The phrase “the miracle of small agency idol” is often used to describe the eight-member K-pop boy group ATEEZ. The American pop culture magazine Variety included the group in its Young Hollywood Impact Report for this year on Aug. 7, which predicts the next generation of top stars in North America. ATEEZ was noted as the first male Korean group to perform at the Coachella music festival in the U.S. and as a group that reached No. 1 and No. 2 on the Billboard 200 chart at the end of last year and in June of this year, respectively. These accomplishments are unprecedented for a group from a minor agency, unlike those from South Korea’s major entertainment companies such as HYBE, SM, JYP, and YG Entertainment. The group also held a solo concert on Aug. 3 at New York’s Citi Field, a venue that hosts only top global artists like Lady Gaga. They are the second K-pop act to perform there, following BTS, achieving this milestone six years after their debut in 2018.
When ATEEZ debuted, their management agency, KQ Entertainment, had around 20 employees. Today, the company has grown to about 80. What is the secret to this rapid growth? In a recent interview with Chosunilbo at KQ Entertainment’s office in Mapo-gu, Seoul, CEO Kim Kyu-wook cited their “distinctive musical worldview” as the key factor. From their debut song “Pirate King” to their latest mini album released in May, “Golden Hour: Part 1,” ATEEZ has consistently incorporated the theme of “eight pirates embarking on a journey of youth” into their music. The CEO explained, “For rookie idols with low recognition, a ‘worldview’ is an effective way to convey a unique musical color.” He added, “Why should idols only sing about love? We thought that pirates, who embark on various dynamic adventures, could effectively capture the spirit of youth.”
Kim founded Seven Seasons Entertainment in 2013, which managed the boy group Block B, and later rebranded it as KQ Entertainment. After seven years working as a director providing content planning proposals for media distribution companies and CJ affiliates, he was “shocked by the early iPhone in 2008.” He said, “Seeing that small device equipped with social media platforms like YouTube and Facebook made me realize there would be a growing need for music content that could be enjoyed through these platforms.”
From the planning stages of ATEEZ, Kim had emphasized that “interactive content” would be crucial for the third and fourth generation idols. “In the past, idols could release good music, and fans would naturally buy it. But now, with the development of social media, it’s essential to create an environment where fans are constantly engaged and driven to purchase content,” he said. ATEEZ’s albums include references to their pirate-themed storylines, such as Morse code sounds or lyrics indicating specific latitudes and longitudes, as part of this strategy. They even drove a vegetable truck loaded with Cheongyang chili peppers around Seoul while playing their new songs loudly. “This idea was inspired by the Korean nickname ‘Cheongyang chili pepper taste,’ given by international fans to the group’s intense performances,” he explained.
ATEEZ’s largest international fanbases are in the U.S. and the U.K. “A video of the group performing a synchronized dance using caps in an underground parking lot went viral on social media, attracting a large number of fans from English-speaking countries,” Kim said. “After that, [ATEEZ] solidified their fandom by performing in venues with 1,000 to 1,500 seats in places like Los Angeles.” However, he advised against new groups rushing into overseas performances just to gain recognition. “In the U.S., omnibus concerts featuring small- and medium-sized groups alongside major K-pop acts have been rapidly increasing, often organized by local broadcasters. Fans are paying nearly $200 for tickets but sometimes only get to see their favorite group perform for just 20 minutes, leading to growing dissatisfaction,” he explained. “During the early days of the Korean Wave, fans would flock to K-pop concerts without question, but now they are becoming smarter consumers, carefully choosing where to spend their money.” He also cautioned, “Overseas fans expect content that respects their own culture, and they actively demand corrections if it does not,” adding, “Rushing into foreign markets without understanding this can lead to failure.”
