Earlier than I take a quick take a look at lots of Okay-pop’s smaller businesses, there are just a few that I’ve extra to say about. Think about these “bonus” write-ups — shorter than the “huge 4” however longer than a paragraph or two may cowl.
As ordinary, the ideas under are my very own and aren’t aware about any insider info. The aim of those articles is to find out how properly Okay-pop businesses are serving their artists and followers. There shall be loads of subjective critique.
The Good
It actually does really feel like Starship Leisure belongs alongside the trade’s greatest businesses. Their roster is probably not as sprawling as some, however their artists are always lively and profitable. Chief amongst these is IVE, who continued their successful streak this 12 months. I can’t say I discovered their music to be all that good, however all three of their promoted tracks charted properly they usually stay firmly inside the one-million-sellers membership with every album. They’re additionally seeing regular progress in Japan.
This was a giant 12 months for Starship debuts, with each a brand new lady group and new boy group rising from the company. KiiiKiii targeted most of their promotion on the primary half of 2025 whereas IDID took the second half. This let every group set up themselves with a string of fast releases. Thus far, every group appears to be doing properly. KiiiKiii has chart buzz whereas IDID are scoring with album gross sales. In different phrases, the totally different metrics you’d measure lady teams and boy teams by are being met. The music itself has been extra uneven, however typically stable.
2025 additionally noticed reunions and re-configurations inside Starship’s ranks. Monsta X made their long-awaited return with a brand new mini album. In the meantime, CRAVITY shifted round some group roles and emerged with their strongest music but. For me, they’d essentially the most musically profitable 12 months of the company’s acts and it wasn’t significantly shut.
Whereas Starship continues to pay WJSN mud, they stumbled into a giant chart hit with Dayoung’s solo single Physique. This doesn’t appear to have been by design (or promotion!), but it surely’s a pleasant feather of their cap nonetheless.
The Unhealthy
Talking of WJSN, it’s clear the general public has affection for them and their music. I don’t know why Starship can’t muster up a comeback for them. It’s been three years, now!
Starship’s A&R crew (groups?) have been fairly hit or miss this 12 months. It appeared like they gave their less-promoted acts the strongest materials whereas saddling their assured successes with weaker songs. I hate when businesses do that. Simply because a gaggle has an enormous fanbase (IVE) doesn’t imply you’ll be able to feed these followers any outdated factor. Innovation and high quality management are the keys to longevity and it simply doesn’t really feel just like the company is all in favour of placing in that effort with their marquee acts. I’d say this extends to Monsta X as properly, whose huge return may have been promoted with far more fanfare (and higher materials).
And whereas this can be a criticism I’ve with nearly each Okay-pop company, I want Starship would associate with just a few frequent (or in-house) producers to offer their company’s sound a definite imaginative and prescient. They have a tendency to go to Dem Jointz most frequently (whose work I’m not a giant fan of), however previous artists like Sistar and Boyfriend used to work long-term with only one or two producers on title tracks, leading to a way of continuity and pure progress.
What I’d prefer to see in 2026:
- Higher songs throughout the board
- Loads of promotion for KiiiKiii and IDID, together with a definite (contemporary) sound for every
Earlier years: 2024 // 2023 // 2022 // 2021 // 2020 // 2019 // 2018 // 2017