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At the beginning of this decade, it appeared that K-pop was set to dominate the American music landscape. In 2020, BTS’s smash hit “Dynamite” made history as the first K-pop song to top the US charts, and by 2023, Blackpink made waves by becoming the first K-pop group to headline the Coachella festival. However, just two years later, the narrative has shifted dramatically.
Recent solo releases from Blackpink’s members, Ruby by Jennie and Alter Ego by Lisa, both debuted at No. 7 on the US album chart but quickly fell out of the Top 10 within a week, and neither contained a single that achieved a higher rank than No. 68. While new groups like Tomorrow X Together and Ateez managed commendable initial chart positions, they too experienced steep declines shortly after their releases. NewJeans, a promising new K-pop group regarded as the genre’s potential future star in the U.S. following Blackpink and BTS, have faced setbacks due to various controversies and legal challenges back home, hampering their momentum after their 2023 hit “Super Shy.”
The struggles are not limited to international markets; K-pop is experiencing difficulties in South Korea as well. Sarah, a host of the Idol Cast podcast who prefers to remain anonymous for safety, notes that “K-pop has lost a lot of market traction in South Korea. The music is crafted to cater to a global audience rather than the local crowd, resulting in a dilution of its appeal.” She points out that the formula of idol production—highly trained performers managed by entertainment agencies—is losing its luster among trend-savvy younger generations. Older fans are flocking to the genre, but their presence could be deterring the younger demographics that K-pop historically attracted. Sarah explains that K-pop has become increasingly isolated from broader Korean cultural expressions, as idols seldom appear in local dramas or variety shows, with much of the content migrating to subscription-based platforms like Weverse.
This shift aligns with a growing trend away from Korean lyrics, as noted by US journalist Tamar Herman, who emphasizes that the success of “Dynamite,” which was performed entirely in English, shifted K-pop’s direction toward English-language tracks. While this opened up markets abroad, it alienated some domestic listeners. Innovators such as Le Sserafim and Aespa, who have not received the same marketing push as their more prominent counterparts, continue to struggle for visibility in the U.S. market. Herman remarked that the American audience tends to cling to artists they have supported for years, like Taylor Swift, rather than seeking out new trends.
In the UK, K-pop’s acceptance has been inconsistent; however, fandoms for groups like Tomorrow X Together have led to significant events, including a concert at London’s O2 Arena. Despite this, Sarah warns that these artists might begin to lose appeal in Korea due to their focus shifting primarily towards the global K-pop market. Instead, the South Korean charts are increasingly populated by J-pop acts, Korean rap, and virtual bands like Plave, with classic hits like BigBang’s “Bang Bang Bang” enjoying persistent streaming success, posing questions about the scarcity of fresh K-pop tracks.
In recent months, one of the few standout K-pop hits in the U.S. has been APT by Rosé, another member of Blackpink. However, its sound diverges from typical K-pop, drawing influences from pop-punk and new wave, and notably features the popular Bruno Mars, with critics suggesting that without his involvement, the track would not have achieved equivalent success. Joshua Minsoo Kim, a music reviewer, stated that Rosé’s efforts to carve out a distinct identity apart from K-pop speak volumes about her doubts regarding the South Korean music industry’s ability to facilitate a global hit.
The young group NewJeans initially represented a bright spot in K-pop’s western expansion with their celebrated EP “Get Up,” which featured progressive collaborations and showcased a sound that resonated with both fans and critics. However, their rise has been marred by conflict with their managing company, Hybe. Attempts to terminate contracts due to alleged mismanagement have led to legal disputes, with Hybe countering NewJeans’ claims and asserting its commitment to supporting the artists, despite tensions surrounding creative and business decisions.
The implications of this ongoing situation are concerning, with industry organizations warning that such disputes could jeopardize the entire K-pop business model. NewJeans have taken a bold step in advocating for better treatment of idols, airing grievances directly to fans, which has sparked broader discussions about the rights and working conditions of K-pop stars—a topic that has been largely overlooked in the industry.
Recent court rulings have sided with Ador, halting NewJeans from pursuing alternative contracts while their ongoing lawsuit plays out. With the group now on hiatus, their future remains uncertain. They have stated their intentions to challenge current decisions and expressed their hopes to redefine their roles as artists amidst a rigid management structure. As the landscape evolves, Kim remains skeptical about a new K-pop act reversing the genre’s current decline in international markets, while Sarah warns that increased monetization efforts to maintain current fan engagement may lead to financial exhaustion among dedicated followers.
Despite the challenges, Herman holds onto the belief that untapped talent exists in the K-pop realm, with established groups like Twice potentially poised for greater recognition in the U.S., offering a glimmer of hope for the industry’s future evolution.
Source
www.theguardian.com