Grading the K-Pop Agencies 2022: Part Two (KQ, MLD, P Nation, RBW, TOP, Wake One, WM, Yuehua)
Disclaimer: As with my write-ups on K-Pop’s biggest agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general K-pop fan-base.
If you’re curious to read my thoughts on these agencies from last year, click here for part one and here for part two!
KQ Entertainment
ATEEZ’s release schedule has become less grueling, but they’re still touring and travelling like crazy. Still, with only one mini album in 2022 and a special album in late-2021, this felt like a slower period for the agency. They’re working on debuting their next boy group, which could be very exciting. But, the trainees’ weird pseudo-competition debut show The Player was one of the most oddly underwhelming pieces of K-pop propaganda I’ve watched. It really didn’t seem to have much of a point and I’m curious when/if the new group will arrive on the scene.
B-
MLD Entertainment
MLD was probably over-presumptuous naming themselves after Momoland since that group has steadily faded in recent years. They had a strange little one-off single early this year that was actually pretty good, but the agency’s focus seemed to be on new acts Lapillus and the newly-coined TFN (previously T1419). Neither of these acts have been blessed with strong material and it often feels like the agency is forced to pluck through the songwriting bargain bin. Given that they’re a subsidiary of Double Kick Entertainment (formed by the mighty producers Duble Sidekick), you’d think they’d be able to harvest some classic K-pop sounds.
D
P Nation
It was a year of exodus for P Nation. In 2022, they lost Jessi, HyunA and Dawn. Oof. So much for being the agency everyone wanted to join! They still have a strong roster, but this year definitely found P Nation in a stage of growing pains. They debuted their first idol group, the LOUD-spawned TNX. But with only one mini album, they haven’t yet made the waves I would’ve expected from such a hyped agency. PSY finally launched his long-delayed album and it was a strong collection of songs led by a bonafide hit. Crush and Heize also scored hits, while Jessi, HyunA and Dawn all released music before jumping ship. If anything, I’m more worried about what 2023 will bring for P Nation.
C-
RBW (Rainbow Bridge World)
RBW has swallowed up other agencies like WM And DSP, but I’m keeping them separate for now since – for the most part — they all seem to operate independently of one another. That leaves Mamamoo, ONEUS, ONEWE, Purple Kiss and (surprisingly) Kara under the core RBW umbrella.
Mamamoo had a pretty busy 2022, with solo releases from all three members still under the agency and a group comeback late in the year. Not much of this music registered with me, but they continue to chug along with consistent success.
ONEUS had to deal with a member loss this year, but prior to that they released two solid mini albums. It wasn’t their best year musically, but they’ve forged a loyal fan base. ONEWE is a little trickier, and currently struggling with enlistment hiatuses that makes their immediate future less clear. RBW has never felt as comfortable promoting a rock group as they are their dance acts.
Purple Kiss lost a bit of momentum in 2022, though they still have their unique place among the 2021 class of rookie acts. Compared with new-ish girl groups from other agencies, it doesn’t feel like RBW are promoting them very hard, though.
B-
TOP Media
TOP Media has rarely stood out as a major player, but they have a ton of experience producing boy groups. Unfortunately, that experience isn’t currently leading to blockbuster sales. The agency gave senior group UP10TION two comebacks this year, but neither registered with the public. MCND also stalled, releasing one mini album to deflated sales. Oddly enough, their biggest success in 2022 seemed to come from soloists. From what I can tell, Kim Wooseok’s album boasted the agency’s biggest sales of the year (though even those were down). I don’t know… TOP Media doesn’t feel very buzzy anymore. They need to do something big and exciting with their acts.
D+
Wake One Entertainment
Wake One is new to this feature in 2022, but with Kep1er and TO1 among their ranks they feel worth writing about. Kep1er has been a runaway success, fueled by competition show hype and a mix of appealing members. More often than not, their music has left something to be desired. But, it’s selling like hot cakes.
TO1’s transformation has been one of the year’s highlights. With new members and a new sound, the group finally feels like they have some focus. They’ve seen a slight bump in sales, but more importantly the music itself has been consistently solid.
B+
WM Entertainment
It feels like WM Entertainment has been in some form of status this year. With most of ONF in the military and B1A4 largely inactive as a group, its male acts are off the table. However, I’ve gotta give them kudos for pre-planning a special ONF release during the group’s hiatus. That was a cool idea, even if the music wasn’t among their best.
Sadly, WM seems to have bungled Oh My Girl’s chance at mega-success. Back in 2020, they felt unstoppable. Their 2022 album sold well, but came and went without much impact. Strangely, WM doesn’t seem to be promoting them. It’s as if their hands are tied. I don’t get it.
We had a solo release from YooA this year, but her music seemed to polarize opinion. Lee Chaeyeon’s solo debut was a bright spot, and positions her well for the future. However, it feels like the agency is intent on sabotaging itself. They need a strong return from ONF, an Oh My Girl revitalization and some new groups ready to debut.
C-
Yuehua Entertainment
Yuehua’s debut of Tempest has been a big 2022 success story, though they’ve lost some of my faith with the drastic concept change of Dragon. Still, the group is doing very well in a year without many notable boy group debuts. Their future seems stable and bright.
However, Yuehua seems to have forgotten that they’re home to a girl group as well. After a great December 2021 comeback, Everglow pretty much disappeared. I’m not sure what the plan is, but Yuehua had a very lopsided 2022 – at least in Korea.
Another mixed bag was the agency’s soloists. They’re set to lose Woodz, but Yena made a successful solo debut and seems to have momentum at her heels.
