,” “KING KONG.” His work extends beyond TREASURE: he contributed to senior YG artist LEE HI’s “1, 2” (2019), and to BABYMONSTER’s debut “BATTER UP” and “SHEESH,” signaling that YG Entertainment is using him as a core next-generation producer.
Yoshi and Haruto, the other two pillars of the rap line, trace the same arc. Yoshi wrote and composed “Stupid” on the second studio album REBOOT on his own, while Haruto, also a co-lyricist on “BOY,” has accumulated writing credits on “Whatever Whenever,” “Last Night,” and “Paradise.” Both members hold more than 30 registered credits as of 2026 fan tracking. The vocal line has opened up a seat as well. Asahi authored “ORANGE” (2020), the group’s first member-produced song, and five years later returned to write and compose the lead single “YELLOW” on the 2025 special mini PLEASURE — proof that the vocal line has crossed into the production room. Junkyu, after stepping into the credit roll with the second-album unit track “MOVE” (2023), now joins the production of “ZOOM ZOOM” on the new NEW WAV.
This pattern started before debut. The original plan limited members’ involvement in lyric and composition work, but during the months of delayed debut, work the members had quietly completed earned high enough internal marks that the policy shifted into full backing for self-production — an episode the group has surfaced in interviews. The result is that TREASURE laid down a self-production track before most of their generation had moved away from external producer dependency.
An Asymmetric Edge in Japan
The most pronounced curve on TREASURE’s global map leans toward Japan. “Here I Stand,” their first Japanese-original single released on March 29, 2023, reached No. 1 on the Billboard Japan Hot 100. The April 5 chart calculated it as a weighted aggregate of No. 2 in sales (313,370 copies), No. 17 in streaming (4,484,777 plays), and No. 2 in radio. Four months later, the second studio album REBOOT swept both the Oricon weekly album chart and the Billboard Japan Hot Albums chart at No. 1, while the Korean-language track “Bona Bona” reached No. 14 on the Billboard Japan Hot 100 — the highest charting result for a Korean-language track in Japan.
In Japan, the numbers gathered the weight of accumulation. The Recording Industry Association of Japan (RIAJ) has now certified TREASURE Gold Disc six times in total. The September 2025 mini album LOVE PULSE hit Gold (100,000 shipments) within a month and Platinum (250,000 shipments) by December. Solo concert attendance in Japan crossed 970,000 between January and August 2024, and the [PULSE ON] tour, which opened in October 2025, added roughly another 300,000 across its five Japanese legs. The Japan run closed on February 10–11, 2026, with two nights at Kyocera Dome Osaka drawing 90,000 attendees combined.
The most symbolic scene in this stretch is the Tokyo Dome on November 12, 2023. YG Entertainment’s official communication, citing Billboard Japan, described TREASURE as “the first Korean artist to land on the Tokyo Dome stage via a debut Japanese fan-meeting tour.” It happened less than three full years into the group’s career, and only one year after the ten-member regrouping.
A Live Show with the Microphone in Hand
While much of the fourth generation has poured itself into precision choreography and elaborate album-spanning narratives, TREASURE chose a different coordinate. The image they show most often on stage is members holding handheld microphones, delivering near-100% live vocals while keeping multi-member formations intact. They are also among the most active fourth-generation acts in pairing songs with live band sessions outside the studio mix. The “PARADISE” live band version performed at the SBS Gayo Daejeon on December 27, 2025, demonstrated on stage that the group’s existing identity can stretch into rock and funk territory.
At their first solo U.S. tour [SPECIAL MOMENT] in April 2025, held at the YouTube Theater in Los Angeles, media outlet The Knockturnal described the rap unit performance of “G.O.A.T” as “rap with nu-metal and rock influences mixed in.” On the same tour, the group also appeared at the GRAMMY Museum’s “Global Spin Live.” Across Southeast Asia, the same live identity reasserted itself. Beyond the 2024 [RELAY TOUR REBOOT] dates in Manila, Hong Kong, Bangkok, Kuala Lumpur, and Jakarta, the [PULSE ON] itinerary filled the same live format with two nights at Indonesia Arena in Jakarta and one each in Manila, Singapore, Hong Kong, Bangkok, and Kuala Lumpur.
The Saitama Super Arena show in November of last year was simulcast in over 100 cinemas across Japan and broadcast on Fuji TV’s CS satellite channel. The fact that the stage itself was deemed worthy of being a broadcast property is an outside-the-group assessment of how dense the live performance has become.
A Way of Not Closing the Box Again
All of these threads converge on the fourth mini album NEW WAV, set for release at 6 p.m. KST on June 1, 2026. Four tracks, all hip-hop in genre, with the title “IF I” anchoring “ZOOM ZOOM,” “NALLY-NA,” and “DANGER.” “NALLY-NA” carries the names of all three rap-line members — Choi Hyun Suk, Yoshi, and Haruto — side by side in its main credit, while “ZOOM ZOOM” is a track on which vocal-line member Junkyu joined the production. External collaborators include DEE.P, P.K, Kang Uk Jin, and a roster of overseas writers.
The album name WAV borrows the term for the lossless audio format. The meaning of capturing the original waveform without compression or correction sits alongside the trailer copy “No Limits.” Yang Hyun Suk has stated in a pre-release interview that “the members came to us themselves, asking to do hip-hop.” The group that began with the bright, electronic pop of debut, deepened through the rock and boom-bap textures of THE SECOND STEP, sharpened into the dark electronic palette of REBOOT, and softened once into the R&B-soul colors of PLEASURE and LOVE PULSE, now returns to YG’s classic hip-hop foundation — and the six-year arc reads as a single line.
The schedule immediately after NEW WAV‘s release is tied with the same thread. From June 19 to 21, 2026, the fan concert [TREASURE THE STAGE 2026 IN SEOUL] opens for three days at Korea University’s Hwajeong Tiger Dome in Seoul, followed by 20 shows across eight cities in Korea and Japan.
Six years ago, of the twelve boys whose names were first called in the box — YG Treasure Box — some went their own way, and the rest waited a long time before stepping back onto the stage. That first footprint was THE FIRST STEP. Six years on, the ten who remained as TREASURE answer with a way of not closing the box again.
Collecting TREASURE Albums & Merch from Overseas?
NEW WAV arrives in multiple versions — Metal, Street, and a Teume-exclusive edition among them — bundled with photocard exclusives, and the sixth-anniversary fan concert at Hwajeong Tiger Dome in June is likely to bring limited goods and new lightstick editions of its own. This is the season when the volume of Korea-only releases hard to reach from abroad gets noticeably larger.
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