K-pop Girl Groups Begin a New Era of K-pop Music
Kim Do-heon
Popular music critic
When members of BTS, the boy band that has ruled the global K-pop scene since the late 2010s, began their compulsory military service one after the other, the future of K-pop began to appear gloomy. In a recent discussion with senior journalists at Kwanhun Club Forum, Hybe Chairman Bang Si-Hyuk, dubbed the “father of BTS,” spoke seriously about the so-called “K-pop crisis” and pressed the industry to strive harder. His concerns may be legitimate, but we should also remember that such a worried view is perhaps a reflection of self-criticism, intended to motivate and prolong the current rapid growth of K-pop for as long as possible.
Last year, many major K-pop agencies registered their highest-ever sales records. They continue to map out various plans and strategies based on their currently solid profit structure. K-pop groups have outgrown the various philosophies of different agencies and are transforming the market in both expected and unexpected directions.
Most noteworthy about K-pop these days is the outstanding advance of girl groups. Previously, girl groups often failed to make profits, even occasionally recording losses. But presently, they have established themselves as market leaders by producing songs that sell millions of copies, attracting popular recognition and answering the contemporary demand for new narratives. Among such groups, BLACKPINK and TWICE have emerged as global celebrities and the heroines of K-pop success stories. They go on world tours and their gigantic concerts in the United States are mostly packed.
Today, K-pop is represented by aespa, the symbol of SM Entertainment’s new values; IVE, the group that became instantly successful after its debut with two core members from K-pop survival programs; and LE SSERAFIM, Hybe’s first girl group boasting a strong identity. These girl groups are setting the future of K-pop along with NewJeans, the group that caused a sensation by rejecting the strict K-pop code and forming an ideal girl group from a feminine perspective.
To some, IVE and LE SSERAFIM are the quintessence of K-pop. Presenting an unrestricted world of fantasy, demonstrated through glamorous visuals and expressive physical performances, the groups grab their fans’ attention and never let go. “I AM,” the title song off IVE’s first album “I’ve IVE,” records the splendid moment of youth shining on stage in a way that makes everyone long for it. Doubts, worries, and even reality wash away as, on behalf of all, IVE realizes the peak of on-stage extravagance—a dream for many. LE SSERAFIM is a little different, even if the group, like IVE, pushes itself to the extreme to reach the top. Armed with strong pride, LE SSERAFIM repeatedly and emphatically chants slogans of protest, fearlessly taking on challenges, leaping over limitations, and fighting against taboos. The group reveals its own worldview through their album’s title song “Unforgiven.” They deliver the message that forgiveness isn’t necessary when taking on a challenge. Granting themselves an indulgence before facing said challenge, they sing of their ambitious future. As they clench their jaws and deliver acrobatic performances, they convey their fearless, warrior-like perspective. In this sense, they stand on similar ground to aespa, a group that provides an experience of a virtual world immersed in the unique worldview embodied by the term “Kwangya” (“wilderness”).
Every action is accompanied by a reaction. ADOR Label CEO Min Hee-jin rejected K-pop trends that were obsessed with rigid, performance-centered, ritual-like formalities. Instead, she combined her own ideal teenage narratives and music taste to create the “NewJeans syndrome.” NewJeans owe their flawless debut to a systematic process that integrated music, performance, visuals, and physical album production, with simple, pop-oriented songs that take inspiration from other genres. Despite not actually being an entirely original concept, their nostalgic songs appealed to people who were tired of over-stimulating K-pop, and their “open content,” which invites diverse interpretations, felt fresh and new. NewJeans awakens fans to the pleasure inherent in dancing and music rather than trying to push a certain world view or philosophy. This strategy has also been applied to FIFTY FIFTY, a girl group formed by an independent agency, and its song “Cupid.” Currently, the group is soaring to heights that no K-pop girl group has ever reached.
There is no single answer or rule for the post-K-pop days. The K-pop market has grown big enough to embrace multiple demands, and its direction for planning is becoming more and more fragmented. An interesting worldview is now just as good as a popular approach. What really counts is taking on bold challenges while striving endlessly for completion and perfection.
KOREA FOUNDATION
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