This feature has gradually shifted from a December to a November tradition, leaving more space for next month’s sprawling end-of-year countdowns. Over the next few weeks, I’ll be looking at many of K-pop’s biggest agencies and offering my thoughts about how their 2022 went. First up is SM Entertainment.

As usual, the thoughts are my own and aren’t privy to any insider information. The purpose of these articles is to determine how well K-pop agencies are serving their artists and fans. Because of the timing of this post, I’ll be including the last few weeks of 2021 as part of my analysis.

The Good

With popular acts like NCT and aespa, SM Entertainment continues to be a leader in the K-pop industry. Even as behind-the-scenes shifts have altered the framework of the agency, their sales and influence remain top-tier. They may not have the direct western infiltration of groups like BTS or BLACKPINK, but they’ve made huge inroads internationally and done so largely on their own terms.

When it comes to certain acts, it feels like SM has found their winning formula and learned to stick with it. Though I’m no longer a huge fan of the NCT sound, there’s no denying that its consistency has built a large and loyal fanbase that shows up to buy millions of copies of their albums each time they make a comeback. Even with just three big NCT projects this year (Universe in December, Dream in the spring and 127 in the fall), the brand has dominated many sales charts. If it ain’t broke, why fix it?

Speaking of things that aren’t broken, aespa have quickly emerged as the agency’s brightest star. They may not have had a Next Level–type viral hit this year, but their mini album sold incredibly well and they remain a huge influence on the industry. They also feel well-positioned for sustained international fame.

One of the aspects I’ve always loved about SM Entertainment is how they honor the legacy of their older artists. The agency did especially well by these classic acts in 2022, crafting great albums for Girls’ Generation and Key and giving opportunities for soloists like Taeyeon, Changmin, Onew, Suho, Seulgi and Xiumin to shine. No other major agency leverages the strength of their soloists this well. The reliably-great Super Junior and Red Velvet also had opportunities to make comebacks within the agency’s busy schedule.

Finally, I’ve been loving the agency’s YouTube uploads of remastered music videos from its legacy artists. I’m still waiting for Rising Sun, but I’m sure we’ll get there eventually!

The Bad

While SM continues to sell tons of physical albums, I fear they’re not as competitive digitally. Girls’ Generation’s Forever 1 and Red Velvet’s Feel My Rhythm did well, but the impact of aespa’s Girls paled in comparison to last year’s Next Level and the boy groups can’t seem to get a streaming/digital hit. This approach tends to be par for the course, as groups like NCT focus more on their existing fanbase instead of ushering in new, casual listeners. But compared to the most hyped acts of 2022, SM’s roster felt slightly less dominant than in years past. Fans are always talking about “public friendly” songs, and I think the agency would do well to produce a more equal mix of “experimental” and populist.

Absent of a newly-debuted group, SM Entertainment introduced a few new projects this year. But, they mostly fizzled. Their “Girls on Top” supergroup came and went without much fanfare, releasing one project single and never returning. I’m not sure if this project is still ongoing, but it’s fair to say it’s lost all momentum at this point. Similarly, the NCT Lab series (think SM Station for NCT members) seems to stop and start without any real vision. None of the songs did much to stand out, making this feel more like a vanity project than an exciting look into the diversity of the NCT universe.

Speaking of NCT, I’m one of those people who wishes they’d bring more variety to their musical style. I’ve been complaining about this for years, but in 2022 the whole NCT project really lost me. As someone who’s been a huge fan (and consumer) of SM’s boy group releases for over a decade now, it feels like there’s little left for me within the agency that isn’t tied to the NCT brand. Without a new boy group outside the NCT universe, SM is staking all their fortunes on this one narrow sound. And with this specific template being copied by many imitators within the K-pop industry, I worry about sustainability.

While aespa remain a bright spot within the agency, I can’t help but feel they’re being underutilized. One mini album a year seems slight for a rookie group, no matter how popular they are. I’d hate to see them become another BLACKPINK, reliant on their aura and influence rather than a robust discography. It may make financial sense, but it’s not very fun for fans.

Though we haven’t yet seen the fallout from Lee Sooman‘s exit from the agency (his position as chief producer concludes at the end of 2022), I’m concerned that SM has lost its original visionary. This may turn out for the best and usher in a new vision for the agency. But, it’s a huge loss either way.

Lastly, I wish SM would increase their musical ambition. I remember a time when their material felt out-of-this-world, literally shifting the K-pop market on its axis. Too often, their current output feels tame – especially when it comes to soloists. I’m not sure if they need to reshuffle their A&R team or expand their stable of producers/composers, but I miss the bombastic SMP style the agency made their name on. Their 2022 release slate had too many dull, subdued and trend-chasing title tracks for my taste.

What I’d like to see in 2023:

• The debut of a new boy group, outside the NCT universe
• A full-length album from aespa
• TVXQ Korean comeback
• A new sound (or unit?) for NCT

Previous years: 2021 // 2020 // 2019 // 2018 // 2017 // 2016