Former I.O.I member Jeon So-mi to debut solo in June

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• BTS and aespa Win Top Honors at MMA2026 Opening Ceremony 그룹 방탄소년단(BTS)과 에스파가 '2026 멜론뮤직어워드(MMA2026)' 첫날 시상식에서 나란히 대상의 영예를 안았다. 올해 처음으로 이틀 간의 확대 개최로 문을 연 이번 시상식은 고척스카이돔을 가득 채운 1만 8000여 명의 환호 속에 화려한 막을 올렸다. 14일 오후 서울 구로구 고척스카이돔에서 개최된 '제18회 멜론뮤직어워드'(MMA2026) 첫째 날 본식에서는 주요 부문 시상과 다채로운 아티스트들의 퍼포먼스가 펼쳐졌다.이날 시상식의 가장 큰 하이라이트인 대상은 방탄소년단과 에스파에게 돌아갔다. 월드투어 일정으로 불참한 방탄소년단은 정규 5집 '아리랑(ARIRANG)'과 타이틀곡 '스윔(SWIM)'으로 '카카오뱅크 올해의 앨범'을 수상했다. 이와 함께 '스테이지 오브 더 이어', '글로벌 톱10'까지 거머쥐며 3관왕에 올라 글로벌 슈퍼 그룹의 저력을 입증했다.시상자로 나선 배우 이영애는 방탄소년단의 앨범을 두고 "수많은 음악의 바다 속에서 한 곡의 반짝임보다 하나의 완벽한 세계를 창조해낸 올해 최고의 앨범"이라고 극찬했다. 방탄소년단 소속사 빅히트 뮤직 김현정 부대표는 '베스트 프로듀서상'을 수상하며 자리를 빛냈다.올해 신설된 대상 부문인 '올해의 글로벌-K 아티스트'는 에스파가 초대 수상자로 호명되는 기쁨을 누렸다. 한·중·일 통합 K-팝 차트 성적을 기반으로 수여되는 이 상을 비롯해 '글로벌 톱10'까지 2관왕을 차지한 에스파는 윈터, 카리나 등 멤버들의 진심 어린 소감으로 팬들의 환호를 자아냈다. 멤버들은 "당연하지 않은 사랑에 보답할 수 있는 아티스트가 되도록 노력하겠다", "데뷔 6주년을 앞두고 뜻깊은 선물을 받았다"며 팬덤 '마이'를 향한 깊은 고마움을 전했다.대세 걸그룹들의 눈부신 약진도 돋보였다. 리센느와 하츠투하츠는 나란히 3관왕을 차지하며 차세대 주역으로 확실히 눈도장을 찍었다. 리센느는 '글로벌 톱10', '핫트렌드(트렌드)', '카카오뱅크 모두의 스타'를 품에 안았고, 하츠투하츠 역시 '톱10', '글로벌 톱10', '글로벌 임팩트 아티스트'를 수상했다.특히 10주년을 맞아 지난 5월 재결합 프로젝트로 가요계에 돌아와 큰 사랑을 받은 아이오아이(I.O.I)의 활약도 눈길을 끌었다. '톱10'과 '베스트 뮤직스타일'을 수상하며 2관왕에 오른 아이오아이는 "10년 만에 한자리에 모여 무대할 수 있는 것만으로도 영광인데 행복한 순간까지 안겨주셔서 감사하다"며 이번 10주년 프로젝트의 마지막 무대임을 알리고 감격 어린 소감을 전했다. 이밖에도 라이즈와 에이티즈가 2관왕을 기록했다.'MMA2026'은 올해 사상 처음으로 행사를 이틀간 확대 개최해 K팝 팬들의 뜨거운 호응을 얻고 있다. 첫날 1만 8000 명의 관객을 동원하며 성황리에 마친 MMA는 15일 같은 장소에서 둘째 날 행사를 이어간다. 둘째 날에는 '올해의 아티스트', '올해의 베스트송', '올해의 레코드', '올해의 신인' 등 남은 주요 부문 시상이 진행되며 그룹 아이브, NCT 127, 아일릿 등 대세 아티스트들이 총출동해 화려한 피날레를 장식할 예정이다.다음은 MMA2026 첫날 부문별 주요 수상자 명단△ 카카오뱅크 올해의 앨범 : 방탄소년단 '아리랑'△ 올해의 글로벌-K 아티스트 : 에스파△ 톱10 : 하츠투하츠, 아이오아이△ 글로벌 톱10 : 방탄소년단, 에스파, 지드래곤, 리센느, 라이즈, 하츠투하츠△ 베스트 솔로 여자 : 최예나△ 베스트 솔로 남자 : 임영웅△ 베스트 OST : 김민석(멜로망스) - '사랑의 언어(Love Language)'△ 베스트 팝 아티스트 : 브루노 마스△ 스테이지 오브 더 이어 : 방탄소년단△ 베스트 퍼포먼스 남자 : 에이티즈, 라이즈△ 베스트 뮤직스타일 : 아이오아이△ 글로벌 임팩트 아티스트 : 투어스, 하츠투하츠△ 글로벌 라이징 아티스트 : 튜이드△ J-팝 페이보릿 아티스트 : 하나△ 핫트렌드 : 리센느, 에이티즈△ 베스트 프로듀서 : 빅히트 뮤직 김현정 부대표△ 카카오뱅크 모두의 스타 : 리센느* This article has been translated by AI.
• MMA2026 adds aespa, IVE to lineup The official lineup poster for the first day of the 2026 Melon Music Awards (MMA2026), scheduled for Nov. 14 at Gocheok Sky Dome in Seoul, features I.O.I, aespa, ATEEZ, NCT DREAM and other K-pop acts. Courtesy of Kakao Entertainment SEOUL, October 14 (AJP) - The Melon Music Awards has finalized a 26-act lineup featuring aespa, IVE and a reunited I.O.I for its first two-day event in November, Kakao Entertainment said Wednesday. The annual K-pop awards ceremony will take place at Gocheok Sky Dome in Seoul on Nov. 14 and 15, with 14 acts performing on the first day and 12 on the second. The 11 newly announced performers include I.O.I, aespa, IVE, CORTIS, KiiiKiii, Dragon Pony, HANA, IDID, AEN, TUIDE and hrtz.wav. I.O.I, which reunited after approximately nine years, will perform on Nov. 14 alongside aespa, Japanese girl group HANA, NCT DREAM, ATEEZ, RIIZE and TWS. The second day will feature IVE, CORTIS and KiiiKiii alongside NCT 127, NCT WISH, ILLIT and other acts. The official lineup poster for the second day of the 2026 Melon Music Awards (MMA2026), scheduled for Nov. 15 at Gocheok Sky Dome in Seoul, features IVE, CORTIS, NCT 127, NCT WISH and other K-pop acts. Courtesy of Kakao Entertainment. MMA music award is expanding to two days event for the first time. The event will also introduce a "Global TOP 10" award linked to Melon's Global-K Chart, which combines music consumption data from South Korea, China and Japan. Among the newly added performers, aespa released its second full-length album "LEMONADE" in May, reaching No. 9 on the Billboard 200, according to Kakao Entertainment. IVE is preparing to release its new mini-album "LOOKS CAN KILL" on Oct. 26, following a pre-release track scheduled for Oct. 19. CORTIS has maintained a place among the top three on Melon's monthly chart with its song "REDRED" for four consecutive months, the company said. Kakao Entertainment said the expanded event will also feature an online fan community where international audiences can post messages supporting participating artists. This year's ceremony will be held under the theme "K-POP CONNECT: The New Pulse."
• BigBang's 20th anniversary comes as older K-pop acts find new life Member of K-pop boy group BIGBang poses for digital single 'BiiiG' promotional photo. Courtesy of YG Entertainment SEOUL, August 19 (AJP) - K-pop boy band BigBang marked their 20th anniversary on Wednesday with their first digital single in four years, hoping to continue attracting attention years after their heyday. Their return comes as older K-pop groups are gaining renewed attention, attracting both longtime fans and younger listeners discovering their music years after their debut. But another shift is unfolding at the same time. While veteran acts are finding ways to stay together, some younger idols are choosing to leave successful groups earlier in their careers. "BiiiG," their first digital single in four years, is the group's first release since reshaping into a trio consisting of G-Dragon, Taeyang and Daesung. Demand has hardly faded. When general sales opened for the group's third world tour, "BIGBANG 2026 2027 WORLD TOUR XX : COSMOS," over 210,000 users logged in simultaneously. The kicks for Goyang concert where all three shows sold out within 22 minutes. It marked the highest ticket demand among concerts and events sold through Coupang Play this year. Members of K-pop girl group I.O.I posing for their group photo. Courtesy of Swing Entertainment Old groups, new demand BigBang are hardly alone. I.O.I returned for their 10th anniversary and sent "Suddenly" to No. 1 on Melon's TOP100 and HOT100 charts. SeeYa came back after 15 years, while Wanna One reunited after roughly seven. Other anniversary projects have brought back acts including Secret, Boyfriend and Click-B. What matters is not simply how many groups have returned. It is that audiences are still showing up when they do. The appetite for established acts also goes beyond reunions. BTS never disbanded, but resumed full-group activity after all seven members completed their military service. Their comeback album "ARIRANG" spent three straight weeks atop the Billboard 200. The demand is visible in the concert market. Popular-music ticket sales in South Korea reached about 452.7 billion won in the first half of 2026, up 9.6 percent from a year earlier and accounting for 55.9 percent of total performance ticket sales, according to Korea Performing Arts Box Office shortened as KOPIS. Part of the explanation is simple: the fans grew up. Listeners who once bought albums with their allowance are now adults with money for concert tickets, merchandise and travel. BigBang's current promotion reflects that shift. A world-tour pop-up that opened Aug. 14 offers 58 official merchandise items, including a redesigned version of the group's signature light stick. Nostalgia has become a market of its own. Promotional poster for K-pop boy group BIGBANG's 20th Anniversary. Courtesy of YG Entertainment Two fans, twenty years apart But not everyone buying into BigBang is looking backward. Kwon Sun, 20, found the group through YouTube. A compilation video introduced her to Daesung, and from there she worked backward through G-Dragon and Taeyang before becoming a fan of the group. "I didn't even know until recently that BigBang used to have five members," she said. She now listens regularly to G-Dragon's solo music and says BigBang's appeal lies in their distinctive voices, lyrics and songs that do not wear out after repeated plays. She did not get the seats she wanted for the Goyang concerts. She is going anyway, alone, with a new light stick and merchandise from the group's pop-up. Park Min-seok, born in 1995, came from the opposite direction. He grew up with BigBang and still plays songs such as "Fantastic Baby" and "Blue" when he travels, feels down or needs comfort. He never joined the official fan club but owns nearly every BigBang album on CD. Work will keep him from the concerts this week, but he has been waiting for the new release for months. "It's been so long since a real comeback," he said. "That's exactly why I'm looking forward to it." One discovered the group through an algorithm two decades after its debut. The other never really stopped listening. That mix of old and new fans is what gives veteran K-pop something more durable than a brief nostalgia cycle. Promotional photo of K-pop veteran BIGBANG's upcoming digital single 'BIIIG.' Courtesy of YG Entertainment Most groups never get this far BigBang's 20-year run is still rare. A study published by Kim Jung-sup, a professor at Sungshin Women's University, examined 1,182 Korean idol groups that debuted between 1996 and 2025. Their average period of activity was 4.12 years. About 55 percent remained active three years after debut. That fell to 36.6 percent after five years and 17.9 percent after a decade. Only 19 groups, or about 1.6 percent of the total, ever sold more than 1 million copies of a single album. Part of that short lifespan is built into the industry. K-pop's so-called "seven-year curse" grew around the industry's contract cycle. In July 2009, the Fair Trade Commission introduced a standard exclusive contract that made seven years a key limit for entertainment agreements. Later that month, three members of TVXQ sought a court injunction against SM Entertainment over their 13-year contracts, turning the dispute into one of K-pop's defining battles over long-term artist agreements. Ownership of group names can create another obstacle. Shinhwa fought for years over its trademark rights. Beast left Cube Entertainment in 2016 and continued as Highlight before eventually regaining rights to the Beast name. That is where comparisons with Western rock bands begin to break down. Bands often form independently of their labels and can continue as business arrangements change. K-pop groups are usually assembled by agencies, with members tied to individual contracts and much of the group's identity controlled within that system. The industry became very good at creating idols. Keeping the same group together for 20 years was never its strongest feature. K-pop boy group ENHYPEN's promotional group photo for their seventh mini album 'THE SIN : VANISH' . Courtesy of Belift Lab While veterans stay, younger idols leave Yet another trend is pushing in the opposite direction. Some younger idols are no longer waiting until a group declines before choosing a different path. Heeseung left ENHYPEN in March after discussions with BELIFT LAB over his future direction. The group continued with six members. A month later, Mark left NCT when his contract with SM Entertainment ended, concluding his activities with NCT 127 and NCT Dream after nearly a decade. Neither departure came because the group had stopped selling records or attracting fans. That distinction matters. Commercial success once seemed to provide a strong reason for members to stay. Increasingly, it may not be enough on its own. Creative control and individual career choices are entering the equation earlier. At the same time, new groups continue to break through. Fifth-generation act CORTIS reached No. 3 on the Billboard 200 with "GREENGREEN" this year. The issue, then, is not whether K-pop can still produce successful groups. It is whether success still means members will want to spend most of their careers inside one. Photo of K-pop boy group BIGBANG performing at the 27th Mama Award. Courtesy of CJ ENM Two directions K-pop is therefore moving along two tracks. Veteran acts with large catalogs and loyal fan bases increasingly have enough bargaining power to separate group activity from individual careers. BLACKPINK offers one version. Their members maintain their group relationship with YG Entertainment while pursuing solo careers separately. Girls' Generation offer another. SM Entertainment said Yuri's exclusive contract will end Aug. 31, while making clear she will remain a member of the group. For veteran acts, loosening the link between agency and group may actually help them stay together. For younger idols, the same flexibility can make leaving easier. The two trends are less contradictory than they first appear. Both weaken an older assumption of the K-pop system: that one agency, one contract and one group identity have to remain tied together for an idol career to work. At 6 p.m. Wednesday, a 20-year-old who discovered BigBang through YouTube and a longtime listener who grew up with the group will both be waiting for "BiiiG." Twenty years after BigBang's debut, K-pop has shown that an idol group can live long enough to become a legacy act.