October 7, 2025
SEOUL – When K-pop idols release a new song or album, their promotional cycle typically follows a familiar pattern — teaser rollout, showcase, media appearances and interaction with fans through pop-up stores, then concerts and other events.
While a digital-first apprach has become central to K-pop promotion, the strategies diverge significantly depending on a group’s popularity, agency resources and the platforms priorities.
Unlike in the past, when television music shows and in-person fan events dominated, today’s K-pop promotions are built around digital momentum. Social media virality, YouTube content and TikTok challenges have become just as critical as the music itself.
“Media platforms evolve with time, and K-pop adapts accordingly,” a music critic Lim Hee-yun said, Tuesday. “Because the core fanbase of the genre is largely made up of trend-sensitive teenagers, short-form content has become key — even during a creation stage for an idol group. Artists now participate in TikTok challenges or release original contents through their own YouTube channels.”
Pre-release content has become an essential marketing strategy in the K-pop industry as a way to build anticipation and to maximize global reach.
Rookie girl group KiiiKiii, under mid-sized agency Starship Entertainment, which is behind K-pop girl group IVE, engaged in a series of strategic promotions, including the release of the music video for “I Do Me” on Feb. 16 — more than a month ahead of their official debut on March 24. Maintaining their unconventional rollout, the group also released the music video for “Debut Song” on Feb. 23, further raising anticipation.
SM Entertainment — one of K-pop’s “Big Four” agencies alongside Hybe, JYP Entertainment and YG Entertainment — introduced its new girl group, Hearts2Heart, during the company’s 30th anniversary concert in Seoul in January. The announcement came more than a month ahead of the group’s debut with their first single album, “The Chase,” which dropped in late February.
Larger agencies with greater resources also secure premium offline visibility. Hearts2Heart premiered their debut music video on Shinsegae Department Store’s “Shinsegae Square,” a massive media facade in central Seoul — the kind of support not usually given to artists from smaller agencies given the high cost.
The screen, roughly the size of three basketball courts, has quickly become a social media hotspot for K-pop fans after V of BTS promoted his ballad song “Winter Ahead” in October.
“Newer groups benefit from billboard ads to raise visibility, but it’s not something every artist gets to do,” said an official at a major K-pop agency. “Each promotional strategy varies depending on the artist’s popularity and how long they’ve been in the business.”
For top-tier groups and artists from major labels, global campaigns are also common.
JYP Entertainment’s new boy band KickFlip was selected as one of “8 Rookie K-pop Acts to Watch in 2025” by Grammy.com prior to debut. J-Hope of BTS collaborated with TikTok for an exclusive teaser of his single “Sweet Dream” and appeared on “The Tonight Show Starring Jimmy Fallon” for its US premiere.
“In the 2020s, YouTube and TikTok have become central to promotion,” said another agency official. “In addition, artists with strong global recognition will often promote on international platforms like major TV and radio shows. Larger agencies have the connections to make that possible.”
Press showcases and fan events typically follow on the release day.
However, these are largely reserved for more established groups or those under major companies. Smaller agencies often forgo them due to cost, while even top companies are reconsidering their impact.
Music show appearances still happen post-release, but their significance has shifted. What was once a coveted trophy race has become, for some, a chance to meet fans rather than a measure of success.
“Some idols focus on the international market first,” Lim said. “K-pop has grown into a large, diversified industry. While local music shows and music charts like Melon remain foundational, promotional strategies are increasingly varied.”
YG Entertainment’s Baby Monster, despite debuting just last year, is already embarking on a global tour, including stops in New Jersey and Los Angeles.
“Targeting the US right after debut was once unthinkable,” Lim said. “But with K-pop’s global influence, and Baby Monster positioned as Blackpink’s sister group, it’s now a viable route. Smaller labels, of course, often can’t replicate this model.”
Pop-up events have also become more common in recent years.
JYP Entertainment’s girl group, NiziU, is opening a 10-day pop-up event at The Hyundai Department Store in Yeouido, Seoul, to celebrate their new single “Love Line” from April 1-10. Le Sserafim of Source Music also launched a pop-up store in Seongsu-dong, Seoul, on their comeback day earlier this month, and sold idol-related merchs including clothings and accessories.
Lim said pop-ups are less about direct profit and more about symbolic marketing value.
“Releasing a full-length album is rare these days — most releases are digital singles,” he said. “But if a group releases a full-length album, it feels like a major event for fans. Pop-ups have become the same — a marketing milestone that only the most popular idols reach.”
