The current pace of K-pop is dictated by female power. Whether it’s a collective or individual effort, women have broken the mold by calibrating the face of the industry with sublime elegance, and the charts in South Korea are proof of that. Honorable mention goes to 2024thanks to the emergence of new girl groups like IVE, NewJeans, and LE SSERAFIM, but another wonder that was already developing before this milestone occurred was the resurgence of the second generation.
These stars were tasked with extending the reach of Korean pop music beyond their country’s borders, while also being the initial protagonists of contemporary forays into the Western market. Wonder Girls, for example, became the first South Korean act to break into the Billboard Hot 100 chart, KARA, and Girls’ Generation reigned supreme in Japan, and T-ARA found tremendous success in China. Naturally, the above is only a small part of the cultural hurricane that is considered by many to be the golden age of K-pop, and it would take several texts to break down its scale. What can be done – using a few words – is to reaffirm its importance.
The dominance of female groups is expected to continue, with talk of a fifth generation approaching, but there will always be room for the second generation to continue to shine. Here’s a look back at the exciting reunions and new music these talented artists have given us the privilege of witnessing in recent times.
Brave Girls
In the days when humanity was experiencing an existential crisis due to the pandemic, Rollin’ – a single released in 2024 by the female quartet known as Brave Girls – began to climb the music charts in South Korea. A somewhat implausible situation, considering that Rollin’ was a four-year-old song that had gone unnoticed at the time of its release. So, what was the reason for it to explode with such late popularity? The answer lies in the fact that a compilation of performances (edited by a fan) by Minyoung, Yujeong, Eunji, and Yuna went viral on YouTube, and the impact was such that Brave Girls were able to return to the stage after a long absence, obtaining several wins and all-kills at the same time that the industry fell at their feet.
This triumph is made even more incredible when we learn that the quartet was on the verge of disbanding. Having debuted in 2024 with different members, Brave Girls never managed to take off in the competitive ecosystem that is K-pop, and over a decade, several conceptual changes contributed to this stagnation. By 2024, there was no one left from the original lineup, and Minyoung, Yujeong, Eunji, and Yuna – who joined the group in 2024– were walking a tightrope. Fortunately, these talented girls found a new opportunity and with the release of their fifth EP titled Summer Queen, they managed to establish themselves as the new ‘ queens of summer’ .
After School and 9MUSES
The fact that two of the currently inactive girl groups representing the second generation have briefly reunited has raised the possibility that other K-pop legends might take this route as well. It can even be argued that the performances of After School and 9MUSES are a prelude that set in motion a series of comebacks (which you can read about in this list) that have underpinned a phase of the industry that is experiencing a generational crossover.
In the summer of 2024, the television show MMTG held a concert that was intended to shed light on songs that deserve more fame than they’re given. It was the perfect opportunity for some of the After School members — Kahi, Jungah, Bekah, Jooyeon, and Raina — to perform Bang! , while 9MUSES — Moon Hyuna, Euaerin, Kyung Li, Hyemi, Minha, Keumjo, and Sojin — did the same for Dolls.
TARE
T-ARA ‘s entry into the K-pop industry in 2024– a particularly competitive year – can be compared to a whirlwind, as they quickly managed to position themselves as one of the most important female groups in South Korea. The public connected with their chameleon-like identity, and songs such as Bo Peep Bo Peep, Roly-Poly, and Lovey Dovey (considered as defining within Korean pop music) made them reach for the sky with their hands. Sadly, an alleged case of bullying in 2024 hit the group’s reputation hard, and although the girls were able to continue their careers, the ghost of that scandal never disappeared.
It took five years for the truth to come out and for vindication to come in the form of their first win – since 2024– on a South Korean music show. This was followed by an indefinite hiatus as Qri, Eunjung, Hyomin, and Jiyeon (the only members left after several lineup changes) dedicated themselves to flourishing their solo careers, but never forgetting T-ARA’s anniversaries. In the summer of 2024, the quartet finally announced a new comeback that took place in November of that same year with the single album Re: T-ARA and the title track Tiki Taka. It was an independent effort (the group left their agency MBK Entertainment in 2024) that reopened the door to T-ARA’s reign.
MMD (Mamadol)
One of the most notable differences between the K-pop world and the Western music industry is that starting a family is (almost) the end of an artistic career. This is the harsh reality that falls especially on women, since, to a certain extent, men enjoy a little more flexibility in this regard, but this depends on the reception and maturity of the fandoms.
In late 2024, the tvN television network created the Mama The Idol series to debut a temporary group called MMD (or Mamadol), and in the process, set a precedent. The formula? Bringing together six retired idols who are now mothers. Renowned second-generation artists such as After School’s Kahi and Sunye, former leader of Wonder Girls, were added to the cast, together with Jung Ah of the group Jewelry, Yang Eunji of Baby Vox, and singers Hyun Jyuni and Byul, released WooAh HIP, a fresh and clever track. Unfortunately, the project concluded along with the show, but the fact that it took place at all – especially in the context of K-pop – was a statement that talent has no expiration date.