This year has become one of the most complex and diverse in K-pop since the debut of the first girl group, S.E.S. The sheer number of active groups has increased, each with its own unique musical direction and concept. More importantly, this must be understood not just within the context of the Korean music market, but also in the global K-pop scene and the wider global pop market.
Consider this: K-pop has evolved into a competitive landscape where idols who started in Korea, those who debuted in local markets for the global audience, and foreign idols influenced by K-pop but not directly created by Korea all vie for dominance in the same market. While the musical directions they pursue are diverse, they often share similar intentions. One of these is to seize control of the global girl group market in the post-Blackpink era. Regardless of Blackpink’s enduring popularity, the recent debuting or actively promoting groups display varying degrees of Blackpink’s DNA, sometimes boldly and at other times subtly.
Groups Claiming to Be ‘Heirs of Blackpink’
Two prominent groups actively benchmarking the success formula established by their senior counterparts Blackpink are BabyMonster, a new girl group from YG Entertainment (Blackpink’s agency), and Meovv, a girl group launched by THE BLACK LABEL, founded by YG producer Teddy.
At first glance, it might seem that BabyMonster, developed and introduced directly by YG, holds a legitimate claim to authenticity. However, given that THE BLACK LABEL is the company of Teddy, the producer who played a decisive role in the success of YG’s earlier groups like Big Bang, 2NE1, and Blackpink, one could also argue that Meovv holds a rightful claim to this legacy.
Finding Blackpink’s nuances in the music and visuals of these new groups is not difficult. Their cold and dynamic images with hip-hop beats, luxurious visual presentations, and familiar, retro-sounding music are reminiscent of what YG and Teddy have crafted in the past. While BabyMonster has already released around five songs, Meovv has just debuted with its first single, and it seems likely that they will have members who can perform rap, singing, and dancing simultaneously, similar to Blackpink’s Jennie. This flexibility of switching roles within a song has become a common trend among recent idols.
There is also a clear strategic difference in how these groups approach the market. Just as Blackpink, with Lisa, has showcased overwhelming dominance in the Thai and Southeast Asian markets, BabyMonster is open about its localization strategy through foreign members. BabyMonster includes two Thai members, Parita and Chikita, as well as Japanese members Luka and Asa. However, the integration with the Korean members is so seamless that Asa and Luka’s rapid Korean rap feels completely fluent, making their foreign identity almost unnoticeable.
In contrast, while Meovv lacks Thai members, it has two members from the United States (Gawon is a dual national, while Ella is of Korean descent) and one Japanese member. Their presence seems aimed at targeting the North American and English-speaking markets, which have become the largest for K-pop. Although Meovv has just released its self-titled debut song, it has already signed with Capitol Records, one of the largest record labels in the U.S., and plans to distribute music in the U.S. through Universal.
As Blackpink has surpassed its eighth anniversary and the members have moved to different agencies, it’s become clear that they will focus more on individual activities than group ones. In this context, the competition among agencies to naturally absorb the position and fandom that Blackpink has occupied in the global K-pop market is bound to intensify.
Creative Interpretation and Inheritance Indicating a New Era
There are also 5th-generation girl groups that creatively inherit the elements of sophistication, girl crush, and hip-hop that Blackpink embodied, even though they are not directly “descendants” of Blackpink. Kiss of Life and YOUNG POSSE debuted in the same year as BabyMonster.
Kiss of Life, which has emerged as the hottest summer queen since Sistar, showcases powerful vocals and songwriting abilities, alongside bold choreography emphasizing twerking with their digital single “Sticky.” While their buzz is noteworthy, the group’s strength lies in their music. Their powerful choreography evokes memories of groups like Sistar and Blackpink, but their sophisticated global sound aligns them more with girl groups like Red Velvet, Oh My Girl, or NewJeans.
The role of Lee Hae-in, the creative director of Kiss of Life, is also garnering attention. By designing every aspect of the group—from concept to visuals and music—with a delicate and long-term vision, she is signaling a new era of female producers approaching with aesthetic sensibility, following in the footsteps of Min Hee-jin, who successfully led NewJeans.
YOUNG POSSE is another group making waves with its very unique approach. This group openly embodies ‘hip-hop’ not just in fashion and image but throughout their music. Recently, they’ve brought back ‘G-funk,’ a hallmark of West Coast hip-hop from the 1990s, sparking excitement among old-school hip-hop fans.
If we do not limit K-pop as a genre or industry to just Korea or Koreans (which it shouldn’t), we need to pay attention to the emergence of groups like XG, which consists of Japanese members created in Japan but geared toward the broader K-pop market. Their presence, already established with a strong fandom and international success, signals the onset of a new trend.
The legacy of K-pop girl groups like Blackpink and Twice, who have become global icons, is not only carried on by Korean groups inheriting their lineage but also by global girl groups from other countries that have grown up listening to their music. This notion is becoming increasingly realistic, much like how K-pop has successfully inherited the legacy of the Spice Girls to achieve today’s glory.
Source: Daum
