Dropping The K in K-pop: Losing Korean Identity or Global Strategy?
Published March 1, 2025
One of the biggest realizations I had while compiling BTS members’ achievements for 2024—and working backward—was how much recognition is skewed toward Jimin and Jungkook. Every member has their own incredible accomplishments, both commercially and lyrically, but because Jimin and Jungkook operate in the pop sphere, they’re competing against other pop artists and songs.
That made me wonder: is it even fair to compare an indie album like RM’s Right Place, Wrong Person or SUGA’s D-DAY with mainstream pop albums like Golden or FACE?
They belong to completely different genres, yet they all get lumped under the umbrella of K-pop. And that, right there, is one of the biggest challenges K-pop artists face: no matter what genre they actually create, they’re still labeled as “K-pop.” This not only limits their reach but also affects how their artistry is perceived and recognized.
The “K” Label: A Box or a Badge?
RM’s Right Place, Wrong Person is, by all definitions, an indie album. The only thing making it “K-pop” is the fact that RM is from BTS. And that got me thinking—was Bang Si-hyuk right when he suggested that maybe we need to drop the “K” in K-pop? Would that help artists be seen and appreciated for their actual music rather than their industry label?
This question matters because in the global music industry, labels dictate how artists are categorized, promoted, and even awarded. The U.S. remains the largest music market in the world, followed by Japan. Whether we like it or not, establishing a presence in the U.S. is crucial for artists who want to sustain a long-term career on a global scale.
I know I criticize the U.S. market a lot, but in reality, it’s one of the most accommodating. In contrast, Europe—especially the U.K.—has been much harder for Asian artists to break into. So, from a commercial and cultural standpoint, it makes sense for K-pop artists to try to establish themselves in the U.S. But that also means playing by their industry’s rules, which often require fitting into specific genre categories rather than being labeled under a catch-all term like K-pop.
Streaming, Grammys, and the Roadblocks Ahead
When looking at streaming trends, Spotify dominates the global market with 31%, followed by Apple Music (15%) and Amazon Music (13%). The fact that Amazon is in third place makes sense—most people in the U.S. already use Amazon, so introducing them to Amazon Music is just smart business.
But when it comes to industry recognition, streaming numbers alone aren’t enough. Awards like the Grammys still play a major role in solidifying an artist’s reputation. The Grammys started as a local award show, but because the U.S. is such a cultural melting pot, it has taken on global significance. That said, it still struggles to recognize non-Western music in its main categories.
The first non-English song to win a Grammy for Record of the Year and Song of the Year was Volare by Domenico Modugno in 1958.
Since then, no other foreign-language song has won in those categories. The Grammys eventually introduced regional awards like the Latin Grammys, but even now, Latin music rarely gets nominated in major categories. The same issue applies to K-pop. Despite BTS’s massive global success, they’ve yet to receive a major Grammy win, and that speaks volumes about the industry’s reluctance to acknowledge artists outside their traditional framework.
The Industry’s Bias Against Boy Bands (and K-pop by Extension)
Another roadblock? No traditional boy band has ever won a Grammy. Some boy-band-adjacent groups have received nominations, but none have actually won. If you consider The Beatles a boy band, then maybe they’re the exception. But girl groups, on the other hand, have managed to win—Destiny’s Child, TLC, and other female-led acts have broken through.
So where does that leave K-pop? Even if BTS members pursue solo careers in different genres, there’s still an industry-wide hesitation to accept them outside the K-pop label. This is especially true for hip-hop. As much as I believe RM and SUGA should be competing against other rap artists, the hip-hop scene in the U.S. is deeply rooted in African-American culture. Even Eminem winning a rap award still sparks debate—so imagine how much harder it would be for an Asian artist to be fully embraced in that space.
Dropping the “K” in K-pop: A Necessary Change?
At this point, it’s clear that if BTS members want to be recognized in their actual genres—whether it’s pop, indie, jazz, or hip-hop—they might need to step away from the K-pop label. V, for example, could potentially find success in jazz or indie categories if marketed correctly. But that shift will only happen if the industry stops boxing them in as K-pop idols.
I know the biggest argument against this is: “Why should we change just to be accepted? Shouldn’t we make them appreciate K-pop for what it is?” And that’s a valid point. But the reality is, the Grammys and other major Western awards still operate with a localized mindset. If the goal is true global recognition, then adjusting industry labels might be necessary.
It’s not about abandoning Korean identity or erasing cultural roots—it’s about ensuring that artists are appreciated for the music they actually create. BTS members don’t all make K-pop. Some of them make indie, some make rap, some make R&B. Recognizing that distinction is the first step toward true global acceptance.
The Future: Creating Their Own Industry?
That being said, I don’t think the solution is for BTS (or any K-pop artist) to fully integrate into Hollywood. If anything, I’d prefer they stay as far away as possible, given the number of scandals and issues that continue to emerge from that industry. Instead of trying to fit into the Western model, maybe the real solution is for Korean artists to build their own global industry—one that allows them to be categorized correctly while still maintaining their identity.
At the end of the day, whether we drop the “K” in K-pop or not, one thing is clear: the world needs to recognize these artists for their actual artistry, not just their industry label. If that means redefining how we talk about K-pop, then maybe it’s a change worth considering.
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