In a significant shift within the South Korean music industry, leading K-pop agencies such as SM Entertainment and JYP Entertainment are making their entry into the trot genre, traditionally favored by an older demographic, to diversify their musical portfolios and capture a broader audience.
Trot, a genre with its roots in early 20th-century Korea, is characterized by its rhythmic beats and sentimental lyrics. SM Entertainment, in collaboration with TV Chosun—known for its highly popular trot audition programs “Miss Trot” and “Mr. Trot”—has announced a new project called “T-5.” This venture aims to form a trot boy group by bringing together five individuals from varied backgrounds, including a former “Mr. Trot” participant, a K-pop trainee, and an actor. Their journey to debut will be featured in a reality show set to air later this year in Korea and Japan, with a special preview scheduled for the upcoming Chuseok holiday.
The project will be spearheaded by renowned trot composer Cho Yeong-su, known for his numerous hit trot songs, who will collaborate with SM’s K-pop composers to blend traditional trot with modern K-pop elements. Lee Sung-soo, SM’s chief administrative officer, expressed enthusiasm about this fusion, highlighting the potential for a novel musical experience.
JYP Entertainment is also entering the trot arena through its newly established subsidiary, INNIT Entertainment. This new label, headed by veteran performance director Park Nam-yong and executive Yoon Jae-ho, will manage artists from the upcoming KBS audition show “The Ddanddara,” co-created with JYP’s founder Park Jin-young. The show aims to discover talent across various entertainment fields, including trot music.
This strategic expansion into trot music coincides with a revival of the genre, driven largely by the success of “Mr. Trot” contestants. For instance, the winner of the first season, Lim Young-woong, achieved remarkable success with his solo agency, Mulgogi Music, which saw sales of 36 billion won last year. While this figure is smaller compared to SM’s 960 billion won and JYP’s 560 billion won, Lim’s achievement underscores the genre’s potential.
Pop culture critic Ha Jae-geun suggests that this move by K-pop agencies aims to mitigate the risks associated with focusing solely on K-pop. By tapping into the trot market, these agencies hope to leverage its existing events and performances to create new opportunities and rejuvenate interest among younger audiences.
Critics believe that by introducing younger idol trainees and new faces into the trot genre, K-pop agencies may reshape traditional perceptions of trot and attract a fresh, younger audience. This approach could potentially create a new sensation in the trot genre, blending the energy of K-pop with the nostalgic appeal of trot music.
Sayart / Nao Yim, yimnao@naver.com
