Breaking Boundaries in K-Pop: HYBE and Lee Soo-man’s Global Strategies

K-Pop’s expansion overseas has entered a new phase. Moving beyond traditional global tours and album distribution, major entertainment companies are now forming local groups to pursue the internationalization of the K-Pop system. KATSEYE, launched by HYBE in 2024, is the most notable example of this shift. From the outset, KATSEYE targeted the North American market, establishing its primary activity base in Western countries where language, culture, and distribution environments differ significantly from those in Korea. From the early planning stages, HYBE positioned these members as “global groups” rather than “K-Pop groups.” While maintaining the K-Pop system and fan strategy, the language, music genres, and tone of their content are optimized for the North American music market. All five members of KATSEYE, except Yoonchae, are foreigners from various countries such as the United States, Switzerland, Italy, and the Philippines. Musically, instead of adhering to the typical K-Pop format, they focus on a sophisticated sound that blends R&B, alternative pop, electronic, and other genres aligned with trends in the North American music market. Their debut album *SIS (Soft Is Strong)* featured vocal-centered production, while their second album *Beautiful Chaos* expanded their musical scope with more intense and bold tracks. The localization strategy yielded immediate results. With *Beautiful Chaos*, KATSEYE reached as high as fourth place on Billboard’s main album chart, the Billboard 200, marking a rise of over 100 spots from its 119th position on the first album. They also made it onto Billboard’s more competitive main single chart, the Hot 100. By achieving an unprecedented double hit with the pre-release track “Gnarly” followed by “Gabriela,” they proved their ability to effectively integrate into the North American market. Notably, KATSEYE demonstrated flexibility by having members Megan and Lay come out as LGBTQ+ individuals, breaking away from the conventional norms of the K-Pop industry. This move, which is rare within K-Pop where revealing identity is often seen as a risk, shows that the group is naturally attuned to North American cultural sensibilities. This approach was further strengthened through HYBE’s collaboration with Geffen Records. Geffen Records, a label under Universal Music Group (UMG), has deep roots in the local album distribution networks and music industry infrastructure of the United States. The combination of HYBE’s K-Pop production capabilities and local resources created a completely new model for a global idol system. Lee Soo-man, founder of SM Entertainment, is taking things a step further by advancing a full-scale localization strategy through “A2O Entertainment.” Defining localization as a team composed primarily of local talent, he said, “My original life plan was to work only until around 65 or 70, but I’m still healthy enough to work, and I’m grateful for that.” He emphasized a global strategy centered on China, stating, “Great stars emerge from large markets. We’ve already produced world-class stars like BTS and BLACKPINK in our country, but I can’t handle everything from start to finish alone.” He added, “We started ‘A2O MAY’ in China, but it’s ultimately aimed at the whole world. We’re also preparing various projects in Japan, Thailand, Indonesia, and other places.” When asked about concerns regarding K-Pop’s identity, he replied, “We also need to consider how much of the ‘K’ identity should be preserved. Our goal is to create works that are recognized globally.” He explained, “Music isn’t just based on the pentatonic scale of Eastern music; it typically uses the universal diatonic scale of the West. Cultures improve by interacting with one another.” Lee Soo-man also proposed national-level support, saying, “If we want K-Pop to go beyond simply flourishing as an industry and become a source of national wealth, Korea must become the ‘country of production.’ If we maintain leadership as the birthplace of K-Pop, any localization effort worldwide can retain its K identity.” A2O Entertainment plans to operate “schools” that allow teenagers to experience various creative fields such as music, design, and video production. Ultimately, the efforts of KATSEYE and Lee Soo-man hold significant industrial importance because they present a new model where K-Pop transcends being merely an overseas extension of a domestic industry to become an integral part of the global music industry. It is an ongoing experiment showing how the K-Pop system can function in diverse cultural contexts.