Gawon — MEOVV member profile
Korean-American vocalist and lyric contributor
Gawon is MEOVV’s low-register anchor, English-language bridge, dorm mother, former YG trainee, model, vocalist, rapper, and increasingly visible songwriter. Calling her “the tall one with the deep voice” is technically recognizable and biographically useless.
Contents
- Profile
- Official socials
- YouTube tracking history
- Sources
Official socials
- MEOVV group profile
Quick file
| Birth name | Lee Ga-won (이가원) |
|---|---|
| English name | Chloe Lee |
| Born | April 27, 2005 |
| From | Born in Ohio; raised in New Jersey and South Korea |
| Group | MEOVV |
| Debut | September 6, 2024 |
| Company | THEBLACKLABEL |
| Earlier work | YG trainee; model, including Adidas advertising |
| Core work | Vocalist, rapper, performer, lyricist |
| Audition song | “Teenage Fantasy” by Jorja Smith |
- The Korean-American route
- YG and THEBLACKLABEL training
- MEOVV career
- The voice file
- Rap, dance, and stage function
- Songwriting and musical direction
- The group’s practical center
- Official links and sources
The Korean-American route
Gawon was born in Ohio and spent part of her childhood in Edgewater, New Jersey before moving to South Korea while still young. Her English name is Chloe Lee. That American childhood is not a decorative “global member” bullet. It shaped the way she sings English, handles international interviews, and later helped Ella survive the less glamorous parts of moving into a Korean trainee dorm.
She attended school in New Jersey and was academically strong enough to be associated with an acceptance to New York University before choosing the trainee path. Education claims in fan profiles are often copied until nobody remembers the source, so the more important documented point is the decision itself: she had a conventional route available and continued training instead.
Before debut, she modeled and appeared in Adidas advertising. Modeling gave her camera fluency, but Gawon’s public identity did not settle around fashion the way Ella and Anna’s pre-debut narratives did. Once people heard the voice, the modeling résumé became background information.
YG and THEBLACKLABEL training
Gawon trained at YG Entertainment before moving into THEBLACKLABEL’s system. That history places her inside the wider trainee network that produced or crossed paths with future members of several groups. Fan accounts link her trainee years to performers including KISS OF LIFE’s Julie and H1-KEY’s Hwiseo. Those friendships are useful context, but they should not replace the actual work.
Her audition song for THEBLACKLABEL was Jorja Smith’s “Teenage Fantasy.” During training, she also performed Frank Ocean’s “Thinkin Bout You” for a monthly evaluation. Both songs rely on phrasing, restraint, and tone. Neither is the obvious choice for somebody trying to win an audition by screaming one high note into the ceiling.
Gawon later told interviewers that the chance to audition for THEBLACKLABEL clarified what she wanted. She became the second MEOVV member officially revealed on August 23, 2024. The trailer immediately centered her physical presence and low vocal color, but the longer career has shown more flexibility than the debut edit suggested.
MEOVV career
2024: “MEOW,” “TOXIC,” and “BODY”
Gawon debuted with MEOVV on September 6, 2024. “MEOW” needed a voice capable of making a sparse, bass-heavy arrangement feel intentional instead of empty. Her lower register supplied weight. On “TOXIC,” the group moved toward exposed melody, and Gawon’s steadier phrasing became even more valuable. “BODY” returned to rhythm and attitude without reducing her to a one-note rapper.
2025: MY EYES OPEN VVIDE
“HANDS UP,” “DROP TOP,” the first EP, festival performances, and “BURNING UP” expanded her case. A cover of Rosé’s “number one girl” on KBS showed how her American English and darker vocal color could reframe a familiar song. Her cover of Jeon Somi’s “The Way” with Ella provided another cleaner look at her voice outside title-track production.
Gawon also began receiving co-writing credit, including work on the group’s first EP. In an Elite Daily interview, she described collaborating with Teddy as surreal. That comment matters because Gawon entered the company as a trainee listening to music shaped by him. By debut, she was contributing to the material instead of only being tested on it.
2026: BITE NOW
The second EP made authorship harder to overlook. Gawon participated in “In My Hands,” “Favorite Song,” “Revenge,” and the title track “DDI RO RI.” Her June 2026 LeeMujin Service appearance then attacked the other half of the résumé with a live set including “DDI RO RI,” Lady Gaga’s “Paparazzi,” Yoon Mi-rae’s “As Time Goes By,” and Bazzi’s “Beautiful.”
The voice file
Gawon’s low register is the first feature most listeners notice, but it is not the entire instrument. She has a rounded middle, reliable English diction, useful head voice, and enough dynamic control to avoid singing every line at title-track intensity. Her tone can sound smoky without becoming swallowed.
The LeeMujin Service set is important because it moves from MEOVV’s own production into Lady Gaga, Yoon Mi-rae, and Bazzi. “Paparazzi” requires pop drama and upper-range control. “As Time Goes By” asks for Korean R&B phrasing and emotional patience. “Beautiful” tests English delivery without letting accent become the performance.
| Listen to | What it proves |
|---|---|
| “MEOW” | Why the lower register became part of MEOVV’s debut signature. |
| “TOXIC” | Melodic control without a rap section doing the character work. |
| “number one girl” cover | English phrasing and emotional restraint on a familiar song. |
| LeeMujin Service episode 218 | Range, live control, ad-libs, and the ability to change genres without changing identities. |
Rap, dance, and stage function
Gawon raps with a singer’s ear. She pays attention to pitch contour and the sound of the phrase, not only the beat count. Her English lines land naturally because they are part of her everyday language, while her Korean delivery avoids the exaggerated “rapper accent” that can make an assigned verse feel like costume jewelry.
She is also one of MEOVV’s visual anchors in formation. Height gives her immediate presence, but body control keeps it from becoming awkward. Her movement is not as dance-centered as Sooin’s, yet she understands line, extension, and how to hold the eye during slower counts.
Her most important group function may be structural. She can open or ground a verse, support a chorus, rap, take English interview questions, and stabilize younger or international members. Groups need stars. They also need people who prevent the entire schedule from becoming five separate emergencies.
Songwriting and musical direction
Gawon’s credits are now too substantial to bury in a trivia list. She has participated in writing across both MEOVV EPs. The BITE NOW material includes collaborations with Narin, Ella, Teddy, KUSH, 24, Vince, and international writers.
“Favorite Song” is particularly useful because it moves toward contemporary R&B and lets member taste show through. “Revenge” carries a darker emotional tone. “In My Hands” turns confidence inward. “DDI RO RI” places member writing inside a title track built around a classical sample and an aggressive group concept.
Co-writing does not mean she independently constructed every track, and this page will not pretend otherwise. It means she is in the room where lyrics, melody, identity, and market expectations get negotiated. For a group barely two years into its career, that is the beginning of an artistic record worth tracking.
The group’s practical center
Gawon repeatedly falls into MEOVV’s caretaker role. Ella’s first-night taco story is now the famous example: the newly arrived teenager could not navigate the delivery system, so Gawon downloaded the app, handled the order, and made sure she ate. Shared American background and English gave them an immediate bridge.
Members describe her as someone who locks in onstage and guides the group offstage. That combination can become invisible because competence rarely creates dramatic variety clips. It shows up when translations happen smoothly, interviews recover from awkward pauses, and younger members know who to ask before dinner becomes a crisis.
Her musical references, training history, academic options, modeling work, and songwriting all make the one-line “main vocalist and rapper” profile look especially flimsy. Gawon is a bilingual performer with institutional memory from two connected label systems and a growing hand in MEOVV’s music.
Official MEOVV videos and CVM Reacts
Gawon qualifies for the Member shelf, not the solo Artist shelf: her released work is credited through MEOVV rather than as a separate solo catalog. These official videos show why her group role cannot be reduced to one position label.
MEOW
BURNING UP
Official links
Research trail
- THEBLACKLABEL official profile
- Teen Vogue interview
- Elite Daily debut EP interview
- The FADER, BITE NOW interview
- KBS Kpop, LeeMujin Service episode 218
- Universal Music Japan, BITE NOW credits
YouTube tracking history
Gawon does not currently have a separately verified official solo-video catalog. MEOVV releases remain attached to the MEOVV group profile so group totals are not duplicated as individual activity.
Sources
- MEOVV group profile and source archive
Current status: MEOVV and BITE NOW
As of August 2026, Gawon remains an active member of MEOVV alongside Sooin, Gawon, Anna, Narin and Ella. THEBLACKLABEL’s current profile still presents the same five-member lineup, while Universal Music Japan lists the June 1, 2026 EP BITE NOW as the group’s latest release. There is no verified departure, hiatus or separate solo debut to route around.
That matters because member pages age badly when a comeback is treated like a cosmetic update. BITE NOW adds “Hit ‘Em,” “DDI RO RI,” “In my hands,” “Favorite song” and “Revenge” to the public record. The profile has to explain what the new material reveals, not merely tack five titles onto a table and declare the job finished.
Gawon in the BITE NOW era
For Gawon, the second EP is useful because it tests vocal color, writing credits and cross-cultural perspective. “DDI RO RI” puts an intentionally severe Bach-derived organ figure against modern drill and trap weight. “In my hands” lowers the temperature into easy-listening confidence, while “Favorite song” and “Revenge” demand less obvious shades. The variety makes it harder to hide behind one launch-era persona.
Gawon gives MEOVV a grounded lower color and a delivery that can move between conversational English phrasing and sharper Korean rap-vocal lines without announcing the switch. That is why the fixed-camera practices and performance videos belong beside the polished music videos. The edit can flatter everyone. A wide camera shows who protects spacing, who reaches the next mark early and who keeps character while another member owns the center.
What the public record can prove
The verified biographical anchor for Gawon is April 27, 2005; United States and South Korea. Exact trainee timelines, private family details, school rumors and inherited fandom positions are not repeated as fact unless a member or accountable publication has put them on the record. A useful profile should be generous with context and stingy with certainty.
MEOVV does not publish a rigid old-school position chart. This page therefore describes repeated work rather than stamping Gawon with an unofficial main, lead or sub label. Songs, credits, official interviews and performance footage are evidence. A viral caption is not a job title.
Voice, movement and the camera
Gawon gives MEOVV a grounded lower color and a delivery that can move between conversational English phrasing and sharper Korean rap-vocal lines without announcing the switch. The point is not to rank five young performers from a handful of edited stages. It is to identify what remains visible across different arrangements and camera conditions.
In “HANDS UP,” “DROP TOP,” “BURNING UP” and the BITE NOW cycle, Gawon has to solve different problems: percussive accents, lighter pop-rock movement, club pressure and theatrical menace. Repeating the same face would flatten all four. The development worth tracking is how quickly she can change scale without losing herself.
Credits, authorship and fair language
GAWON and NARIN have documented writing credits on “TOXIC,” and GAWON, NARIN and ELLA appear among the “DDI RO RI” lyric contributors. Those are specific credits, not permission to call every member a producer or to imply uncredited authorship. When Gawon has a verified credit, it should be named precisely; when she does not, performance interpretation is still real work but it is a different kind of authorship.
The same care applies to youth. Several members debuted as teenagers. Commentary can discuss technique, styling, workload and company decisions without sexualizing minors or turning normal development into a scandal narrative. Accountability points upward to adults and systems, not downward to a young performer learning in public.
MEOVV relationships and rabbit holes
Gawon’s profile links to the MEOVV hub and the other four current members because those are real canonical relationships. Song Reacts link back here when all five members participate. Empty pages for schools, brands or speculative friendships are not “depth”; they are dead ends wearing a trench coat.
- MEOVV group profile and official-video tracker
- Sooin profile
- Gawon profile
- Anna profile
- Narin profile
- Ella profile
YouTube tracker policy
Gawon does not have a verified solo-release catalog as of this audit. MEOVV group uploads stay on the group tracker instead of being duplicated into five fake solo totals. If she releases music under her own name later, this combined member profile can become an artist profile without creating a second canonical page.
Receipts and sources
- THEBLACKLABEL official MEOVV profile
- Universal Music Japan official MEOVV page
- Universal Music Japan BITE NOW release notice and track list
- Apple Music BITE NOW release page
How to read the next era
The next useful update will not be a rumor roundup. It will be a comparison: does a later recording give her more melodic responsibility, a documented writing credit, a different movement texture or a new public role? “More lines” can be evidence, but only when the arrangement changes what those lines require. A longer profile should not confuse quantity with development.
Live evidence also needs context. Broadcast stages may use backing tracks, edited audio, altered camera rehearsal and multiple takes. A stable clip can show preparation without proving every viral claim about raw vocals. Conversely, one imperfect moment does not erase a catalog. The fairest reading compares official recordings, fixed-camera practices, live broadcasts and interviews while naming what each source can and cannot establish.
Style, fashion and ownership
MEOVV’s label identity uses fashion aggressively, but styling is collaborative labor. A stage outfit can reveal how a silhouette supports choreography; it cannot automatically reveal a member’s private taste. Brand campaigns, credited editorial shoots and member interviews are stronger evidence than airport-photo shopping lists. This page discusses clothes when they change movement, concept or public work, not to turn a young woman into a mannequin with trivia attached.
The most interesting fashion question is whether a look helps the member remain recognizable inside a strict group concept. MEOVV can move from dark launch-era luxury to the brighter freedom of “DROP TOP,” then into the uncanny religious-art language of “DDI RO RI.” A member who carries all three without becoming visually interchangeable is doing interpretive work, even when a stylist selected every garment.
Questions this profile will keep open
Future audits will check official roster notices, new releases, individual credits, verified acting or modeling work, solo music and meaningful interviews. They will not manufacture a solo career because a member sang a cover, appeared in a fashion campaign or received an unofficial fan position. If the evidence changes, this same canonical page changes with it.
That is the practical reason CVM Sekai keeps one member page per person. Search engines, readers and future editors should not have to choose between a short “profile,” a duplicated “artist profile” and a third page created for a comeback. One durable URL can hold biography, current status, work, analysis, sources and the boundary between verified fact and fan interpretation.
React image cards
Static cards route each exact official upload to its own in-depth React. Every card repeats that React’s featured and hero image so the archive stays visually traceable.
