This story is part of Billboard‘s K-Pop Issue.
When J.Y. Park and Monte Lipman announced their forthcoming competition series A2K — standing for America to Korea — in July 2022, the respective founders of JYP Entertainment and Republic Records vowed to jointly produce “the first American artist made out of the K-pop system.” It was something of a full-circle moment for Park, who has eyed South Korean-to-American crossover success since JYP’s Wonder Girls became the first K-pop act to enter the Billboard Hot 100 in 2009. American artists are now clamoring for Park and other top Korean labels to notice them — and help them achieve their big break — in what has become a global race to launch a first-of-its-kind K-pop act.
While K-pop is short for “Korean pop,” genre fusion has always been one of its pillars and a big part of what has helped it reach new audiences — as has cultivating groups with members from countries outside of South Korea. Today, it’s common for trainees to come not only from China, Japan and Thailand but also countries like Australia, New Zealand, Canada and, now, the United States.
“The whole strategy often started with having a member able to speak the language for the targeted market,” says John Yang, a U.S.-based entertainment executive who has spent 15 years in the Korean music business. “The K-pop industry realized the power of having members of that nation propelling more of the engagement among the fans and a much quicker local expansion.”
Now, with the genre’s growing popularity in major markets, K-pop stars are defined not by nationality, but by industry standards: years of rigorous training, contracts signed under a Korean agency, visual hallmarks (glossy videos, coordinated choreography) and release strategies involving multiple album drops each year.
“K-pop means ‘Korean popular music,’ ” Yang says. “I see this less as where it’s made, but more of who made it and how it’s produced. I may compare this with the restaurant business: It’s not the location defining it as ‘American,’ ‘Italian’ or ‘Korean,’ and also not about the ethnicity or race of its CEO, managers or even customers that defines cuisine, but more of cuisine consisting of the ingredients, recipes and techniques developed across that respective country.”
Despite the growing number of countries represented in K-pop, nearly all the artists are from Asia or of Asian descent. But the expanding definition of who can be a K-pop star is now seeing Korea’s industry leaders incorporating America’s diverse young talent into their system, regardless of race or ethnicity.
Initially, HYBE was the front-runner in this global gamble. A month before Big Hit Entertainment rebranded as HYBE in March 2021, chairman and then-CEO Bang Si-hyuk, alongside Universal Music Group chairman/CEO Lucian Grainge, revealed a strategic partnership that included assembling a “global” K-pop boy group in the United States under a new joint-venture label between Big Hit and Geffen Records. The plans to air worldwide auditions in 2022 with a “major U.S. media partner” changed a bit: HYBE and Geffen subsequently announced five American cities holding auditions for a “global girl group” in March and April 2022 before expanding the auditions to Japan, Australia, the United Kingdom and South Korea for December 2022-January 2023.
In that time, A2K launched its own American Idol-style auditions, bringing Park to Atlanta, Chicago, New York, Dallas and Los Angeles to select contestants to attend an L.A. “boot camp” reminiscent of The X Factor’s, with semifinalists then flying to JYP Entertainment’s Seoul headquarters for what A2K described as “intensive training” with music, dance and business executives. Winners will be part of a supergroup under JYP and Republic Records for all music releases — just like TWICE, Stray Kids and ITZY, which have earned seven top 10 albums on the Billboard 200, including two No. 1s by Stray Kids, since the companies partnered in 2020. TWICE, Stray Kids and JYP’s Japan-based girl group NiziU were all created on similar competition shows and officially debuted three to six months after their respective finales.
While JYP and HYBE worked directly with label partners, SM Entertainment connected directly with MGM Worldwide Television Group for its global venture. SM announced a partnership in May 2021 with MGM and its then-chairman, Mark Burnett, for a competition series forming NCT-Hollywood, a U.S. offshoot of SM’s boy band collective NCT, which has splinter groups across Korea, China and Japan. At the time, an insider told Billboard the show had been in development even before the pandemic — but Burnett’s late-2022 exit from MGM, Lee Soo-man’s controversial ousting from SM earlier this year and an announcement from SM’s new CEOs that the NCT system would halt expansion after a Tokyo-based team launches in 2023 raise questions about the project. (SM declined to comment for this story, as did Republic Records and Geffen Records — a reluctance likely born out of the high degree of competition and similar timelines to launch that they’re operating on.)
While no major U.S. label has made an earnest attempt, American and British “K-pop” groups have been launched before. Dubbed “the world’s most controversial ‘Korean’ band” by the BBC, EXP EDITION began in 2014 as Columbia University student Bora Kim’s master’s thesis that explored the meaning of K-pop music. Kim held auditions to form a band of six non-Korean men who would undergo a truncated version of the years of rigorous training K-pop hopefuls commit to in Seoul with voice coaching, dance rehearsals, language lessons and media training. Supporters donated $30,000 through Kickstarter and, with the help of a private investor, Kim and four of the six EXP EDITION members moved to Korea.
EXP EDITION booked prime K-entertainment TV slots like Mnet’s M Countdown and KBS2’s Immortal Songs, but experts criticized its inability to achieve captivating, onstage perfection — and the group’s 2018 debut EP, First Edition, was its sole release.
KAACHI, created by Frontrow Records and branded as the first London-based K-pop group, faced similar criticism. Unlike EXP EDITION, KAACHI did have one Korean member. Its 2021 music video “Get Up” was sponsored by a Seoul theme park, and the group performed publicly alongside top K-pop stars at the time. Still, the group disbanded in less than two years.
But crucially, today’s ventures to create global K-pop groups have the backing of some of the most powerful companies — Korean and American — in the music business. Whether or not the artists these initiatives yield break through on the Billboard charts, Yang sees future group launches as the ultimate indicator of a healthy, locally grown K-pop presence in America — much in the same way SM, JYP, HYBE and their counterparts have done for decades now in Asia.
“The most obvious indicators of the success of these projects would be Billboard charting, which will only result with the support of their fans without doubt,” he says. “However, the longevity of these partnerships and the birthing of more groups consistently will be the significant historical marker.”
This story originally appeared in the April 22, 2023, issue of Billboard.
