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Korea Herald
25-07-2025
- Entertainment
- Korea Herald
When K-pop stays abroad: The rise of export-oriented idol groups
Idol groups turn to overseas markets as saturation in Korea makes domestic success harder to achieve, say critics In the age of global K-pop, not all idol groups shine equally at home and abroad. Fans and insiders are describing a growing number of acts as 'export-oriented idols' — groups who debut in Korea but quickly shift focus to international activities due to lackluster local reception. While some idols still enjoy popularity across the board — such as BTS and Blackpink, who command massive fan bases both in Korea and worldwide — others are far more prominent overseas than they are domestically. Groups like Dreamcatcher, ARTMS, Kep1er and Enhypen have built their careers largely through global tours and overseas fandoms, with limited exposure or fanfare within Korea. Even Stray Kids and Ateez — among the most visible K-pop groups in the US and Europe — perform primarily in overseas stadiums while maintaining a relatively smaller presence locally. The disconnect has sparked questions about why some idol groups appear to "skip" Korea entirely, despite being products of its music system. According to music critic Lim Hee-yun, the divide is rooted in how the industry has evolved. 'The overseas K-pop market has grown dramatically, while the domestic one is shrinking,' Lim said, Friday. 'In Korea, competition is too fierce. New idol groups debut constantly and general interest in idols has declined.' Lim points to shifts in listening habits as part of the problem. 'Unless you're in the top five, it's hard to chart or create buzz. Fans are more likely to stick with artists they already follow or stream songs recommended by algorithms. The days when a new idol group could instantly become a public sensation are gone.' This saturation has made the Korean market harder to penetrate, particularly for mid-tier or rookie groups. 'Some major agencies have idols whose overseas revenue accounts for 70 percent of their total,' Lim said. 'Naturally, those groups prioritize international tours and promotions.' An executive at an indie K-pop agency who spoke on condition of anonymity echoed this view, adding that the marketing strategy varies by company size. 'For major K-pop agencies (like SM, JYP and YG Entertainment), the model is to build a strong local fan base, then expand to Asia and beyond,' he said. 'But for smaller agencies, it's often more effective to aim directly at overseas audiences.' The executive cited Ateez of KQ Entertainment as a clear example. 'They're not from a major company, but by targeting global fans from the start, they built a sustainable fandom abroad. Now they're doing world tours with far more impact than their domestic engagements.' Girl group Fifty Fifty's breakout hit 'Cupid' wasn't initially designed for the Korean market, the insider said. 'We saw that overseas fans responded well to a track from its first EP ... So we used that as a reference and deliberately created a song targeting American teens. That's how 'Cupid' came about — with support from Warner Music to push it globally.' Still, the divide between domestic and overseas success raises questions about the long-term sustainability of this model. 'The K-pop industry is in an oversupply crisis,' Lim said. 'Too many acts, too few consumers. If the bubble bursts, and it might, only groups with solid backing or loyal fan bases will endure.'
Korea Herald
01-07-2025
- Entertainment
- Korea Herald
New coed K-pop group Allday Project blazes different route to success
Challenging industry norms, group bets on streaming, global tours over romantic fan appeal For more than a decade, mixed-gender groups have struggled to find success in the K-pop industry. The last major breakthrough was Koyote, which rose to fame in the early 2000s and remains active today. While DSP Media's KARD has kept the concept alive in recent years, the group has not seen major commercial success, largely due to one key reason: It has not been able to offer fans the kind of pseudo-romantic fantasy that tends to fuel K-pop fandoms. As Hybe Chair Bang Si-hyuk — the mastermind behind BTS — once said, K-pop's explosive global growth over the past decade has been driven by "superfans" who are intensely loyal and emotionally engaged. It is widely understood in the industry that women make up the majority of paying K-pop fans. This demographic trend gives boy bands an edge in sales, as they tend to outperform girl groups in physical album sales and concert ticket revenues. Simulating a romantic bond with fans has become a core marketing tactic: Idols livestream frequently and send personal messages through fandom platforms like Weverse to maintain that connection. 'In K-pop, it's incredibly important to stir emotions like pseudo-romance or girl crush,' said music critic Lim Hee-yun. 'With coed groups, fans may speculate about members dating each other, which is considered taboo in the K-pop scene. That's why Allday Project appears to be targeting the global market more than the domestic one — perhaps sensing an opportunity for coed acts abroad.' A former executive at a major K-pop agency echoed this sentiment, adding that Allday Project is likely focused on international touring rather than physical album sales. 'Coed groups won't sell as many albums. Their music needs to stand out on streaming platforms,' the official said. 'Even if album sales are weak, strong musical identity and recognition overseas can lead to solid concert ticket sales.' The source also noted the group's age makeup: 'Why do you think all the members are adults, with the oldest debuting at 23? It's intentional — they're aiming for a mature, global audience.' Breaking away from easy listening In line with this global-first strategy, Allday Project has also broken away from the "easy listening" trend that has dominated K-pop over the last two to three years. Their latest single, 'Famous,' released last month, features heavy synthesizer basslines and guitar riffs layered over danceable beats, while the rap flows and melodic lines bring a sense of urgency and edge. 'Famous' stormed onto domestic streaming charts within hours of its release. Premiering as a music video first, the track entered Melon's Top 100 at No. 9 within six hours, eventually climbing to No. 1. The group's follow-up, 'Wicked,' debuted at No. 63 on the same chart and reached No. 2 on Vibe's real-time trending chart, signaling impressive digital power for a rookie group. The group's international momentum is also picking up. 'Wicked' was released in two versions, and its 'Movie Set' edition ranked No. 6 on YouTube's trending chart in the US. On Spotify, 'Famous' has racked up over 900,000 streams, while 'Wicked' has surpassed 400,000. Lim says the group could appeal to audiences who are more drawn to music and performance than mere idol-fan dynamics. 'There's potential here to spark a buzz among listeners who aren't already part of boy or girl group fandoms,' he said. 'Allday Project could offer something fresh as a coed group in today's oversaturated K-pop landscape.'
Korea Herald
02-04-2025
- Entertainment
- Korea Herald
The K-pop promotion playbook: It's not one-size-fits-all in digital era
Agency resources, group popularity and platform priorities drive subtle but significant differences When K-pop idols release a new song or album, their promotional cycle typically follows a familiar pattern — teaser rollout, showcase, media appearances and interaction with fans through pop-up stores, then concerts and other events. While a digital-first apprach has become central to K-pop promotion, the strategies diverge significantly depending on a group's popularity, agency resources and the platforms priorities. Unlike in the past, when television music shows and in-person fan events dominated, today's K-pop promotions are built around digital momentum. Social media virality, YouTube content and TikTok challenges have become just as critical as the music itself. 'Media platforms evolve with time, and K-pop adapts accordingly,' a music critic Lim Hee-yun said, Tuesday. 'Because the core fanbase of the genre is largely made up of trend-sensitive teenagers, short-form content has become key — even during a creation stage for an idol group. Artists now participate in TikTok challenges or release original contents through their own YouTube channels.' Pre-release content has become an essential marketing strategy in the K-pop industry as a way to build anticipation and to maximize global reach. Rookie girl group KiiiKiii, under mid-sized agency Starship Entertainment, which is behind K-pop girl group IVE, engaged in a series of strategic promotions, including the release of the music video for 'I Do Me' on Feb. 16 — more than a month ahead of their official debut on March 24. Maintaining their unconventional rollout, the group also released the music video for 'Debut Song' on Feb. 23, further raising anticipation. SM Entertainment — one of K-pop's 'Big Four' agencies alongside Hybe, JYP Entertainment and YG Entertainment — introduced its new girl group, Hearts2Heart, during the company's 20th anniversary concert in Seoul in January. The announcement came more than a month ahead of the group's debut with their first single album, "The Chase," which dropped in late February. Larger agencies with greater resources also secure premium offline visibility. Hearts2Heart premiered their debut music video on Shinsegae Department Store's 'Shinsegae Square,' a massive media facade in central Seoul — the kind of support not usually given to artists from smaller agencies given the high cost. The screen, roughly the size of three basketball courts, has quickly become a social media hotspot for K-pop fans after V of BTS promoted his ballad song 'Winter Ahead' in October. 'Newer groups benefit from billboard ads to raise visibility, but it's not something every artist gets to do,' said an official at a major K-pop agency. 'Each promotional strategy varies depending on the artist's popularity and how long they've been in the business.' For top-tier groups and artists from major labels, global campaigns are also common. JYP Entertainment's new boy band KickFlip was selected as one of '8 Rookie K-pop Acts to Watch in 2025' by prior to debut. J-Hope of BTS collaborated with TikTok for an exclusive teaser of his single 'Sweet Dream' and appeared on 'The Tonight Show Starring Jimmy Fallon' for its US premiere. 'In the 2020s, YouTube and TikTok have become central to promotion,' said another agency official. 'In addition, artists with strong global recognition will often promote on international platforms like major TV and radio shows. Larger agencies have the connections to make that possible.' Press showcases and fan events typically follow on the release day. However, these are largely reserved for more established groups or those under major companies. Smaller agencies often forgo them due to cost, while even top companies are reconsidering their impact. Music show appearances still happen post-release, but their significance has shifted. What was once a coveted trophy race has become, for some, a chance to meet fans rather than a measure of success. 'Some idols focus on the international market first,' Lim said. 'K-pop has grown into a large, diversified industry. While local music shows and music charts like Melon remain foundational, promotional strategies are increasingly varied.' YG Entertainment's Baby Monster, despite debuting just last year, is already embarking on a global tour, including stops in New Jersey and Los Angeles. 'Targeting the US right after debut was once unthinkable,' Lim said. 'But with K-pop's global influence, and Baby Monster positioned as Blackpink's sister group, it's now a viable route. Smaller labels, of course, often can't replicate this model.' Pop-up events have also become more common in recent years. JYP Entertainment's girl group, NiziU, is opening a 10-day pop-up event at The Hyundai Department Store in Yeouido, Seoul, to celebrate their new single 'Love Line' from April 1-10. Le Sserafim of Source Music also launched a pop-up store in Seongsu-dong, Seoul, on their comeback day earlier this month, and sold idol-related merchs including clothings and accessories. Lim said pop-ups are less about direct profit and more about symbolic marketing value. 'Releasing a full-length album is rare these days — most releases are digital singles,' he said. 'But if a group releases a full-length album, it feels like a major event for fans. Pop-ups have become the same — a marketing milestone that only the most popular idols reach.'
Korea Herald
18-03-2025
- Entertainment
- Korea Herald
More Southeast Asians are debuting as K-pop idols. What's driving this trend?
As region's influence on K-pop industry grows, more idols from Indonesia, Vietnam, Philippines enter K-pop scene K-pop's evolution has always been shaped by its audience. In the 2010s, Korean agencies turned to China and Japan for fresh talent. Now, the spotlight is on Southeast Asia. Once dominated by Thai idols, the scene is further expanding as agencies tap Indonesia, Vietnam and the Philippines, responding to the region's overwhelming influence on the industry. It's not just about talent — it is also the numbers. With millions of engaged fans, a booming digital ecosystem and economies on the rise, Southeast Asia is fueling K-pop's next wave of expansion. The industry is not just welcoming Southeast Asian idols; it is realizing they could just be essential to K-pop's continued global growth. Southeast Asia's social media power reshapes K-pop's reach Southeast Asia, home to over 630 million people, is experiencing rapid economic growth, with a steady increase in combined gross domestic product of 4 to 5 percent per year. Along with the region's digital connectivity, this economic strength has positioned it as a major driver of K-pop's global expansion. Engagement with K-pop on social media in Southeast Asia surpasses global averages, with platforms like TikTok, in particular, playing a crucial role in fueling trends. 'When something goes viral on TikTok in Southeast Asia, it often spreads beyond Asia. Over the past few years, entertainment companies have realized the growing importance of short-form viral marketing,' music critic Lim Hee-yun said Friday. 'For example, a Korean indie band called Wave to Earth was initially overlooked in Korea, but after going viral in Thailand, they are now on a world tour. They even have more Spotify followers than IU," Lim added. "K-pop agencies, which rely heavily on data analytics, are well aware of these trends." The annual Year on TikTok report, analyzing the most beloved songs and artists on the platform, showed that in 2023, five of the 10 most popular global acts on TikTok were K-pop: Blackpink, BTS, Enhypen, Le Sserafim and NewJeans. The trend became even more pronounced last year, with K-pop grabbing seven of the top 10 spots. Additionally, a joint study by TikTok and market research company Kantar in 2024 found that TikTok users in Indonesia, Thailand and Vietnam spend significantly more on Korean cultural products than non-TikTok users. 'In Indonesia, 3 out of 5 people pay to stream Korean music, and their listening hours are among the highest globally. Among TikTok users, 31 percent consume K-pop daily — 2.3 times more than non-TikTok users,' a TikTok Korea official said Friday. 'This shows that Southeast Asian TikTok users are not only engaged K-pop fans, but also active content creators, accelerating the genre's global reach.' Thailand has produced some of the most successful K-pop idols, with Blackpink's Lisa leading the way. Since debuting under YG Entertainment in 2016, Lisa has become one of the most influential figures in K-pop, even being recognized by the Guinness World Records as the most-followed K-pop artist on Instagram with over 105 million followers. She also made history as the first K-pop singer to perform at the Academy Awards on March 2, cementing her status as a global icon. Lisa's success has inspired a wave of Thai trainees. 'Trainees always have role models, and in Thailand, there are already many successful cases — especially Lisa, a powerful example. A strong role model means a larger talent pool, which ultimately results in more prepared trainees,' said a YG Entertainment official said Friday. Continuing this trend, YG Entertainment debuted two more Thai idols, Pharita and Chiquita, in Baby Monster. Other prominent Thai K-pop idols include Natty of Kiss of Life under S2 Entertainment, Minnie of (G)I-dle under Cube Entertainment and Ten of NCT under SM Entertainment, the first Thai artist to debut under the company. Indonesia: Rising force in K-pop Last month, SM Entertainment debuted Carmen, an Indonesian member of Hearts2Hearts, the first trainee from the country to join one of the 'Big Four' agencies comprising SM Entertainment, JYP Entertainment, YG Entertainment and Hybe. While some speculate that Carmen's inclusion was a strategic move to tap into the Indonesian market, SM Entertainment has denied the notion. 'It wasn't about targeting Indonesia. Carmen was selected as a vocal member because she fit the group's sound,' an SM official said Friday. "Her nationality was not a factor." Still, Indonesia's potential as a K-pop market is undeniable. With some 270 million people, it is the world's fourth most populous country, with approximately one-third aged between 10 and 29, creating a strong demand for K-pop content. Indonesian capital Jakarta has become a key stop for K-pop world tours, often alongside Bangkok, yet the country has produced relatively few K-pop idols compared to Thailand. Carmen's debut follows Indonesian idols including Dita of Secret Number, Kim of VVUP and Via of Beauty Box. Additionally, Indonesia ranked third in Korean music imports last year, following Japan and Taiwan, according to Luminate's 2024 Year-End Music Report published in January, further reflecting Indonesia's strong demand for K-pop. Vietnamese and Filipino K-pop idols are also making inroads. The most prominent Vietnamese K-pop idol is NewJeans' Hanni, though she was born in Australia and has dual nationality. Hanbin of Tempest and Kien of ARrC are among the first male Vietnamese idols in K-pop, having debuted in March 2022 and August 2024, respectively. The Philippines has also gained representation, with rookie girl group UNIS debuting Elisia and Gehlee in March 2024. Their popularity led to sold-out concerts in Manila and Cebu in October 2024. Elisia, who won TV competition 'My Teenage Girl,' became the first foreign winner of such a K-pop audition program, drawing significant attention in the Philippines.
