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INTERVIEW K-pop taps French songwriters to broaden its reach
Hosts and participants mingle at the inaugural "Atelier K-pop" song camp, held from March 24 to 29 in Seoul. Captured from Embassy of France in Korea's Instagram
By Pyo Kyung-min
What happens when Korean precision meets French flair in the music studio?
The answer played out in Seoul, where the first-ever "Atelier K-pop" songwriting camp brought together music professionals from both countries for six days of creative collaboration.
The camp, which ran March 24 to 29, marked a rare partnership between the French government and top K-pop publishing players, including LEEway Music & Media, Amplified Corporation and JYP Publishing.
Jointly organized by the Embassy of France in Korea and the Centre National de la Musique (CNM), the initiative brought four French composers — Poppy Fusée, Jean-Noël, Robin Peret and Ugo — to Seoul, for a deep dive into K-pop's unique production process.
"It was more than just sharing music," Jake Lee, CEO of LEEway Music & Media, one of the main hosts, said in an interview with The Korea Times, April 4. "It was about bringing fresh perspectives to K-pop and creating songs with global appeal."
While countries like the U.S., the U.K., Sweden and the Netherlands have long been regular sources of international songwriting talent for Korea, France had largely been off the radar — until now.
"France has such a vibrant and distinctive pop scene," Chung Hyo-won, CEO of Amplified Corporation, said during the same Friday interview at his company headquarters. "K-pop has traditionally collaborated a lot with Swedish or American songwriters, but we also saw untapped potential in France."
Participants pose during the "Atelier K-pop" song camp, which ran March 24 to 29 in Seoul. Courtesy of LEEway Music & Media
Over the week, the four visiting composers teamed up with 25 Korean artists in high-energy sessions, crafting K-pop demos that spanned pop, hip-hop and R&B.
Both executives were candid about their early anxieties — particularly about cultural differences between Korea and France.
"In song camps like this, there's always the risk of creative clashes or even people dropping out halfway through because of disagreements. And for this event, those differences extended to culture as well," Chung said.
"People naturally expect gaps between K-pop and French music styles — and there's also that layer of cultural pride, since France is such a global cultural powerhouse."
But to their surprise, the French composers quickly adapted to K-pop's fast-paced production culture — and what could have been clashes ended up enriching the music.
"There's a certain charm in their chord progressions and harmonious melodies — something we don't often encounter in K-pop," Chung said. "We call it the ‘French touch.' It's not exactly chanson vibes, but it's, well, different. It's hard to find the words to describe the feeling."
By the end of the camp, the teams had created around 15 songs infused with that "French touch" — some even featuring French lyrics and titles — including promising candidates for both K-pop boy bands and girl groups. A few tracks, the hosts added, might even find their way onto drama soundtracks.
"These songs are definitely going to be put to good use," Lee said. "Even if they're not picked up by idol groups, a few could be perfect as K-drama soundtracks."
Hosts and participants pose during a session of the inaugural "Atelier K-pop" song camp held from March 24 to 29 in Seoul. Captured from Embassy of France in Korea's Instagram
Lee also noted growing interest from other countries following the success of this French collaboration.
"France has a strong music export body, but now we're seeing interest from neighboring countries too. I think we'll see even more camps like this in the future," Lee said.
Meanwhile, both Lee and Chung voiced hope for more structured support in the other way around — helping Korean songwriters expand their reach overseas.
"The Korean market has grown tremendously, but with so many foreign songwriters looking for opportunities in K-pop, space for Korean creators has ironically become tighter," Chung observed.
"Just as this camp welcomed artists from abroad, I'd love to see (Korean) government initiatives that equally support and open doors for Korean songwriters to go global."
Lee agreed, adding, "Korean songwriters already enjoy recognition on the international stage. If our creative agencies and publishers joined forces with national institutions, we could unlock even more opportunities."
Reflecting on Korean pop culture's global influence, both CEOs described it as far more than just music.
"It's really the whole Korean cultural package — K-beauty, dramas, you name it. It's a phenomenon that has grown organically," Lee said.
"While fandom culture has been a major driving force, I hope K-pop continues to evolve into music that reaches even more listeners," Chung said. "Our goal is for the scene to go truly universal."