RM’s ‘Right Place, Wrong Person’: All 11 Songs Ranked

Just like RM himself, French-American duo DOMi & DJ BECK is challenging to define. Their instrumental-focused work garners Grammy nominations and collaborations with the likes of Herbie Hancock and Busta Rhymes. Bringing their talents together on the “? (Interlude)” is a far-too-short intermission with great promise via synthesizer, drum, and flute combinations.

With the song’s title meant to represent RM being brutally honest and pulling out his deepest stories, “Groin” lets RM step slightly back into his original “Rap Monster” moniker and away from BTS’ English-speaking representative attending meetings at the United Nations. While some parts of the song get repetitive and feel like they lessen his messages, there is a heavy dose of clever wordplay; it’s refreshing to hear a scrappier RM again, and it shows that no matter how mature one may get, parts of our younger selves remain.

In the shortest interlude on the record, RM simply asks the listener, “When the credits roll, do you hang tight?” before adding, “I’m so grateful for everyone’s time/ Hope you all had such a wonderful night.” There are many ways to take the phrase. Are you a moviegoer rushing to return to your life after being transported for a few hours? Or are you someone who lets experiences wash over you after they finish? Or do you take time to recognize all the people who helped create the movie you’ve experienced?

The allegory can even extend its meaning for TV shows or concerts (when many K-pop concerts roll a credits video at a show’s end, including the entire tour and management staff). It’s a quick and quirky cut but can elicit intense conversation and introspection.

The opening track flips the album’s title and establishes the thematic tone of exploring misalignments through decidedly alternative production. With its mishmash of echoes, yelps, and vocal loops over the ever-changing synth work, “Right People, Wrong Place” sets the fluid and continuous narrative of the LP that’s more reminiscent of RM’s gorgeously lo-fi mixtape mono., released in 2018, than anything from his past solo or BTS work.

RM shared how he’s “very angry” in the first three tracks of RPWP with Track No. 3, “out of love,” encapsulating some of his most shocking but relatable ires. Over stomping, industrial hip-hop production, RM’s distorted vocals repeat “My life is out of love” and speaks to the people constantly watching and berating him, even if they mean well. Pairing worries in living up to expectations alongside a reference to Radiohead’s melodic slacker-anthem “Creep,” RM speaks to a loss of hope in the track until the final line where he realizes what remains when he says, “You can f-ck my body/Can’t f-ck my mind.”

While RM hasn’t ever revealed specifics of whether he’s been in a romantic relationship, the subject matter of “Nuts” put into the context of multiple times he and Jimin speak to “so many things” that happened to RM personally in the past couple months on MMM point to at least some couple quarrels. “When it comes to love, she could be an all-nighter/ Best gaslighter, no man could ever fight her,” he slurs at the top of the record before admitting he’s an exemplary match. “When it comes to money, he could be a damn fighter/ Best gaslightеr, no woman could stop him.” Despite the unhurried basslines alongside RM’s leisurely and playful delivery, the star shared that “Nuts” represents one of his “really angry” songs, showcasing another aspect of the dichotomy he’s representing on Right Place, Wrong Person.

One of the longest tracks on the LP, “Around the world in a day,” begins with RM and indie soul singer Moses Sumney playing around, trading off lines and distorting their vocals before cutting to a rock star-rap performance at the halfway mark. The final 30 seconds of the track close with layered, acapella harmonies with a title like “Around the world in a day,” also representing the wide range of alternative genres tackled across the stunningly cool standout.

The centerpiece of Right Place Wrong Person, “LOST!” speaks to the BTS leader losing his way and needing to find himself solely on his own. Despite the serious subject matter, the lightness of the track’s lyrics and composition suggests that Namjoon has made peace in his journey. When he spits lines like, “I’m goddamn lost/ I never been to club before, I hit the club,” they can both feel relatable to anyone venturing into a new experience but also quite disjointed considering his rare experiences growing into adulthood as a K-pop idol.

RM spoke about how the past months making RPWP were dynamic in terms of highs and lows and there’s a sense of near mania in “LOST!” in the second verse when he shares, “Every morning, every night, I always feelin’ lifeless/ And in the morning, I feel love, I hug it in excitement.” The multitudes and range RM shares in the album’s title track is one of the best representations of the dualities and juxtapositions found throughout Right Place Wrong Person with the playful and at-ease atmosphere making it perfect single material to reach wider audiences.

Despite rising to fame as a rapper in BTS, RM knows how to craft soft, delicate pop soundscapes. A big fan of shoegaze, “Heaven” is the airy standout on RPWP that’s like a sonic equivalent of resting one’s head on a cloud but feeling the thunder rumbling just below the surface. The all-English track sees the star acknowledging someone toxic in his life (“If that’s your delight/ Come ruin my vibe…/ You don’t need to hide it/ I know what you are”) who no cannot affect his unshakeable solace (“I’m feelin’ so good here with me/ Feelin’ so full here with me/ Everything’s untakeable/ My peace is unbreakable). It’s a rare moment of musical tranquility in Namjoon’s journey and truly begins the stunning second half of Right Place, Wrong Person.

“Come back to me” introduced Right Place, Wrong Person for RM to return to us in a more somber and reflective mood. With acoustic, folky production that wouldn’t sound out of place across alternative, pop, or adult-contemporary radio, the nearly six-and-a-half minute tune lets RM deliver a more laid-back, crooner type of performance. As the layers of his voice get more complex and free-flowing — with background vocals by Kuo Kuo of Taiwian’s Sunset Rollercoaster and the song’s producer OHHYUK from acclaimed Korean indie band Hyukoh — the instrumentation also becomes increasingly nuanced with additional percussion, guitars and bass elements added into a mix that grows fiercer and more emotional, but never overwhelming or messy.

A track that exemplifies the blending of cultures, languages, sounds and emotions, “Domodachi” boasts layers that speak to the introspective and multifaceted approach RM took to RPWP.

“Domadachi” is a combination of the Japanese words domo and tomodachi, which mean “thank you” and “friends,” respectively. The compound “Domadachi” roughly translates to “thanks, friends,” but the biting lyrics show the phrase’s sarcastic essence. RM’s explicit Korean and English verses, the primarily Japanese chorus, and as well as the rap from British rapper Little Simz prove the range of linguistic interplay to explore belonging by addressing friends, fans and critics who overemphasize the superficial. Little Simz delivers her verse to declare that “Simz and RM, man/ It don’t get bigger” but closes her final line with the Korean phrase “내 선은 넘지 못해,” or “You can’t cross my line,” speaking to the duo as boundary-pushing artists.

The offbeat production shifting through saxophone riffs, racing guitar licks, and ominous Japanese chanting through the chorus only makes the track all the more intriguing of a listen with more treasures to find the more the listener digs. (And it’s so worth it to dig)