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K-pop’s next generation: Which rookie groups will debut in 2026?

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ALPHA DRIVE ONE / Courtesy of WAKEONE

ALPHA DRIVE ONE / Courtesy of WAKEONE

A new wave of K-pop rookie groups is lining up to enter the spotlight through 2026, as major agencies and audition programs prepare fresh act aimed at shaping the next generation of K-pop — even as the industry’s biggest names gear up for high-profile comebacks in the background.

Among the earliest debuts is ALPHA DRIVE ONE (ALD1), an eight-member boy group formed through Mnet’s 2025 audition program “Boys II Planet.” Managed by WAKEONE, the eight-member boy group consists of Junseo, Arno, Leo, Geonwoo, Sangwon, Xinlong, Anxin and Sanghyeon. The group is scheduled to debut on Jan. 12 with its first album, “EUPHORIA.”

The group has already gained early exposure. In December, ALD1 opened the 2025 Melon Music Awards with a performance of its prerelease single, “FORMULA,” marking its first appearance on a major awards stage. With senior labelmate ZEROBASEONE nearing the end of its contract period, ALD1 is expected to continue the lineage of male idols produced through the “Boys Planet” franchise.

MORE VISION, the agency led by singer and producer Jay Park, is also preparing a new boy group. LNGSHOT, a four-member act consisting of Oyul, Ryul, Woojin and Loui, will release its debut mini album, “SHOT CALLERS” on Jan. 13.

According to the company, LNGSHOT aims to become "one of the most influential acts in pop music," spanning hip-hop and R&B. The group’s name reflects the idea of “a decisive shot that turns the tables despite slim odds.”

Singer Jay Park, third from left, and boy group LNGSHOT pose on the red carpet during the 2025 Melon Music Awards at Gocheok Sky Dome in Guro District, Seoul, Dec. 20, 2025. Newsis

Singer Jay Park, third from left, and boy group LNGSHOT pose on the red carpet during the 2025 Melon Music Awards at Gocheok Sky Dome in Guro District, Seoul, Dec. 20, 2025. Newsis

C9 Entertainment, home to groups like CIX and EPEX, is also preparing to launch its first new boy band in five years. The seven-member group, NAZE, includes Ato, Kaisei, Younki, Turn, Yuya, Kimkun and Dohyeok.

Ahead of its official debut, the members have been active under the provisional name, C9 ROOKIES, and have appeared on Japanese television programs, including dramas and variety shows, as part of early promotional efforts.

Audition programs continue to serve as a pipeline for new girl groups as well. H//PE Princess, a seven-member global hip-hop group formed through Mnet’s Korea-Japan joint project “Unpretty Rapstar: Hip Pop Princess,” is also expected to debut this year. The final lineup includes Nam Yu-ju, Koko, Niko, Yun Seo-young, Kim Do-yi, Rino and Kim Su-jin.

Another audition-born act, YUHZ, emerged from SBS’ “B:MY BOYZ” is preparing for its official debut. The eight-member multinational boy group consists of Bohyeon, Hyo, Haruto, Junseong, Jaeil, Kai, Yeontae and Sechan. Reflecting its global lineup, the group plans to expand beyond Korea into markets including China, Taiwan and Japan.

SMTR25, a male trainee group under K-pop label SM Entertainment / Courtesy of SM Entertainment

SMTR25, a male trainee group under K-pop label SM Entertainment / Courtesy of SM Entertainment

One of the most closely watched projects is SM Entertainment’s SMTR25, a multinational male trainee group first introduced during the company’s 30th anniversary concert, “SMTOWN LIVE 2025,” held in Seoul in January 2025. The trainees later appeared at SMTOWN concerts in Mexico City, Los Angeles, London and Tokyo, signaling SM’s intent to position them as part of its next generation of artists.

While SM has not yet announced the final lineup or official name of the debuting team, industry observers expect a debut in 2026.

Separately, a new boy band from A2O Entertainment, led by SM founder Lee Soo-man as key producer, is also expected to launch this year.

While details remain limited, the project would mark Lee’s return to the K-pop industry following the sale of his SM shares in 2023, after a period during which contractual restrictions limited his involvement in K-pop production within Korea.