‘K-pop 4.0’ era begins as US-made ‘KPop Demon Hunters’ OST sweeps global charts
Huntrix, the girl group from Netflix’s animated film “KPop Demon Hunters.” Though the songs are classified as K-pop, they are closer to a K-pop–U.S. pop hybrid, produced by American studios with Korean creators. Courtesy of Netflix
A song from the U.S.-produced Netflix animated film “KPop Demon Hunters” has reached No. 1 on the UK Official Singles Chart, signaling a new era of K-pop’s global influence, one shaped increasingly by foreign creators and capital.
On Tuesday, the track “Golden” became the first K-pop song in 13 years to top the UK chart since Psy’s “Gangnam Style” according to the Official Charts Company.
It also holds the No. 2 spot on the Billboard Hot 100 for the second consecutive week and is poised to become the first non-BTS K-pop No. 1 single on the chart. BTS and BTS members Jungkook and Jimin have previously reached No. 1.
As American media companies embrace K-pop, Apple TV+ is set to premiere a new competition show titled “Kpopped” on Aug. 29. The title is a play on the idea of global pop songs being transformed into K-pop style.
Singer Psy, left, and American pop star Megan Thee Stallion appear on Apple TV+’s “Kpopped.” Courtesy of Apple TV+
The show will feature global stars like the Spice Girls, TLC, Kylie Minogue, Boyz II Men and Megan Thee Stallion teaming up with Korean groups such as ATEEZ, ITZY, Kiss of Life and Kep1er to perform reimagined K-pop versions of their hit songs. Legendary producer Lionel Richie and CJ Vice Chairwoman Miky Lee serve as executive producers.
The collaboration marks a dramatic reversal: whereas American pop once inspired the birth of K-pop, it is now being reshaped by it. Netflix’s “KPop Demon Hunters” is already being developed into a franchise with possible sequels and live-action adaptations. Paramount Pictures has also joined hands with HYBE America for a K-pop-themed film.
While “KPop Demon Hunters” features prominent Korean creatives like producers Teddy and 24, the film was spearheaded by Korean-American director Maggie Kang and Chris Appelhans, with U.S. producer Aron Warner overseeing production.
It was produced by Sony Pictures Animation and voiced primarily by Korean-American artists. This makes “KPop Demon Hunters” arguably the first full-scale K-pop project conceived and produced outside Korea, a turning point many see as the start of the “K-pop 4.0” era.
The trend is further exemplified by “Kpopped,” which spotlights Western pop artists performing in K-pop style. Notably, American R&B trio TLC — who inspired SM Entertainment founder Lee Soo-man in creating K-pop’s early girl group S.E.S. — will perform in the show, bringing the genre full circle.
KATSEYE, a girl group co-produced by Geffen Records and HYBE America, performs at Lollapalooza in Chicago on Aug. 3. Courtesy of Lollapalooza Chicago
KATSEYE rise signals shift to ‘K-pop 4.0’
Meanwhile, the American girl group KATSEYE, co-produced by HYBE America and Geffen Records, is also gaining ground. Though their debut EP “SIS (Soft is Strong)” went largely unnoticed after its release in Aug. 2023, their second EP “Beautiful Chaos,” released in June, placed two tracks on the Billboard Hot 100.
They recently performed at Lollapalooza in Chicago on Aug. 3, impressing tens of thousands of festivalgoers — a rare feat for a rookie act.
Industry analysts say this reflects a shift from the “K-pop 3.0” phase — where Korean agencies localized talent abroad — to “K-pop 4.0,” in which foreign capital and creators produce K-pop content themselves.
Countries like Japan, China, the Philippines and Indonesia are now actively infusing K-pop elements into their own music industries.
“K-pop is less of a genre and more of a production module,” said music critic Kim Do-heon. “You don’t need Korean members to make K-pop anymore. As more countries acquire the expertise, we’ll see more K-pop-style music being made outside Korea, using local talent and resources.”
This article from the Hankook Ilbo, a sister publication of The Korea Times, is translated by a generative AI and edited by The Korea Times.