A 101 Guide to K-pop

Graphics: Sanne Boere

Kay Joseph | January 2026

with the help of Sanne Boere & Magda Kanecka

K-pop has taken the world by storm. Artists like BTS, BLACKPINK, Stray Kids, TWICE and many more have become global household names. Still, the industry comes with a lot of questions; what exactly is K-pop and what makes it so popular? At BRUIT., we have combined a guide to answer those questions. 

We sprinkled some of our own flavours in there, of course, but we’ll get to that later. Let’s start at the very beginning. 

What is K-pop?

Contrary to popular belief, K-pop isn’t just a term to describe one genre. Instead, it encompasses a vibrant global phenomenon that blends elements of hip-hop, pop music, R&B, EDM, but with more distinct Korean influences. Originating in South Korea, K-pop is widely recognised for its innovative sonic landscape, as well as captivating choreography and talented K-pop artists – mostly and hereafter referred to as ‘idols’ – who have won over fans worldwide. 

The origins of this global movement trace back to the 1990s in South Korea, where the trend started as a blend of traditional Korean music and Western pop music influences. As the end of the decade rolled around, popular groups like H.O.T. were starting to shape a new era of Korean pop culture. This early period saw the blending of Korean culture with Western styles, laying the foundation for today’s globally recognised K-pop genre. 

K-Pop reached unprecedented global recognition in 2012 when solo artist PSY – a familiar name for most – released “Gangnam Style.” The song, accompanied by its iconic and quirky horse-riding dance, rapidly became a viral sensation, generating billions of views on YouTube and breaking records to surpass billions of views on the platform. “Gangnam Style” introduced a global audience to the vibrant energy and creativity of K-pop and opened doors for future artists to reach international markets. This breakthrough moment not only brought the genre into the spotlight but also demonstrated the power of social media and digital platforms in propelling K-pop into a worldwide phenomenon. 

Generations of K-pop

When talking about artists and their work, fans often refer to different generations. K-Pop has undergone several transformations over the years, and each generation left its mark on the industry, shaping the sound, style and global influence of K-Pop. 

First Gen (1990s-2004)

As previously mentioned, the 1990s provided a foundation for future artists to come. This is widely recognised as the First Generation for that reason. Notable artists for that era are the group H.O.T., but also solo artists BoA and Rain. However, this rise in popularity primarily started in 1992, when Seo Taiji and The Boys undoubtedly changed the Korean music landscape and changed the public’s sentiment towards Korean Music. They became an example for many new acts to follow regarding sound experimentation and incorporated choreography in their performances. They pushed the boundaries by blending Western music influences with Korean lyrics, creating a unique sound that resonated with the masses. 

The first generation was heavily inspired by American pop culture at the time, and often featured themes of romance and youth in their music and concepts, with instrumentals that were either mellow and soothing or influenced by hip-hop. This also reflected in their fashion and boy groups dressed very similarly to their Western counterparts, such as Backstreet Boys or ‘NSYNC. Girls favoured a lighter colour palette, while both genders kept their hair and makeup to a minimum; most idols had their hair black or brown with light layers of makeup. 

Second Gen (2005-2011)

The second chapter started in a period of economic turbulence in South Korea, yet entertainment companies still managed to turn outstanding profits. So much so that K-pop became one of the most important industries in the country. This generation introduced the training system, a distinct aspect of the current K-pop landscape. Before idols debut, they undergo years of intense training in singing, dancing, rapping, languages, media handling and social behaviour. Many start as young as ten years old, but chances of debut are slim - some train for a decade without ever debuting.

Although there have been plenty of idols who have debuted. Some of this generation’s biggest names include TVXQ, Super Junior, BIGBANG, Girl’s Generation, Wonder Girls and 2NE1. These are still names that are widely talked about by the community, serving as an inspiration to the biggest K-pop stars of today. The artists listed above are also the first to cross intercontinental borders and are the pioneers of world tours. It was within this generation that idols first showed up on television shows, with some having their own reality programmes and others starring in popular K-dramas at the time. 

The success of the named early acts pushed many others to debut in this era. A few of the household names are SHINee, Miss A, f(x) and SISTAR, which came later in the Second Gen. Even though they benefited from the success of those who came before them, the bar was now set much higher. The fans craved new faces, but simply singing and dancing wasn’t enough. 

The exponential growth of YouTube, nearing the end of the second era, globally facilitated audience reach. Those who were completely clueless about the genre were now introduced to K-pop through “Gangnam Style.” Production quality saw a significant improvement during this era, with music videos becoming more visually appealing and choreography becoming more intricate. Since the second generation, K-pop has never really been the same. 

Third Gen (2012-2017)

Naturally, the third generation of K-pop coincides with the expansion of the genre globally after the rise of its predecessor. Since idols were already marketed to target fans, it was now done more strategically by aiming for target audiences both domestically and internationally including the general public. This generation achieved a lot, so bear with us here!

The popularity of social networks and streaming platforms contributed immensely to the expansion of K-pop. Charts were already a thing previously, but during this generation, fans went wild when it came to voting online and streaming their idols’ songs in order to put them higher on the charts. Not just in Korea, but also in the US and around the globe. Groups also started to perform in International Music Festivals and International Award Shows, like the American Music Awards (AMA’s). As K-pop kept on growing, event organisers saw the demand and invited them to music events that K-pop had not yet conquered. 

Brand endorsements also entered the scene. Whether these were luxury brands or not, K-pop idols started representing their products, and some of these partnerships included starring on the front page of a variety of magazines. Safe to say, K-pop started dominating all forms of media during this generation. 

Not that collaborating with other artists wasn’t a thing during the previous generation, but the third generation went beyond borders by collaborating with non-Korean artists. Notable collabs are BTS with Nicki Minaj on their song “Idol” and girl group BLACKPINK with Selena Gomez on “Ice Cream”. 

Not only do collaborations go beyond borders, but fan service has also reached new heights. Before we entered the third chapter, meet and greets were the norm, but as technology progressed and the COVID pandemic temporarily made meet and greets impossible, events like fan calls or video calls became a thing. This is generally achieved through album sales: the more albums you buy, the higher your chances of winning a video call to talk to your bias, which is another word for favourite (member, group) commonly used among K-pop fans. 

A group that can’t go unmentioned in this generation is BTS, who made their debut in 2013. Although their fame wasn’t immediate, they started taking the world by storm well into the third generation, with releases such as “DNA” or “FAKE LOVE.” Impactful music, meaningful lyrics and charismatic performances captured the hearts of fans worldwide and most of us here at BRUIT.  got into K-pop because of them, opening the doors for other acts to gain recognition on a much more global stage. It’s generally considered – whether you’re a fan or not – that BTS paved the way for other artists within K-pop. 

Alongside BTS, groups like EXO, BLACKPINK and TWICE rose to prominence, captivating audiences with their unique concepts, addictive melodies and stunning visuals. The third generation also witnessed the rise of solo artists like IU (the highest-charting K-pop soloist) and Taeyeon (who is also a member of the group Girls’ Generation), who showcased their versatility and artistry. 

The third generation solidified K-pop’s status as a global force to be reckoned with. More than ever, companies prioritised fan service and concepts innovated along with the rest of the industry, propelling us into the next generation. 

Fourth Gen (2018-2022)

With much bigger influence and a rapidly growing number of consumers, the fourth generation brought forth new talents and innovative concepts, such as AI and NFTs. It is a time in which K-pop doesn’t belong strictly to South Korea anymore, and the industry aims to please foreign fans as much as their own. 

The most noteworthy names include Stray Kids, TOMORROW X TOGETHER (TXT), ITZY, aespa, ATEEZ, LE SSERAFIM, ENHYPEN and New Jeans. All of these groups were successful right from – and sometimes even before – their debut, earning some the title of ‘monster rookies’. This era of idols is composed of individuals who devoted most of their teenage years to training and polishing their skills.

The industry has evolved and grown in such a way that allows for the best of the best to be recruited and coached in a now-perfected system – and many of the fourth generation were capable of accomplishing, in months, what took years to succeed for other groups in past generations. Despite the pandemic’s effects on touring and live performances, K-pop groups surprisingly continued to experience huge success, and the genre’s allure increased, with girl groups at the front of the helm. 

An obvious shift to online presence and visuals has been the growing emphasis. Each new music video surpasses the one before it, and sci-fi and self-love have been extensively explored in this generation’s journey of darker and more daring ideas. Luxury bands are ordinary features in K-pop music videos, globalisation allowed for marketing strategies to go digital and several major fashion powerhouses have decided to offer brand deals to a variety of idols. This generation is very much aligned with the newest trends in the West, and that is apparent through their fashion, sponsorships and collaborations. 

Fifth Gen (2023 – Present)

As of 2026, we’re in the fifth generation of K-pop. Fans disagree on the precise start date, but Korean media outlets note BABYMONSTER, ZEROBASEONE (ZB1), BOYNEXTDOOR and Xikers as prominent, potential frontrunners of this new period. Groups like TWS and Kiss of Life are also making waves in this new generation of idols. 

With novice boy groups pushing for new opportunities, K-pop is entering a new age. Girl groups flourished during the fourth generation, such as New Jeans, aespa, IVE and ITZY, but it seems boy bands might be popular once more. 

As the generation is still ongoing, it is a game of wait and see how everything will play out. But the fact of the matter is, the groups that are at the helm of this generation take the world by storm just like their colleagues in other generations once did. 

Popular groups: South Korea VS the rest of the world, or both?

A lot of names have already been thrown around, and we’ve just gotten started. Not to worry because we’ve got you! In a super quick overview, we’re going to break down the groups who are currently popular for you. The list is compiled from both our own observations as well as available sources.

Some artists are more popular nationally with a smaller fanbase overseas. Examples of such artists are: 

• DAY6

• IVE

• IU

• Red Velvet

• BTOB

• IKON

Some artists are popular overseas, but their fanbase in South Korea is considerably smaller. To this group, among others, belong: 

• P1Harmony

• GOT7

• ILLIT

• ATEEZ

Some artists dominate both the Korean as well as the international market: 

• BTS

• SEVENTEEN

• Stray Kids

• TWICE

• ENHYPEN

• BLACKPINK

Promotions and all the content

As mentioned previously, online presence and fan service have become prevalent in promoting K-pop artists. Unlike Western artists, who emphasise individualism and self-expression, K-Pop uses group-driven branding, also known as collectivism. The formula follows debuting groups and solo artists with a theme or concepts, which they follow throughout their discography, performances and outfits. The artist’ concept, visual identity and strategy are carefully planned before the group debuts and heavily rely on storytelling. 

Streaming platforms, late-night shows, interviews and festivals are the most common promotion strategies used for Western artists. The artists rely on social media and streaming platforms, and they usually engage with fans personally. When it comes to releasing albums, they release a lead single first, followed by the album later on. In most cases, one major album is released per year, followed by a tour.  

K-pop, on the other hand, uses a completely different strategy, including planned pre-release teasers, concept photos and more. They are often released in a specific schedule and timeline, keeping the fans excited and building anticipation for their comeback or debut. Instead of one major album, they also release mini-albums, which are made up of around four to five songs (like EPs). One of their assets is ‘Fandom Marketing’. Idols use apps like Weverse to communicate and share content with their fans. They also release extra content like variety shows, dance practice videos and games. 

It can be concluded that K-pop groups promote their personality more than their music by appearing on variety shows, adding a human element to their brand. 

Merchandise

Western albums usually consist of CD cases or vinyl sleeves – nowadays this can also come in the form of cassettes. They don’t have different album concepts, although some have different vinyl versions, for example, when a deluxe version of an album is released. The focus is usually on fashion-related merchandise, but since vinyl has become a huge trend over the past years, it is widely used in the West as a form of merchandise. 

K-pop creates an entire experience around an album, and that is one of the elements that makes the genre so popular. Physical CDs and albums have had a staying power not seen as much in other genres, largely because the physical takeaway provides a form of potential interaction between idols and their fans. 

The packaging, merchandise and supporting elements like stickers, photocards and other inclusions, drive the concept forward as much as the music does, and everything is thoroughly planned out. An album has multiple versions that you can collect, all in correspondence with the concept at hand. 

A huge incentive to buy the album is the photocards. Photocards are photos of the members, usually selfies they made themselves. It’s like a lucky draw because the photo you get is random. If you want a specific photo card, you can always trade with other fans.

Promotions are strictly controlled by management companies. When a K-pop group or solo artist makes a comeback, they are expected to promote their new release on popular Korean music shows like M-Countdown or Inkigayo. The popularity of these shows means they have become an integral part of an artist’s visibility. In addition, they hold fan-signing events where they meet their fans, sign albums and take photos, and also hand out awards to the highest charting release of the week. 

What makes it so appealing?

After everything we’ve explained about K-pop, it might raise the question, what makes it so appealing to us personally? This is what our contributors, who are into K-pop, had to say.

Kay Joseph: 

One of the things I like about K-pop is the exploration of various genres. I listen to a lot of different music, and every group I like brings something different to the table. Their concepts – ENHYPEN’s vampire concept, for example – are unique and so well-curated that I keep coming back to them (and the hours I have spent making sense of the ENHYPEN lore is insane).

Another thing I like so much is the content I can watch outside of their music. A super good example is SEVENTEEN’s variety show, “Going Seventeen,” in which they play games, complete challenges and generally just show who they are as people instead of artists. I can relate to some of the stuff they say or do, and I can recognise myself in some of their personalities. Aside from highlighting their personalities, it is also just really fun to watch. 

I also fell into the trap of collecting albums and photocards, which is something that I’ve never even heard of before I got into K-pop. I have a small bookcase full of them, and it is so cute, but so addicting! 

Magda Kanecka: 

What first drew me into K-pop is that when I first dove into it, it was nothing like any other music genre I’ve experienced before in terms of the execution, the fandom behaviours, and the promotional schedules. 

The more I explored, the more groups appeared, and looking at it now in 2026, I have seen so many groups come and go, but the entertainment aspect of K-pop has stayed the same. As stated in this article, this genre carefully curates whole fan experiences, and there really is something for everyone. To anyone who may be looking into it: start slow and don’t overwhelm yourself – there is a lot of information out there, but you don’t need to know all of it to enjoy it.

While there are many downsides to the K-Pop industry, many of which are elaborated on in BRUIT.’s earlier article “The K-Pop Model: Does it still work?”, one thing is clear: the entertainment aspect clearly works enough to extend beyond just Korea – and beyond just East Asia. My favourite groups have changed time and time again, but I never truly grew out of K-pop.

Sanne Boere: 

What first drew me to K-pop was the level of intention behind every aspect of it. It is never just about the music; instead, each release feels like a fully realised concept where visuals, choreography, styling, and performance all work together. Music videos are carefully constructed, stage outfits reflect their broader theme, and even the smallest details feel purposeful. I vividly remember watching BTS’ “DNA" for the first time when it was released and being captivated by how immersive the experience felt. 

That appreciation grew into a love for K-pop performances. Compared to Western performances, they are often far more elaborate, with emphasis on intricate choreography, formations, and visual storytelling. Each stage is thoughtfully designed, making performances endlessly engaging. I never really tyre of rewatching my favourites, especially since there’s almost always something new to notice, whether it’s a subtle movement or a moment of stage presence that stands out.

In agreement with Kay, collecting albums and photocards has also become a way for me to connect with the genre beyond the music itself. I appreciate how the albums function as visual extensions rather than simple physical releases. Photocards, in particular, add a personal element to the experience, turning each album into something unique with a collective aspect to it. I currently own five binders filled with photocards of my favourite group and its members: together they feel less like a collection, and more like a record of different moments, eras, and memories tied to my time as a fan.

Our favourite groups

Our K-pop contributors chose their three favourite artists to highlight in this segment. 

Kay Joseph: 

SEVENTEEN

Members: 13

Debut year: 2015

Fandom name: Carat

Active from: 2015-present

Latest comeback: HAPPY BURSTDAY (May 2025)

Favourite comeback: “FML”

Favourite member: The8

ENHYPEN

Members: 7

Debut year: 2020

Fandom name: Engene

Active from: 2020-present

Latest comeback: Desire: Unleash (June 2025)

Favourite comeback: “Romance: Untold”

Favourite member(s): Jay

P1Harmony

Members: 6

Debut year: 2020

Fandom name: P1ece

Active from: 2020-present

Latest comeback: EX (September 2025)

Favourite comeback: “DUH!” & “Sad Song”

Favourite member: Jiung

Magda Kanecka: 

GOT7

Members: 7 

Debut year: 2014

Fandom name: Ahgase

Active from: 2014-present

Latest comeback: WINTER HEPTAGON (January 2025)

Favourite comeback: “You Are” – 7 for 7 

Favourite member: Jinyoung

DAY6

Members: 4

Debut year: 2015

Fandom name: My Day

Active from: 2015-present

Latest comeback: The DECADE (September 2025)

Favourite comeback: “Shoot Me” – Youth Part 1

Favourite member: Young K

LOONA

Members: 12

Debut year: 2018

Fandom name: Orbit

Active from: 2018-present (not officially disbanded, but inactive)

New groups: ARTMS & Loossemble (as well as Chuu & Yves as soloists)

Latest comeback (as a group): LUMINOUS (September 2022)

Favourite comeback: “Butterfly” – [X X] & “Hi High” – [+ +]

Favourite member: Jinsoul & Kim Lip

Sanne Boere: 

THE BOYZ

Members: 10

Debut year: 2017

Fandom name: TheB/ Deobi

Active from: 2017-present

Latest comeback: a;effect (July 2025)

Favourite comeback: “Reveal”

Favourite member: Hyunjae

NCT

Members: 26

Debut year: 2016

Units: NCT U, NCT 127, NCT Dream, NCT Wish, WayV

Fandom name: NCTzen

Active from: 2016-present

Latest comeback: Beat It Up – NCT Dream (November 2025)

Favourite comeback: “Hello Future” – NCT Dream

Favourite member: Haechan

BAEKHYUN

Debut year: 2019 (as a soloist) 

Fandom name: Eris

Active from: 2019-present

Latest comeback: Essence of Reverie

Favourite comeback: “Bambi”

What to expect from BRUIT. 

This won’t be the last time that BRUIT. talks about K-pop. Just like the artists we’ve covered before, we will keep up with the releases of our favourite artists, and we’ll give them an official introduction. 

Aside from that, you can expect in-depth research pieces that highlight both the joys and struggles in the industry, the heavy emphasis on visuals and the impact of beauty standards, for example. 

In short, there is a lot to talk about, even after this guide we conducted for you. We hope that not only the K-pop fans amongst us will check in with us, but that we intrigued fans who’ve always wanted to check it out to give it a listen!