The Prelude to the Era of K-Pop 2.0, Is 'K' National or Systemic?
In November 2025, the South Korean entertainment industry found itself in the midst of an unprecedented identity debate. For the past 30 years, 'K-Pop' has referred to cultural products characterised by Korean lyrics sung by Koreans, unique choreography, and visuals. However, the identity of K-Pop is undergoing rapid changes.
If the time when BTS dominated the Billboard charts with Korean songs was 'K-Pop 1.0', now we are in the era of 'K-Pop 2.0', where the system is transplanted locally to cultivate stars abroad beyond content. The joint girl group 'Cats Eye' from HYBE and Geffen Records and JYP Entertainment's 'VCHA' are the litmus tests of this massive experiment. The diverging fates of the two groups raise fundamental questions about whether the meaning of 'K' is national identity or a capitalist production system.
The End of 'Made in Korea', Exporting the 'Factory' of K-Pop
In the past, the Korean Wave primarily consisted of exporting finished content. From the drama 'Winter Sonata' to Psy's 'Gangnam Style' and the BTS phenomenon, all were 'Made in Korea' produced in South Korea. However, as of 2025, major entertainment companies like HYBE, JYP, and SM are constructing the 'K-Pop production system' itself overseas. This is a strategy to systematise K-formulas with local talent and language.
The results of this system transplantation have been starkly divided. Cats Eye surpassed 33.4 million monthly listeners on Spotify, ranking first among girl groups worldwide. This proved that the K-Pop system can create universal pop stars transcending race and language. In contrast, JYP's VCHA had to change its group name to 'GIRLSET' and undergo a complete rebranding amid member departures, lawsuits, and public indifference. Where does the difference between the success of Cats Eye and the struggles of VCHA originate?
The Success Formula of Cats Eye: Erasing 'K' and Adding 'Narrative'
The success of Cats Eye is the fruit of HYBE's 'Multi Home, Multi Genre' strategy. Their success factors can be summarised in three points.
First, Musical Deterritorialization. Cats Eye's music lacks Korean melodies or Korean lyrics. Songs like 'Gavriela' borrow elements of country pop, removing linguistic and cultural barriers for Western audiences.
Second, Narrative Building through Platform Utilisation. The Netflix documentary 'Pop Star Academy: KATSEYE' shows the harsh competition process without reservation, imprinting the members as 'autonomous survivors' rather than 'manufactured dolls'. This addressed the authenticity issue valued by Generation Z.
Third, Data-Driven Localised Marketing. They modified their promotional strategies by analysing Spotify and TikTok data in real-time, which became a driving force for entering the Billboard charts.
The Evolution of '21st Century Motown', Commercialising Individuality
Experts evaluate that HYBE has completed the '21st Century Motown' with Cats Eye. While past Motown or first-generation K-Pop suppressed individual uniqueness for the system, Cats Eye has evolved to maximise and commercialise individual uniqueness within the system. The strategy of even transforming conflicts among members into entertainment signifies that the system has transformed from a mere 'dance factory' to an 'attractive character production base'.
JYP's Misjudgment and Targeting Mismatch
In contrast, JYP's localised group VCHA faced trials. The biggest reason was targeting failure. The overly bright and youthful image at debut received harsh criticism in the Western market, being likened to a "Disney Channel". Unlike Cats Eye, which targeted Generation Z as 'teen crush', JYP failed to read the 'sophistication' expected by Western youth and was criticised for mechanically applying past successful methods.
Clash of the K-System: Individualism and Ethical Awareness
The clash between Western individualistic culture and the rigidity of the K-Pop system was also fatal. Controversies over child labour regarding the activities of young members and backlash against Korean-style training led to member departures and lawsuits. Member KG's lawsuit brought the human rights violations of the K-Pop system to the surface, which was a structural rupture caused by JYP's 'character education' system clashing with Western values.
Rebooting 'GIRLSET', Declaring Autonomy after Failure
In August 2025, JYP changed the group name to 'GIRLSET', making a bold move. The key is 'autonomy'. The new song 'Little Miss', released with the slogan "We’re setting who we are", received positive responses with its Y2K sensibility and the harmony of the members' vocals. Although it does not reach the overwhelming success of Cats Eye, it shows that JYP's strategic adjustments were effective in bouncing back from the bottom.
The Dilemma of Fordism and Post-Fordism
The standardised production method of K-Pop (Fordism) clashes with the Western culture of small-batch production and taste-centric culture (Post-Fordism). HYBE succeeded by maintaining the system while giving artists a veneer of autonomy, whereas JYP faced resistance by sticking to a control-centred approach. The Western market desires artists who think for themselves, even with flaws, rather than perfection. Now, the K-Pop system must sell 'authentic narratives' rather than 'perfect choreography' to survive.
The Pros and Cons of B2B Transition and Global Expansion
K-Pop 2.0 is transitioning to a B2B model through partnerships with local labels. HYBE fully utilised the network of Geffen Records, while JYP left much to be desired in utilising local resources. Additionally, expansions continue with SM's British boy group 'Dear Alice' and HYBE's Latin group 'Santos Bravos'. This presents an opportunity to expand the K-Pop market to a global population of 8 billion and is an inevitable choice to overcome the limitations of the domestic market in Korea.
'K' as a Protocol, Erasing Itself to Become Global
In November 2025, the rise of Cats Eye and the resurgence of GIRLSET present a clear conclusion. Now, 'K' is not a geographical boundary but a protocol and operating system (OS) that creates stars. HYBE has successfully transplanted this OS into global hardware, while JYP is undergoing patches due to compatibility issues.
The future of K-Pop 2.0 will be a process where the Korean colour fades and 'K' becomes a common noun. Even if the public may not remember them as K-Pop groups in the future, it may be the greatest victory of the K-Pop system and the paradoxical mission of the 'K' brand. 'K' is now trying to become global by erasing itself.
