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K-Pop’s Shifting Tides: From US Chart Dominance to Domestic Challenges
Earlier this decade, the ascendancy of South Korean pop music, or K-pop, in the American market appeared imminent. The summer of 2020 witnessed BTS‘s “Dynamite” become the first K-pop song to top the US charts, while 2023 saw girl group Blackpink make history as the inaugural K-pop act to headline Coachella. However, just two years later, the landscape of K-pop‘s US popularity presents a markedly different narrative.
US Chart Performance: Solo Releases and Group Trends
Recent solo albums by Blackpink members Jennie (“Ruby”) and Lisa (“Alter Ego”) both debuted at No. 7 on the US album chart, only to descend from the Top 10 within a week. Neither album spawned singles that reached higher than No. 68 on the charts. Emerging groups such as Tomorrow X Together, Ateez, and Twice have secured strong initial chart positions, primarily driven by robust physical album sales. Yet, these groups have experienced rapid declines in subsequent weeks. NewJeans, a critically acclaimed K-pop group initially perceived as the genre’s most promising act in the US after Blackpink and BTS, have faced setbacks due to controversies and legal issues in South Korea. These challenges have impeded their ability to capitalize on the success of their 2023 hit song, “Super Shy.”
Diminished Domestic Appeal in South Korea
Even within South Korea, K-pop is reportedly facing headwinds. According to Sarah, host of the “Idol Cast” podcast (pseudonym used to protect identity), “K-pop has experienced a significant decrease in market appeal in South Korea. The music is now being crafted less for the Korean audience and more for a homogenized, globalized слушательница.” She argues that this attempt to appeal universally may result in music that lacks specific appeal.
Changing Perceptions of Idol Culture
Sarah further suggests that K-pop, particularly the “idol” culture—performers rigorously trained by entertainment agencies—is losing its “cool” factor within trend-conscious South Korea. The increasing presence of older fans within the fandom, while not inherently negative, may be alienating younger potential fans. K-pop has also become increasingly isolated from broader South Korean culture. Idols are less frequently seen in television dramas or variety shows, with content shifting towards closed online platforms like Weverse.
The Shift Towards English Lyrics and Global Markets
US reporter Tamar Herman notes that this shift aligns with a growing trend away from Korean lyrics in K-pop. “It’s designed for export,” she states. The success of BTS‘s all-English song “Dynamite” has encouraged a move towards English lyrics in K-pop.
US Market Dynamics and Limited Bandwidth
This focus on international markets, however, may be alienating domestic Korean listeners, while newer, innovative acts like Le Sserafim and Aespa, lacking the extensive marketing investments seen with BTS and Blackpink, have struggled to establish a foothold in the US. Herman explains, “The US tends to concentrate attention on specific artists. Once that attention is secured, that artist becomes the representative of K-pop.” She adds that the US market often favors established artists over constant novelty, citing the example of Taylor Swift’s enduring popularity.
UK Market and Global Expansion Strategies
The UK’s embrace of K-pop has been inconsistent, although a dedicated fanbase exists, evidenced by Tomorrow X Together’s O2 Arena concert and Stray Kids’ scheduled stadium shows. However, Sarah suggests these groups might be losing traction domestically in South Korea due to their strategic pivot from the domestic market to the larger global K-pop market. South Korean music charts are increasingly filled with J-pop, Korean rap, and virtual idols like Plave. Interestingly, BigBang’s 2015 hit “Bang Bang Bang” remains a top-streamed K-pop song globally, raising questions about the emergence of new hit songs within the genre.
Rosé’s Solo Venture and Genre Boundaries
In the US, one of the few recent K-pop successes is “APT” by Blackpink‘s Rosé. However, the track, a collaboration with Bruno Mars, leans towards pop-punk and new wave, diverging significantly from traditional K-pop sounds. Critic Joshua Minsoo Kim suggests Bruno Mars’s involvement is crucial to the song’s success, questioning its potential impact without his presence.
NewJeans’ Contractual Dispute and Industry Turmoil
Sarah points out Rosé’s efforts to distance herself from the K-pop label, including moving her copyrights to a US company, potentially reflecting a lack of confidence in the South Korean industry’s ability to manage a global hit. NewJeans, initially a major K-pop success story in western markets with their acclaimed “Get Up” EP featuring collaborations with international artists and innovative sound, have become embroiled in a significant dispute with Hybe, their parent company. The group sought to terminate their contract with Ador, a Hybe subsidiary, citing mismanagement and protesting the dismissal of Ador’s CEO, Min Hee-jin. Ador subsequently sued NewJeans, refuting grounds for contract termination, though expressing regret over the legal escalation and attributing many claims to misunderstandings.
Industry Concerns and Legal Injunction
NewJeans‘ actions represent a rare instance of a K-pop act challenging the genre’s typically rigid corporate structure. Their public airing of grievances via livestream and subsequent media storm has ignited discussions about K-pop artists’ rights as workers. Industry bodies warned in February that the dispute could severely harm the K-pop industry. NewJeans members, acting as whistleblowers, have raised further allegations, including claims of constant surveillance and management-approved meals during trainee periods (Ador and Hybe have not commented). Recently, a South Korean court granted Ador a preliminary injunction preventing NewJeans from working outside their Ador contract until a main lawsuit hearing. NewJeans, performing as NJZ, have expressed their inability to continue with a management that has undermined their identities and achievements. Currently on hiatus, they plan to challenge the injunction, suggesting they are being positioned as “revolutionaries” by the Korean industry.
Future Outlook: Fan Engagement and Untapped Potential
Kim expresses pessimism about new K-pop groups reversing the genre’s current unsuccessful trend in the West. Sarah notes that K-pop companies are increasingly focused on monetizing fandoms to compensate for the decline in breakthroughs, implementing fees for fan club access and exclusive content. She cautions about the limit to fan spending, particularly with economic uncertainties, arguing that relying solely on fans to sustain the industry is an unsustainable strategy. However, Herman remains optimistic about untapped K-pop potential in the US, highlighting groups like Twice, considered highly successful globally, and expressing anticipation for their potential crossover into the US market.