Rising English Lyrics in K-POP Exacerbate Identity Crises for “K” Culture

Korean popular music was once referred to as “gayo.” The term “K-POP,” which is believed to have originated in Japan in the late 1990s amid the popularity of “HOT music,” emerged as a genre designation. K-POP is not merely a musical genre but rather a “brand for export” that served as a leader in “K-culture,” representing Hallyu. Essentially, K-POP refers to “popular music distributed in Korea,” with “K” standing for Korea itself. Recently, the composition of K-POP lyrics has become an issue. Current K-POP song lyrics exhibit a “80% English, 20% Korean” ratio. There are also numerous K-POP tracks composed entirely in English. J-POP (Japanese pop), which is based on Western musical styles, includes the “J” because Japanese artists sing in their native language. J-POP musicians do not abandon Japanese but instead use it more actively; in their songs, English acts as a seasoning while Japanese remains the main focus. K-POP would retain its true meaning if it followed the same approach. Psy’s “Gangnam Style” is a historical example. Just before reaching the top of the Billboard Singles Chart, Psy returned to Korea and said, “It was the generosity of the Korean public that brought me to this position.” “Gangnam Style” was a “Korean-style” song with lyrics written entirely in Korean, aside from a few English interjections. It became a global hit not by using English to win over foreigners but through superior media utilization and creativity, demonstrating infinite potential for Korean-language songs to reach the Billboard summit. K-POP transcends being merely a musical genre; it is a state-sponsored cultural phenomenon. It is undeniable that it expands into global markets backed by long-standing nationalism. This is why K-POP cannot do without the “K” in its name. In fact, overseas K-POP fans invest time and money to learn Korean and Korean culture because it constitutes the core of K-POP. A Japanese linguist specializing in Korean has also proven that Korean consonant clusters are the “invisible notes of K-pop,” offering a thrill that is absent in English, French, Russian, or Japanese. Some argue that since most younger generations can understand English, it is acceptable for K-POP lyrics to be in English. However, this argument implies that if the lyrics were in Korean, Koreans would understand them better. More importantly, such an argument limits the genre’s potential by confining its audience solely to younger generations. Many middle-aged and older people support BTS for reasons of “national pride.” Even though they do not fully comprehend BTS’s music, they are proud that K-POP artists promote Korea as Koreans abroad. Simply calling it K-POP because its headquarters are in Korea and its singers are Korean is insufficient. The reliance on English lyrics is merely a business strategy aimed at greater expansion, obscuring the essential “Korea” that underpins K-POP from the ground up.