Genderless group XLOV opens a new chapter for K-pop

XLOV, a group that has drawn attention in the pop market by putting a genderless concept front and center / Courtesy of RBW and 257 Entertainment

For years, the K-pop industry operated within the fixed norms of “boy groups” and “girl groups.” Idols experimented with a wide range of concepts, but always within a basic framework that rarely bent: boy groups were expected to be energetic and powerful, while girl groups were expected to be feminine and beautiful.

In recent years, however, those gender boundaries have begun to blur. As South Korea has grown more receptive to genderless expression, idol groups have begun moving beyond traditional gender-based presentation and testing the limits of what K-pop performance can look like.

One of the most eye-catching examples is the multinational group XLOV, which is building a visible presence in the K-pop scene. By placing a genderless identity at the forefront, the group is not just experimenting with a new concept, but also raising broader questions about where the industry is headed.

Not just a concept but an identity

XLOV debuted in January last year as a four member group. Declaring itself "genderless," a first for the K-pop industry, the group took the stage in skirts and incorporated voguing into its performances, a break from the established boy group formula that drew attention from industry insiders.

There have been earlier cases of individual K-pop idols embracing more gender-neutral concepts. But XLOV stands apart in that the group as a whole identifies itself as genderless, something unprecedented in the industry. That distinction matters because the concept is not limited to outward styling, but functions as part of the group’s artistic identity.

The group has managed to prove both its musical ability and its concept at the same time, rather than letting genderlessness serve merely as a tool for generating buzz. Public skepticism toward the concept also appears to have eased.

Despite early concerns within the industry over whether such a concept could succeed, XLOV is rapidly building a fandom and establishing its position in the K-pop scene. Its genderless identity, once seen as a gamble, has now become one of its most distinctive strengths.

Early traction in Europe

XLOV’s rise has been particularly striking in the global music market. The group has recorded about 9.56 million monthly listeners on YouTube Music and surpassed 2 million monthly listeners on Spotify, marking a steep growth trajectory. Those figures place XLOV among the top tier of recently debuted K-pop rookie groups.

Fan enthusiasm has been just as visible offline. During XLOV’s recent European tour, its shows in Britain, France and Romania all sold out. In January, tickets for the group’s first anniversary fan concert, "FIRST LOVE," were snapped up within a minute of going on sale, while performances in overseas markets such as Japan and the Philippines also drew strong crowds, highlighting the group’s growing potential in the global market.

Industry observers say the group’s success is partly rooted in the relatively more open social attitude of the global market. This is meaningful, as it suggests that an experimental break from K-pop’s traditional gender binary is being embraced by international fans.

The group was also recently named to Korean music site Idology’s “10 Best Rookies of 2025” list, signaling growing recognition for its role at the forefront of a “genderless era” and its efforts to push beyond conventional genre boundaries as attitudes toward gender continue to evolve.

XLOV’s successful entry into the market signals that K-pop is no longer satisfied with a “single image” strategy. For now it remains unclear whether genderless concepts will fade as a temporary trend or take hold as a lasting avenue for new market growth.

What is clear, however, is that XLOV is opening up new possibilities for both how K-pop is expressed and how it is consumed.

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.