Lin Jia-chen: From Writing Songs for Earth Group to Meme Dances at Breakfast Shops, Turning Idols' Perfection into Personal Ease

30 Second Overview: Lin Jia-chen first participated in lyric writing as part of the Earth group in Atom Youth, and then debuted as a member of Ozone. In 2026, he placed his personal creation into room Demos, Taipei back alleys, and his first Fan Concert: from rock works, soundtrack pieces, to 〈Love Me Again〉, he did not discard idol perfection but wrote the ease of life back onto the stage.

During the broadcast of Atom Youth in 2022, Lin Jia-chen was remembered by audiences as part of the "Earth" group alongside Chu Tzu-an and Chu Tzu-sheang. The Earth group's finale song, 〈Take Off Towards a Dangerous Planet〉, involved lyric contributions from Lin Jia-chen, which placed him beyond just being a singer or dancer¹.

On June 5, 2026, he released the personal single 〈Love Me Again〉 on his birthday. Two months later, on August 9, he held two first solo Fan Concerts at CORNER MAX in Taipei, both sold out immediately upon ticket sales²³.

The contrast that is most worth writing about between these two time points is this: he moved from being a member assigned to a group in an audition show to a creator who had to single-handedly support a performance. But what truly made him recognizable was not the effort to prove himself more, but a dance move inspired by a breakfast shop.

📝 Curator's Note: The "individuality" of idols is often understood as leaving the group; Lin Jia-chen's path is more like taking the light left by the group and breaking it down into guitars, Demos, handwritten letters, and movements that don't look like they come from a dance studio.

Image: Ozone performing at Taoyuan Youth Month in 2024. Photo by Taoyuan City Government News Contact Section / Wikimedia Commons, Attribution licensed. This is a public record of a group performance; members are not individually identified.

Lin Jia-chen's Creative and Performance Trajectory

This table divides Lin Jia-chen's public activities into six nodes. It does not treat every date as mere resume decoration, but observes what he took on during each transition: first lyrics, then song production, and next, roles and live performance.¹²⁶³

Learning to Be Heard Within a Group

Lin Jia-chen's public path began with Atom Youth. The show placed young performers into segmented competitions; the audience first saw the overall shape of the group before gradually recognizing each person's voice, face, and movements. The Earth group's finale song earned its name not just from stage heat, but because Lin Jia-chen participated in the lyric writing.¹

This aspect seems less prominent than high notes, dance, or rankings, yet it illustrates his starting point: he did not begin searching for himself after leaving the group, but practiced how to write a line that sounded like his own within the rhythm of the group. Later, he co-created and sang 〈Young Blood〉 with Chu Tzu-an, extending this thread from the show competition to Ozone's group work.⁵

Ozone officially debuted on September 13, 2022.⁴ For Lin Jia-chen, debuting was not about cutting off his trainee period, but bringing the division of labor accumulated in the show into a formal group: he could be a member on stage, or someone who brings melody, text, and emotion into songs.¹⁰

There is an easily overlooked difference here. When the public discusses idols, they often view "personal characteristics" as a superficial label, but a creator's characteristics are often hidden in their working methods. Lin Jia-chen did not suddenly declare himself a creator; he made his voice audible through group songs, personal works, and music videos, one instance after another.

From Passionate Rock to a Blue Morning in One Room

Before enlisting, he released works such as 〈You Made Me a Zombie of Longing〉, 〈Young Blood〉, and 〈Bebe I Won't Be Useless Anymore〉. These songs were described by the media as youthful rock, direct, and passionate, like pushing youth's energy outward.²

〈Bebe I Won't Be Useless Anymore〉 was also used as a soundtrack for the film Ping Pong Boy. In early 2026, Lin Jia-chen sang 〈It's Not Hard, Is It?〉 for the youth suspense drama The Ones You Don't Know and made his first dramatic appearance, playing an idol fan who isolates herself and does not interact with others.⁶

He recorded after filming, so the song was not created with an abstract concept of "healing" first, followed by emotion; rather, it came from returning to the microphone after performing the role. Lin Jia-chen said: "I hope this song can accompany everyone and slowly heal oneself in the process." The weight of this statement is not how beautiful it is, but that it contrasts with the character's isolation: he sang not about immediately breaking free, but about accompanying someone on a slow journey.⁶

〈Love Me Again〉 in June of that year took a different path. Lin Jia-chen completed the Demo using drums, guitar, and bass in his own room; during the official recording, he personally played the guitar, completing the lead vocal after only three takes.²⁵

The song deals with feelings that haven't been fully let go of even after a breakup. It is not a song that treats heartbreak as a victory declaration; instead, it retains the contradiction of "saying I don't want to love, but still wanting to be understood." Lin Jia-chen put this very directly: "People are actually contradictory; they say they don't want to date or trust in love, but deep down, they still crave love and understanding."²

His other statement was closer to the core of this shift: "It doesn't have to be a loud shout; sometimes singing softly and swaying with the rhythm can also tell the story inside."² Passion did not disappear; it simply retreated from the speaker into his breath.

Breakfast Shops, Fried Buns, and MVs That Don't Need to Be Cool

The MV for 〈Love Me Again〉 did not place Lin Jia-chen in a dream detached from reality. The visuals primarily used Taipei nightscapes, old alleys, and blue tones; he walked through the city wearing wired earphones, with the footage constantly moving between insomnia, wakefulness, and waiting for dawn.²⁵

What was most memorable was not the lighting, but the food. The MV featured fried buns and street scenes of chewing sugarcane. That posture—being heartbroken while seriously eating breakfast—pulled the "idol" back from a meticulously arranged perfect surface to someone who gets hungry, gets tired, and wanders around the city.²

The dance moves even came from inspiration at a breakfast shop. Lin Jia-chen once ran into the restroom on the spot after thinking of a move to record it, and it later became part of the MV.² This detail is small, but it better explains his working style than "displaying diverse charms": creation does not always start from a blank page; sometimes, it is something remembered by the body in an unsuitable place.

📝 Curator's Note: What makes this MV less like a promotional photo is precisely what makes it most like Lin Jia-chen. Fried buns, sugarcane, and wired earphones did not make him more ordinary; they finally gave the "coolness" on stage a cost of living.

The conventional idol narrative treats maturity as restraint and transformation as farewell. But 〈Love Me Again〉 does not say goodbye to early rock; it simply places the same person at a different volume. The media described this song as lazy and free, closer to his private side.² This is not a straight line from youth to adulthood, but the same young man learning that he doesn't have to shout at maximum volume every time.

One Person on Stage, Group Still Behind

In July 2026, Lin Jia-chen announced his first solo Fan Concert for August 9. Originally planned around his own music, he later decided to include dance and scheduled the two shows to feature girl group choreography if tickets sold out.³

He admitted at the time that supporting the entire performance alone without other Ozone members was nerve-wracking, but he still wanted to take on the challenge. He said: "I really want to embrace this challenge and hope to give my fans a memorable show."³

On August 9, both shows were completed. Lin Jia-chen performed his solo works ranging from rock to ballads, and also featured multiple songs in an acoustic format for the first time. This arrangement stripped away some of the production packaging on stage, bringing sound, breath, and the possibility of mistakes closer to the audience.³

The girl group dance did appear. He switched into a performance state nicknamed "Jia-mei" by fans and danced several K-pop songs. This segment was not a tacked-on comedic easter egg but an effective self-deconstruction: someone fixed in a boy group image actively surrendered his body to another set of dance grammar.³

More importantly, Ozone was not erased during the solo performance. Chu Tzu-an made a surprise appearance while singing 〈Young Blood〉, and Chu Tzu-sheang recreated the memory of their only joint stage performance during military service in the evening show.³ The solo stage did not become "I finally don't need the group," but rather "I can bring the relationship of the group into my own venue."

At the end of the performance, Lin Jia-chen presented a handwritten letter to thank the attending fans and sang the Demo 〈Here With Me〉 created during his service. Reports mentioned him getting choked up, with audience members also tearing up.³ This conclusion brought back the preceding creative thread: the Demo completed in his room was finally sung before an audience, not just as a file.

Preparation Period from Military Leave to Solo Stage

Lin Jia-chen's personal creation did not suddenly happen right before the Fan Concert. The 〈Love Me Again〉 Demo was completed in his room, and 〈Here With Me〉 was left during his service; the commonality of these works is that they first had a space that did not need immediate public release, allowing melodies and lyrics to slowly take shape. Only when the songs needed to face listeners did he bring those private drafts into the recording studio and onto the stage.²³

This preparation method also changed the meaning of "personal activities." The solo stage was not about temporarily putting Ozone's group training outside; it was about transforming the stability, rhythm, and mutual support learned during the group period into a process that one person must complete alone. From song arrangement to acoustic performance, and the contrast of girl group dance, Lin Jia-chen broke down predictable idol work into several choices he had to personally shoulder.³

Image Caption: A night scene of Taipei taken by Mao Mao Da Shao Ye, CC BY-SA 2.0 on Wikimedia Commons. This image is not from Lin Jia-chen's MV but is used only to illustrate the Taipei nightscape and urban movement discussed in the article. Source: Wikimedia Commons Image Page.

Beyond the Stage: Verifiable Creative Choices

If one only looks at promotional titles, Lin Jia-chen's 2026 can easily be condensed into "birthday song release" and "first solo performance." But specific data shows that he was actually handling three different creative tasks simultaneously: writing his heartbreak in 〈Love Me Again〉, completing a character before recording the soundtrack for The Ones You Don't Know, and turning group memories into live moments at the Fan Concert.²⁶³

The common thread among these three is not genre, but the distance he had to decide. 〈Love Me Again〉 placed emotion in Taipei back alleys and breakfast shops; the drama song approached listeners by "speaking to someone"; and the handwritten letter at the Fan Concert narrowed the distance to a specific recipient. These choices made "warmth" more than just a promotional adjective; it was supported by settings, sounds, and actions.²⁶³

Time Gap from Teaser to Official Performance

Before the official Fan Concert, interviews with Hit Fm already revealed how Lin Jia-chen arranged this personal activity. He originally wanted to focus on his own music but later added acoustic performances and brought long-accumulated, unreleased creative Demos to the event. This show design was not about treating new songs as a surprise package, but letting the audience hear songs that had not yet completed their public journey.⁹

The Hit Fm report also provided another facet of group relationships. When Lin Jia-chen thought about the content of the meeting, Ozone members cared about his preparation progress and reminded him not to be nervous when he felt stressed. This set a boundary for the independence of the solo stage: the performance was his responsibility alone, but the creative environment did not isolate him as a lonely individual.⁹

The official MV information more clearly marked the production division of 〈Love Me Again〉. Lin Jia-chen SuMMeR handled lyrics and music, co-composed with Wu Lianghai Jiya, JerryC served as producer, vocal arranger, arranger, recording engineer, mixer, and mastering engineer; Lin Jia-chen also participated in electric guitar, harmonies, and harmony arrangement. These credits broke down the personal creation into verifiable tasks, showing that the song was not just signed by a singer, but a real collaborative production.⁸

The drama The Ones You Don't Know presented him with another scale of performance. MyVideo's plot summary placed the story at the intersection of social pressure, idol threats from haters, and investigation by an AI company; Lin Jia-chen's character was placed within this multi-threaded narrative. Compared to performances directly facing fans on stage, the dramatic role required him to hide emotion in a character's silence, collapse, and refusal to interact with others.⁷

Image Caption: The National Theater of Taipei taken by Fred Hsu, GNU Free Documentation License on Wikimedia Commons. This image is not from Lin Jia-chen's performance but is used only to illustrate the public cultural background of Taiwanese performance venues. Source: Wikimedia Commons Image Page.

What Lin Jia-chen Left Behind Is Not a Persona

Lin Jia-chen's story is not long enough to be sealed as "complete." His works and performances in 2026 are still testing whether several identities can coexist: an Ozone member, a solo creator, a drama actor, someone who can perform acoustically, and someone who thinks of dance moves at a breakfast shop.

These identities seem to pull against each other, but they actually share the same question: how to retain a life that doesn't need performance within observed work. 〈It's Not Hard, Is It?〉 turned singing into companionship for one person; 〈Love Me Again〉 placed heartbreak in Taipei back alleys; and the girl group dance and handwritten letter at the Fan Concert repeatedly dismantled "what an idol should be," letting a more concrete self emerge.

Therefore, what Lin Jia-chen is most worth remembering may not be labels like "solo flight from the group" or "all-around artist," but how he pulled creation back to himself: a guitar, a room, a bag of breakfast food, and a handwritten letter. These things did not make the idol disappear; rather, they finally allowed the idol to breathe like a person.

Further Reading

Ozone Official Music Work 〈Love Me Again〉

Interview with Earth Group: James Jen-hsiung Talks About the Group and the Finale Song

Image Sources

The images used in this article are not of Lin Jia-chen himself or his performance sites; they are only illustrative of the cultural context of Taipei and Taiwanese performance venues. The first image is Taipei, Taiwan Night Cityscape Skyline, by Mao Mao Da Shao Ye, licensed under CC BY-SA 2.0. The second image is Apo Hsu and the NTNU Symphony Orchestra at the National Concert Hall, by Alton Thompson, with licensing noted as CC BY-SA 3.0 and CC BY 2.5. The third image is Taiwan 2009 Taipei National Theater at Chian Kai Shek Cultural Center, by Fred Hsu, with licensing noted as GNU Free Documentation License. The two images added in the article directly use Wikimedia Commons hotlinks and were not separately downloaded or hosted.

References