The year 2004 was the golden era for diverse genres of K-pop. It was also the beginning of the era of idol singers, and the next ten years would be summarized as “K-pop equals idols.” But things are a little different in 2014. Idol singers are no longer the dominating power of K-pop; their music is just another genre. Instead, this year, with the “return of legends,” various genres of music thrived and received love in the music scene. Just as in 2004, K-pop has met another turning point in 2014.

We only need to look back at the past hits to see how diverse the popular songs were in 2004. Cho PD & In Sooni’s “Dear Friend,” Lee Su-young’s “Gwanghwamun Love Song,” BoA’s “My Name,” Buzz’s “Monologue,” Jang Na-ra’s “Is That True?,” Lee Seung-chul’s “A Long Day,” Jang Yun-jeong’s “Oh My,” Rain’s “It’s Raining,” Rumble Fish’s “Lucky Day,” Park Sang-min’s “Sunflower,” Lyn’s “We Were in Love,” Park Hyo-shin’s “Snow Flower,” Se7en’s “Passion,” Shinhwa’s “Brand new” and more.

Then there is more. Former CB Mass members Gaeko and Choija formed Dynamic Duo and made hip hop mainstream with their hit “Ring My Bell.” People Crew member MC Mong also released solo albums and saw “Letter to You” and “180 Degrees” become mega hits. After the disbanding of Turbo, Kim Jong-guk met his second prime with “One Man.”

It was also in 2004 that the group that will open the doors to the K-pop idol era debuted: TVXQ. With the birth and success of TVXQ, countless idol groups started pouring out, a trend that has continued for 10 years. TVXQ can be seen as the starting point of the idol group boom. Although H.O.T. and Sechs Kies followed by Shinhwa, S.E.S. and FIN.K.L. were the icons of the later years of the 90s, the real idol era began with TVXQ. Dubbed the “ideal idol group,” TVXQ enjoyed immense popularity not only in Korea but also in Japan. They continued to dominate the music scenes in Korea and Asia, triggering countless management agencies to jump into idol star incubation. Korea’s big management trio (SM, YG, and JYP) succeeded in producing BIG BANG, Super Junior, Wonder Girls, Girls’ Generation, SHINee, and 2PM.   

From 2008, the number of debuting idol groups jumped uncontrollably. It was also at this point that musicians of other genres had to recede from the spotlight. By 2010, there was a saturation of idol groups, but they survived by entering the overseas markets. Even small management agencies enjoyed success with their idol groups. 

However, behind the idol group boom are countless teams that disappeared without having stood on the stage once. It became increasingly difficult to produce a successful rookie group in the thick of the competition, and no major idol team appeared for years until EXO swept the awards ceremonies last year.
The hit songs of 2014 are a clear indication of the changing status of idol groups. There are noticeably fewer idol group names in the music charts that they once dominated. This does not mean, however, that the idol groups have met their end. They are still prolific contents. The long-awaited comeback albums of MC the MAX, GOD, Fly to the Sky, and Kim Dong-ryul and many of the hit songs of this year tend to have strong melodies and lyrics. Hip hop is now ingrained in K-pop, and young singers are playing acoustic guitars that were once regarded as the items of the 70s and 80s. Idol-based management agencies are quickly stepping in line with the current trend of diversity by joining hands with indie musicians. Starship X and Baljunso are key examples. In 2014, K-pop is preparing for another renaissance in ten years.