RIIZE on X
The 5th generation of K-Pop is in full swing, and it is flourishing like never before. Alongside new K-Pop idols, a whole new generation of fans is emerging, marking a shift in trends. One such significant trend that came about with the 5th generation of K-Pop is the invention of new genres that serve as the musical identity of rookie/rising K-Pop groups.
Over the years, there have been several K-Pop groups who have pioneered certain genres unlike any other, such as SUPER JUNIOR, BTS, Stray Kids, NCT, SEVENTEEN, and more, and have been lauded for popularizing the same in the realm of K-Pop. However, in recent years, newly debuting K-Pop groups are starting off with a predefined "signature style" or "exclusive genre" but more often than not, they're arguably on the more abstract side of things.
For instance, RIIZE debuted with what they're calling the original genre of "Emotional Pop", which presents their own "emotions and vibes" to the audience. However, as many fans have noted, "emotional pop" is not quite an original addition to the range of genres already seen in K-Pop. Indeed, the nomenclature may be novel, but from what we've seen of RIIZE's discography so far, their style, which is being fleshed out brilliantly, has seen predecessors in groups like EXO, SHINee, INFINITE, ASTRO, and so on.
At the same time, not all of RIIZE's music fits precisely within this genre. Fans suggest that this might be because "emotional pop" is not as much the group's predominant genre as it is their concept. It is also being perceived as a way to distinguish RIIZE from the more futuristic concepts of SM groups like aespa and NCT by focusing on the intricate landscape of human emotions.
Now, only one K-Pop group taking this approach may not be enough to call this a trend, but when we have yet another highly anticipated boy group announcing their "own genre", attention is due.
We're talking about TWS (short for TWENTY FOUR SEVEN WITH US), Pledis Entertainment's newest boy group, set to debut on January 22. This is Pledis' first boy group since the debut of SEVENTEEN, and expectations are higher than ever. Even before their debut, Pledis Entertainment has revealed that the boy group will create their own genre called "Boyhood Pop", representing the bright and beautiful sentiments of youth in all its honest and vulnerable glory.
Once again, this is certainly a new term, but its distinguishing factors remain to be seen. Much like with RIIZE, fans are taking "boyhood pop" as the group's conceptual identity, rather than their main genre. However, the true nature of this differentiation is still unfolding and awaits exploration.
TWS is not the only boy group aiming for the "youth" sound. Last year, in an exclusive interview with Kpopmap, boy band Catch The Young, who debuted in November of 2023, shared that their unique genre, "Youth Pop Rock", is their signature.
We would like to say that "Youth" and the energy that we'd like to share through our music and pursue is the signature of Catch The Young. Also, Youth Pop Rock is our unique genre that shows the style that only we can do. Therefore we could say that the genre itself is also our signature. We'd also love to bring the revival of band music.
Catch The Young
So, where has this K-Pop trend come from and why? All signs point to the debut of NewJeans and their meteoric rise to global fame. NewJeans' characteristic nostalgic Y2K style took off quite organically without them having to promote it as their signature. Much like groups such as Stray Kids, they created their own recognizable sound through a mix of genres like mellow pop, R&B, Baltimore club, Jersey club, UK garage, and more.
Notably, NewJeans exemplified a "show, don't tell" approach, but the desire to emulate their success by creating something new or starting a trend to boost the debut of a new group is all too evident, which may have led to the construction of these new genres. Rather than taking the time to develop a distinctive sound that would ideally be recognized as unique by fans and critics, these groups proactively set themselves apart by introducing their own genre right off the bat.
Now, the impact of these predetermined genres on the growth and success of the groups is a subject open to debate. RIIZE is immensely successful and beloved, with their music finding an audience across generations. Similarly, Catch The Young is impressing fans with their versatility and refined musicality, whereas TWS has us waiting for their debut with bated breath. Some fans are certainly noting a distinction and originality in their respective genres, while others are of the opinion that this may just be a marketing strategy.
More often than not, artists may not have a direct role in shaping the concepts their agencies develop for them. It's quite plausible, therefore, that these designated "genres" are strategically assigned as promotional keywords. Nonetheless, it is intriguing to observe how marketing trends influence and shape the dynamics within the industry, and the extent to which their success can be attributed to their distinctive genres remains to be fully grasped.
In conclusion, the K-Pop landscape is experiencing a notable shift in how new groups establish their musical identity. The trend of assigning unique genres before debut has sparked curiosity and discussion within the industry and among fans. While the novelty of these genres may be questioned, it's clear that they play a crucial role in shaping the narrative around each group. Whether these genres become lasting musical movements or are merely another K-Pop trend remains to be seen.
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