After taking a look at K-pop’s biggest agencies, I’d like to turn my attention to the smaller (but still important) players in the K-pop game, three at a time.
Disclaimer: As with my write-ups on K-Pop’s biggest agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general K-pop fan-base.
BRAND NEW MUSIC
For idol group fans, Brand New Music is largely about AB6IX and YOUNITE at the moment. Commercially, each seems to be moving in different directions. AB6IX has struggled to match their out-of-the-gate success ever since year two of their career, but their music has been pretty solid. This was a good year for them when it comes to output but it doesn’t feel like the agency is really trying to push them beyond their core fan base.
YOUNITE’s sales have steadily grown since their debut and they hit a new peak with their spring album Another. I happened to like that album a lot, too. It still doesn’t feel like they’re competing in the big leagues and they lost a member this year, but they surely gained some notoriety from participating in Road To Kingdom.
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CUBE ENTERTAINMENT
Cube used to be one of the big players in K-pop and in some regards they still are. (G)I-DLE remain massive in Korea and abroad, scoring one of their biggest hits this year. However, it remains to be seen whether Soyeon re-signs with the company in the coming weeks. Much of their fortunes going forward will likely depend on that decision. They’ve already lost BTOB and much of Pentagon. I’m not sure they can afford losing even part of (G)I-DLE – especially its driving creative force.
Part of the reason why these pillars are so important to the agency is that Cube hasn’t done a great job cultivating new talent. LIGHTSUM barely promote and new boy group Nowadays seems to be having trouble getting off the ground. For a group in their debut year, Cube should really be putting more muscle behind them. And personally, I didn’t think much of the music that came from the agency this year was that great. They lack an identity and creative vision.
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DSP MEDIA
As I’m working through my “Back to K-pop’s First Generation” series, it’s interesting to reflect on just how much of a force DSP Media used to be in the industry. They’ve long since relinquished that power, which is a shame. Now, they’re down to a couple mid-tier groups that seem to be focusing more on niche audiences than conquering K-pop as a whole.
Going niche isn’t a bad idea and can be quite profitable. I’m happy that both KARD and Young Posse have specific musical identities. Their music isn’t always for me, but it serves a purpose and isn’t just assembly-line pop fluff. KARD’s long-awaited comeback came and went this year. They’re a successful touring act in international markets, but their current tour was recently postponed. Young Posse were given a bigger push this year, even performing at the MAMA Awards. Time will tell if this promotion pays off, but I feel like I’ve seen more of them these past few months and their sales have increased. However, DSP gets a big stain on their record for letting boy group Mirae slip through their fingers. They disbanded this year after barely being promoted in the first place. What a waste of potential.