SM Entertainment, the pioneering agency credited with laying the groundwork for K-pop idol culture, is marking its 30th anniversary this year. To celebrate, the agency will host the “SM Town Live 2025″ concert on Jan. 11-12 at Seoul’s Gocheok Sky Dome. The event promises a star-studded lineup, featuring legendary artists who have shaped SM’s legacy, including H.O.T.’s Tony Ahn, S.E.S.’s Bada, Fly to the Sky’s Hwanhee, aespa, NCT Dream, and RIIZE.

Industry experts see SM’s milestone as an opportunity to reflect on the growth of K-pop. Founded on Feb. 14, 1995, the agency is widely regarded as a trailblazer that inspired the emergence of other major entertainment companies, such as JYP Entertainment in 1996, YG Entertainment in 1998, and HYBE in 2016. “SM began experimenting with international ventures as early as the late 1990s, and the results consistently fed back into the growth of the Korean music industry,” said Im Jin-mo, a noted music critic.

One of SM’s most groundbreaking achievements came in February 2000, when H.O.T. held a solo concert at Beijing’s 12,000-seat Workers’ Stadium. The event drew scores of Chinese youth emulating the group’s distinctive long-dyed hair and oversized hip-hop outfits. Chinese media described the phenomenon as a “Korean Wave storm,” marking the first widespread use of the term “Hallyu” to describe K-pop’s growing influence. Meanwhile, BoA expanded SM’s reach by collaborating with local companies in Japan, igniting a Hallyu boom there. “SM was the first to produce and develop the teen pop genre in Korea, revolutionizing a music culture where young people primarily listened to adult-oriented songs,” said music critic Jung Min-jae.

A blueprint for idol training

SM’s idol training system has become a model for countless entertainment companies. In the early 1990s, during the debut of “Hyun Jin-young and WAWA,” often considered SM’s first artist, founder Lee Soo-man implemented rigorous training programs under composer Hong Jong-hwa. These included unconventional methods like singing while doing handstands. “Japan had Johnny & Associates for idol training, but their system focused mainly on stage performance,” said critic Lee Moon-won. “SM introduced far more structured and intensive training, such as live-in programs for synchronized choreography.”

Expanding influence to production

SM’s influence extended beyond idol development to production. Yoo Young-jin, a key producer and composer for artists such as H.O.T., S.E.S., TVXQ, and aespa, played a pivotal role in standardizing Korea’s dedicated producer system. Min Hee-jin, now known for her work with NewJeans, honed her skills at SM by producing albums for SHINee and f(x). “Top talent always gravitated toward SM,” said Kim Jin-woo, a senior researcher at Circle Chart. “These individuals later transitioned to companies like HYBE, JYP, and YG, helping to shape the broader industry.”

Innovation in songwriting

In 2009, SM introduced Korea’s first collective songwriting initiative, the “Song Camp,” which allowed K-pop to swiftly adapt to global music trends. “SM experimented with gangster rap and collaborated with foreign composers as early as the mid-1990s,” said critic Kang Il-kwon. “While the agency faced criticism for mimicking overseas genres, its efforts significantly broadened the musical scope of Korean groups.”