Meet April Kim, one of the most sought-after translators in K-pop
On her first U.S. tour with soloist IU: "She took a risk by giving me this chance, and I felt like I had to give back to her"
April Kim (left) and IU at HEREH Seoul concert (right)
April Kim & 이지금 [IU Official]
Words by Daniel Anderson
The strength of any wave lies in its ability to gather momentum, fueled by the forces that propel it forward. In the case of the Hallyu, or Korean cultural wave, interpreters and translators are the unseen currents driving it to greater heights. As a journalist specializing in K-culture, I’ve seen firsthand how crucial these interpreters are, particularly in my own interviews with idols and actors. I couldn’t tell those stories without them. Where language can be a barrier, interpreters serve as vital connectors, bridging cultural and linguistic gaps between artists and their fans. They help create moments of understanding, allowing the heartfelt messages of a performance or the nuances of a joke to resonate accurately across different languages and cultures.
April Kim is one such interpreter, celebrated for her work at concerts and fan meetings with top K-pop acts like Taeyeon, SEVENTEEN, CN Blue, and Hwasa. Those gigs brought Kim virality, but her profile soared when she was personally selected by IU to be the interpreter for the soloist’s first-ever U.S. circuit of her HEREH world tour. Sometimes called Korea’s Taylor Swift, IU is a powerhouse whose every release dominates the charts. Queuing for IU tickets on TicketMaster is akin to a lottery where you may be 40th or 40,000th in line, with the latter being the most likely. By sheer luck of having fantastic friends, I managed to attend IU's Oakland show, which was a bucket-list experience for me—a true joy despite not feeling well the night of the concert..
From the live band to IU’s heavenly vocals and sartorial queenly dresses, every second was magical and absolutely worth the anguish to get there. Songs like “Eight” and “Palette” made me cry because of how much they mean to me. But beyond their beautiful lyrics, IU’s words to the fans were healing and will remain etched in my heart for a long time.
It’s all thanks to Kim that those words could be conveyed so warmly. I’ve attended many K-pop concerts, but Kim’s presence felt like an outstanding light. Her enthusiasm, ringing jubilant in every word, made the show all the more special. During live performances, she is offstage, translating the artist’s spoken words in real-time through the venue's sound system, ensuring that non-Korean-speaking fans can fully understand the artist. Through her translations, she captured the very spirit of IU, helping to forge a deeper, coveted connection between artist and audience.
JoySauce chatted with Kim over Zoom after the end of IU’s U.S. concert stops to learn more about her work as an interpreter, how she’s handling the newfound fame, and what her role means to her.
This interview has been edited for clarity and length.
Daniel Anderson: Tell me a little bit about your background and how you got started as an interpreter?
April Kim: I grew up in Korea until I was 18, then moved to Singapore in 2016 for university. Before that, I studied English at an international school in Jeju for about five years. My initial experience with translation and interpretation was actually in business settings, helping out friends or assisting at events where someone needed a Korean speaker. It was never K-pop related, and I never imagined I’d get involved in that world. However, I am a huge Taeyeon fan—she was the first artist I really fell for. You know how important it is to be imprinted by your first bias! My first concert was in Singapore in 2019, and that’s when I realized show interpreting was something I wanted to pursue. Before then, I didn’t even know it existed. After the pandemic, I started telling people I wanted to be a show interpreter for K-pop artists, especially Taeyeon. I kept putting it out there, and finally, in 2022, I got my first opportunity as a show interpreter for Seventeen's Be The Sun tour.
DA: And you made your dream come true when you interpreted for Taeyeon’s Odd of Love Singapore concert last year. Tell me about that.
AK: It was like a celebration for all of my friends. Everyone kept asking, “Did you get it? Are you going to do it?” I only got the confirmation three or four weeks before the concert, so the anticipation was intense. On the day of the concert, everyone could see how excited I was. On the last day, Taeyeon actually complimented my interpretation, which was such an emotional moment for me. I even burst into tears, but I managed to pull it together and finish strong. Afterward, I wondered, "What’s next? Taeyeon was my goal, so now what?" That’s when I started thinking about aiming for a world tour. Since most artists tour the United States, where English is the primary language, it felt like the next big challenge. It was ambitious because no interpreter from Singapore had done it before, but I thought, why not?
DA: And I heard you were personally chosen by IU to be her interpreter for her first U.S. tour, how did that come about?
AK: I’m really grateful to share this. On April 20 and 21, IU came to Singapore as part of her world tour, and we had an unexpected, fun interaction. She introduced me by name on stage, which no artist had ever done before. She’d been doing it for other interpreters on previous stops, but I was still nervous because I didn’t expect her to interact with me in front of the audience. Before the show, I’d suggested some Singlish phrases for IU to use with fans, like “Swee Lah,” which means “great job.” When IU tried it out, the audience didn’t get it at first because the tone wasn’t entirely correct, so she turned to me on stage and asked, “April, are you sure this is the right phrase?” I was caught off guard but replied, “Yes, it’s correct.” She laughed so hard, and I was like, “Is this even allowed?” But that interaction got a lot of love from fans. And during the encore, she asked me how I was feeling, then said she wished she could keep working with me. That was a huge, unexpected moment, because IU is someone who means what she says. I don’t ever do this, but after the show, I gave my business card to someone from her team and asked if they’d consider bringing me on for the U.S. leg of the tour.
Later that night, I was invited to the after-party, and since it was past midnight, it was officially my birthday. IU actually sang happy birthday to me! She also told me she liked my interpretation and would definitely contact me for the U.S. tour. Of course, I cried on my way home, but I didn’t want to get my hopes too high. In June, IU requested me to be her interpreter for the Kuala Lumpur shows. After that, when I was contacted about the U.S. tour, I was overwhelmed. I had several gigs lined up in Singapore, but the moment I got the call, I knew I had to go. I contacted the other events, apologized, and found substitutes, then flew to the U.S. to join IU on her tour.
DA: For your various gigs, whether it be MCing for a fan meet or interpreting for a concert, what kind of research do you do beforehand?
AK: Before diving into tour-related research, I always start by thoroughly researching the artist if it’s my first time working with them. I focus on understanding what topics they enjoy discussing, their recent interests, and most importantly, how they interact with their fandom. I look at the dynamics between the artist and their fans—what they enjoy most, the chemistry they share—because I believe my role as an interpreter is to be the bridge between them. It's not just about translating words but capturing the nuances, tone, and meaning of what the artist wants to convey. I never prepare differently on purpose, but watching previous fan meetings or concerts sets the tone for how I should interpret. It gives me a reference for the artist's recent interactions. The core principle, though, remains the same: fall in love with the artist’s work so that both the artist and the fans can feel my genuine care in my interpretation. The fans, especially the ones who understand Korean, can pick up on sincere inflections.
DA: And are there any differences interpreting for a solo artist vs. a group?
AK: I mentioned I did interpreting for SEVENTEEN, right? With 13 members, they're so energetic, love to talk, and are great at interacting. When interpreting for that many people, you have to decide when to jump in and when to interrupt. For solo artists like IU, I don’t interrupt—I let them finish their sentences, no matter how long, because my role is to interpret everything, regardless of the length. But with a group that knows how to have fun, I have to cut in so the audience can understand what’s happening. If I don’t, the conversation flows too fast, and it’s hard to catch up, which becomes an issue on my part.
It’s not about how comfortable or difficult it is for me as an interpreter—it’s about the audience. Yes, it’s my job, but the audience wants to know what the artists are talking about. Some fans love coming to group concerts because the banter is so much fun, it’s unfiltered, and they’re in the moment. My role is to make sure the audience stays on the same page. Sometimes it breaks my heart to interrupt them, but I have to. It’s like, "Sorry, I didn’t interpret this for the fans, I’m so sorry."
DA: And what kind of setup do you have on tour? What does the behind-the-scenes look like?
AK: Usually, the setup is the same. For concerts, I have one mic so I can interpret for both the artist and the audience. For fan meetings, there are two mics—one for the artist only, so they can hear me interpreting from English to Korean, and another for when the artist speaks to the audience and MC, which I interpret from Korean to English. The stage setup can differ, but for IU, I had one mic and was always on stage left. I don’t know if you’ve seen it, but there’s a video where I’m shaking my fan light like crazy during the last full scene—it was so much fun! I was near the audience, so some of them could see me.
DA: Speaking of having fun, having been a part of every stop on the U.S. tour, are you sick of listening to the songs?
AK: I actually tried joining the ticketing for the Seoul concert this time. I miserably failed. I wanted to attend just as a fan, not to work. As an interpreter, I can’t strain my voice, so I couldn’t really sing out loud—except maybe during "Through the Night." I kept it very calm, only screaming when IU was listening to the audience, but even then, not at full volume. I’d love to go to a concert and just scream my lungs out without worrying about my voice the next day.
DA: So even as IU’s interpreter, you couldn’t even get tickets for her Seoul encore show. What number were you in the ticketing queue?
AK: I was 41,000th. After 30 minutes, I moved up to 10,000th, but my internet crashed, so I had to reload. Suddenly, I was 80,000th. I tried again, but the website kept reloading every 10 minutes. Eventually, I decided to let it go. I figured others who haven't seen her should get the tickets. I accepted my fate, but it's tough when you're in Korea for a reason. So, I’m just listening on Spotify.
DA: For concerts, there are built in moments for the artist to talk to the fans, but how much of it is scripted and how much of it is organic conversation?
AK: One thing I really want to shout out to artists and their teams—it's not just one person's job, it's a team effort. They really adapt the script for each city. IU, for example, has a specific message for every city, which shows just how detailed their research is. The part where I interpret is usually organic, not scripted. So when she speaks, I usually take notes. For the tour, I switched to using a keyboard, it’s like that one typing cat gif. I get really proud when she speaks a lot of Korean. It means she's in the mood and trusts me to convey what she wants to say. Especially when she speaks in long paragraphs, I’m like, "Yes, give it to me, this is the moment!" So whenever she talks a lot or makes those cute sounds, I’m all in.
DA: As you mentioned, IU adapted her conversation to different cities. How was that for you adjusting to each cities’ vibe and nuances?
AK: The biggest challenge was finding specific local phrases, like slang or sentences that would resonate with each city. For example, in Chicago, we were really proud to discover "peak summertime Chi." The fact that we dug that out from the Chicago fans, the artist conveyed it, and the audience understood it—that’s what the whole team was aiming for, those moments. So, the challenge was figuring out if each state or city had slangs everyone could understand. For instance, in Washington D.C., they’d say "ate."
DA: And the Oakland show had fans barking at IU, what was your reaction to the barking?
AK: I’d heard about the "barking culture" on the West Coast, but it was my first time actually hearing it in person. I think everyone on our side was shocked. At first, it wasn’t clear what it was, and honestly, it sounded like booing. We were all confused, trying to figure out if it was barking or continuous booing. Then, the team near the audience confirmed it was barking, but it was so varied and not harmonized yet. Once we realized, we got excited and started enjoying it.
DA: It’s another viral moment you got to be a part of. As you’ve gone viral a few times now and have received recognition from these beloved artists, how are you handling the newfound attention? Does it bring extra pressure to your job because fans now know your name and face?
AK: Can I also give a shoutout to a couple of other artists who contributed to this fame? It’s not just IU who made this possible, but also Yonghwa from CN Blue. He blew me up on TikTok, and when I went to America, people recognized me because of TikTok, not just IU. I'm really grateful to him. Also, a shout out to Hongki from FT Island. He mentioned my name on stage spontaneously, which was really special. About the newfound followers and all the recognition, yes, I'm so grateful. This is something that I've never expected. As an interpreter, we are a shadow, and we're just our voice. The recognition eventually started to increase whenever I go to a certain show, people start to recognize me and then tag me. With it, comes a huge pressure. I'm already a perfectionist, and I already remember all the mistakes that I made. Now people record both good and bad things. So on the positive side, I get to listen to myself on the things that I'm proud of. On the negative side, I also get to listen to myself making mistakes.
DA: Is there anything you do to manage pressure and stress on tour?
AK: This was my first time doing a United States tour, as I’m usually based in Singapore or Malaysia. When I work in a single city, I only feel the pressure before the concert, and once it’s over, I can rest. But with the U.S. tour, I realized that after preparing for Newark, I immediately had to get ready for Atlanta, and then Washington, D.C. It felt like swimming—you breathe in, swim, breathe out, and then repeat. I became very conscious of conserving my energy and stamina. I avoided going out unless necessary, and brought my electric blanket from Singapore, knowing the temperatures would be lower. My goal was to stay in top health because it directly affects my interpreting and energy levels. On show days, I made sure to eat well, nap, and listen to positive affirmations to keep myself mentally and physically ready. The biggest fear I had was disappointing the fans or IU, who gave me this opportunity, so I did everything I could to be in the best condition possible.
DA: I imagine there is a good kind of pressure too. You were chosen by IU. That’s something special and motivating right?
AK: It was like “Hey, IU trusts you and actually wants you to be there." I felt like it was a bet on her end too. Just because something went well once doesn't mean it will be good the next time. And who am I? I’m just someone who’s starting out compared to her career, right? There’s a chance she could find someone better than me in America, but she still said, "Let's give it a shot. Let’s give her a chance." When we had our one-on-one in Singapore, I told her how I started interpreting because it made me feel alive, just like she started singing because she loved it. I wanted her to know that I love being the person who can help with this skill, and I think she understood me. She took a risk by giving me this chance, and I felt like I had to give back to her. It didn’t matter if I felt insecure or unsure, even though I was terrified. Going to America was a dream, but I was risking all the connections I’d built in Singapore. It was just four weeks—but I pushed myself for her. I had to do it because she gave me her sincerity, so I had to give it back. Sorry, I don’t know why I’m crying.
DA: You care so deeply and are so passionate about what you do. Your talent and hard work were recognized by someone as beloved as IU. It’s okay to cry. You were able to have a touching interaction with IU. There might be a notion that your job makes you close to the artist, is that true?
AK: A common misconception is that I get to meet the artists, but that's not the case at all. Usually, we don’t even cross paths or walk the same corridors because I’m a shadow. I’m not supposed to interact with the artist unless they specifically request it, which also means no photos with them either. There are rare moments, like before a fan meeting, where I might have a quick 3- to 5-minute session to teach them something like Singlish, but that's mostly for groups and doesn't happen often. Even if we do meet, I don’t say hi or make eye contact. I ensure they're comfortable and give them their space. That’s why any interaction with an artist, like with IU, is so precious and valuable to me. I'm incredibly grateful because I know they’re going out of their way to make it happen.
DA: And what are some of the messages you have received from fans because of your work?
AK: The biggest message I get is, "Thank you for conveying the emotion and sincerity of the artist so well that we could feel it, even in a different language and culture." People often mention how accurately I capture the emotion and message the artist wants to convey. The words "feel" and "accuracy" come up a lot. If you ask me what's most important as an interpreter, it's probably cherishing every moment. It’s not about the artist’s name value or the size of the concert. It's about being grateful for every opportunity and being happy to serve as the bridge between the artist and the fans. As fans, we know how much we look forward to these moments. It’s not about the money spent but how much this day will mean to you for the rest of your life.
DA: What are some of your future goals and aspirations?
AK: I've been thinking about this a lot since the last show. I want to be here, present, for a long time. Looking at artists like IU, Taeyeon, and others, I realize their greatness isn't just about their talent; it's about always being there for their fans. Being an artist is exhausting—taking care of your health, living under constant scrutiny, and handling all that pressure—yet they still show up for their fans. I find that so admirable. I want to do the same for the artists I work with. If they want my interpretation, I need to be in my best condition, ready to do the job for both the artist and the fans. I want to be here for the next 10, maybe 20 years. That means taking care of my health, my mentality, and continuously improving so artists can rely on me. I’m always pushing myself to improve, and when big opportunities come—whether it's the Oscars or some other major event—I won't be afraid. Confidence in my skills is key, and learning new languages will definitely be part of that, as the market is becoming more global. I want to be ready for whatever comes next.
Published on August 20, 2024
Words by Daniel Anderson
Daniel Anderson is a disabled Chinese American adoptee based in Seattle. His freelance writing specialties include K-pop, entertainment, and food. He believes that any restaurant can be a buffet, and the key to success is to take a nap each day. Follow his adventures on Instagram @danzstan.