The Evolution of K-POP from the 2010s to 2025 within the Context of Korean Music Culture

To understand Korean music culture, one must first examine the concept of “gagak.” This term referred to individuals skilled in performing songs like sijo and chang. People with similar interests would travel to gardens near Seoul to sing there, and sometimes they were invited to banquets hosted by scholars or wealthy patrons to perform their art. Once respected as artists with high artistic cultivation and skill, these performers gradually transformed into figures who drove the entertainment scene, and their profession and way of life were often marginalized through derogatory terms such as “ttandara.” In modern times, Korea’s music industry has reorganized around the term “vocalist.” Originally referring to a role within a band, it now encompasses all singers who gain public affection through their voices alone. When asked who the greatest vocalist in Korea is, music critics naturally think of Im Jae-beom, Lee Seung-chul, and Kim Hyun-sik, known as the “eternal gagak.” In particular, Kim Hyun-sik left an important milestone in Korean music history as both the “eternal gagak” and a solitary blues rock musician. His first album, released in December 1980, contained a song that is significant to Korean popular music history: “Spring, Summer, Fall, Winter.” This track served as a bridge between the disco-funky style of “Love and Peace” in the 1970s and the pop-style songs of the 1980s and 1990s. Due to its high technical difficulty, only “Love and Peace,” which featured the best session musicians at the time, was able to perform it fully. Looking at the changes in K-POP during the 2010s, we see that musical diversity occurred alongside a transformation in the industry structure. The broadcast of Mnet’s “Show Me the Money” in 2012 brought domestic hip-hop out of its niche audience and turned it into a genre consumed by people of all ages, which affected the entire popular music ecosystem. An analysis of the top 10 songs of the 2010s reveals a strong bias toward idol groups. During the major shift in third-generation girl groups in 2015, TWICE emerged as a leading force. However, this success did not become a model solution to the crisis facing girl groups, as the idol market had reached its limits beyond being a red ocean. As reliance on fanbases grew, streaming practices such as “sming” and “sming chonggong” led to chart manipulation, ultimately causing doubts about the credibility of popular music from the late 2010s onward. An notable exception from this era was IU. She is regarded as the most successful female solo singer in Korean music history since Lee Mi-ja. Her song “A Good Day” demonstrated a singer-songwriter’s sincerity through its arrangement centered on real session musicians, melody-focused structure, and the trend of high treble notes. As seen in “Blueming,” she is an artist who balances popularity with artistic quality, a rarity in Korea. Another important trend in the 2010s was the increased activity of idol members in solo projects. Solo albums by group members such as G-Dragon, Taeyang, and Taeyeon became essential, adding diversity to the idol industry. In particular, Psy’s “Some” achieved the greatest popularity among emotional hip-hop tracks and became an indispensable song when discussing 2010s K-POP due to its influence in creating new terms like “somenam” and “somenyeo.” Looking at K-POP’s current state in 2025, genre diversification and emphasis on individuality stand out. WOODZ, who is driving the return of rock music, made a comeback with “Smashing Concrete” after completing his military service. They presented an impressive style rare in K-POP with their nu-metal sound, solidifying their identity as rock stars. ATEEZ’s Hong Jong’s “NO1” is a song that combines EDM with jazzy club beats. Its title, a shortened version of his motto “NO 1 LIKE ME,” reveals his breathy and creative musical philosophy. RIIZE gained attention early on with instrument-based tracks like “Talk Saxy,” “Boom Boom Bass,” and “Get a Guitar.” In the final track of their first full-length album, “ODYSSEY,” titled “Another Life,” they showed genuine musicality by blending elements of R&B, punk, and soul. The rookie group NOWZ’s “Problem Child” demonstrated a clear shift toward hip-hop, proving the experimental spirit of new forces in K-POP. Ultimately, the underlying theme running through 40 years of Korean music history is this: it has evolved from traditional “gagak” to modern “vocalists,” and after the industrial chaos of the 2010s, artists who pursue pure musicality and individual identity are emerging in 2025. K-POP is no longer merely commercial music; it has evolved into a mature music ecosystem where various artistic attempts coexist.