YG rose to fame by proving hip-hop could be a mainstream hit with Jinusean, seeing the potential for hip-hop idols through the success of 1TYM, and recruiting a young G-Dragon who later debuted in BIGBANG (according to music critic Randy Seo). Their strength lay in a diverse and solid roster of artists, built on the success of self-produced IP (Intellectual Property) and the active recruitment of external artists.
Music critic Kim Yun-ha noted that the new landscape of Korean R&B created with the R&B label M-Bot in the early 2000s, and the “YG-style idol pop” led by the powerhouse duo BIGBANG and 2NE1 from the late 2000s to early 2010s, was practically revolutionary. BLACKPINK, who debuted in 2016 (ten years after BIGBANG), stands as a prime example of a “world-class idol.”
Experts point out that the so-called “YG sound” is stagnating due to its self-replicating nature. They also see the fact that TREASURE and BABYMONSTER haven’t yet fully settled in to achieve a “successful generational shift” following their legendary seniors as a major hurdle.
Kim Yun-ha described the current music and visuals as being “trapped in a self-made prison called the ‘YG Legacy’.” Critic Jung Min-jae added, “For a while, many of YG’s songs had similar structures and sound designs, making them feel like a set formula. While there seems to be some improvement, that tendency still exists compared to other agencies.”
Critic Kang Il-kwon also noted, “In the past, YG absorbed US hip-hop, R&B, and electronic trends faster than anyone, combining them with Korean public sentiment, unique lyrics, and sophisticated sounds to create their own signature K-pop style. However, it’s disappointing that it has started to be consumed like a repeating formula, with many songs feeling self-replicating in overall production.”
Choi Seung-in stated, “Now that the ‘YG-style sound’ has become a signature, this strength also acts as a limitation. This standardized frame worked well until the early 2020s, but it’s now so familiar that it’s disappointing to see them staying in a place where the next move is predictable.”
Choi added, “There is definitely a charm in silently keeping their own color without being swayed by change, but I wonder how far that stubbornness can go in an era where trends are constantly evolving. The system needs to become more flexible, or the way they express their color needs to be more relaxed. I believe that wouldn’t blur YG’s identity, but rather open the door for the next cycle.”
Critic Jang Jun-hwan said, “Compared to past artists with strong identities, I have a strong impression that current groups leading the company, like TREASURE and BABYMONSTER, are stuck in past music without achieving a significant musical leap.”
Cha Woo-jin, head of the Enter Culture Research Institute, cited the “break in the talent pipeline” as the most structural problem. “It took seven years from 2NE1’s disbandment to BLACKPINK’s debut, and now BABYMONSTER is the only female group lineup to fill the gap since BLACKPINK shifted toward individual activities. As for male groups, no group with the same impact as BIGBANG has emerged since. The fact that the ability to connect the success of one generation to the next hasn’t been proven is definitely a risk.”
Critic Hwang Sun-up observed, “The fact that the momentum hasn’t really picked up since BLACKPINK leaves a question mark over the company’s future. While BABYMONSTER is struggling to fill that void, the noticeable reduction in new production lineups and the fact that a significant portion of revenue still relies on BLACKPINK alone shows the reality and clear limitations YG is currently facing.”
Critic Jang stated, “The failure to achieve a timely generational shift and the continued reliance on BLACKPINK are major issues, as is the lack of measures to address the absence of the ‘YG sound’ after Teddy’s departure. Unlike other entertainment companies that focus on discovering new talent, experimenting with new genre combinations, and expanding their branding, YG’s unusually long release cycles and slow rookie management seem to be holding them back.”
YG is also known for having “low output” (few releases). According to Melon, BLACKPINK has released only 85 songs, and that number drops even further if duplicate tracks are excluded. This is a small number of songs for a group celebrating its 10th anniversary this year.
Critic Jung also noted, “Compared to artists from other agencies of a similar tenure, they often have fewer works. This was true for 2NE1, BLACKPINK, and now BABYMONSTER. While quantity isn’t everything, you can’t shake the impression that YG artists are less active. Could both the low output and lack of individuality be problems resulting from a small and limited production pool?”
Concerns regarding “owner risk” centered around General Producer Yang Hyun-suk also remain. Critic Randy Seo criticized, “After the ‘Burning Sun scandal’ revealed in 2019, there was insufficient apology and follow-up action. Since it’s an incident with victims, I’m not sure if this is an area where ‘improvement’ is even possible. Although Yang Hyun-suk stepped down as CEO in 2019, he continued to be active as General Producer.”
Cultural critic Seong Sang-min pointed out, “The massive sex crime scandals involving everyone from the company’s flagship idol Seungri to General Producer Yang revealed that while YG’s black music influence is fading in operations, they are problematically following the male-centric, macho aspects of hip-hop crew culture that are constantly criticized even in the US.”
He further stated, “Beyond the achievements YG has made, they left stains that are not easily erased, showing a lack of responsibility befitting the reputation they built over a long time. The way they move past these issues without promising clear changes seems to show the structural limitations of a YG centered around Yang Hyun-suk.”
Cha added, “Founder-centric governance is now becoming a risk for the entire organization. I believe the failure to control governance issues while the label grew to a global scale remains a task. Overall, the tension YG brought to the music scene in the early 2000s now feels like it has converged into mere brand management.”
Critic Hwang also noted, “The fact that judicial and moral incidents have been constant across the company is still disappointing. The fact that these matters are by no means light is the fundamental reason why it’s difficult for us to view YG in a purely positive light.”
Music critic Park Hee-ah suggested, “The owner risk is still high. Strictly speaking, although Producer Yang Hyun-suk stepped back from the front lines of management, he is the first person that comes to mind when talking about YG Entertainment, and the impression that he still exerts influence cannot be erased. Therefore, YG Entertainment must give the impression that it is clearly separated from Producer Yang Hyun-suk. That would contribute to creating a positive image for the company.”
Some also believe that as other agencies adopt and digest black music, it can no longer be seen as a unique strength of YG.
Critic Seong said, “YG certainly deserves credit for decisively introducing black music styles into Korean popular culture, but over time, the global music scene has become centered on black music, and ‘hip-hop’ is now a basic element for K-pop idols aiming for global expansion. It’s hard to say that the agency’s groups are something only YG can create, and as the ‘crew’ aspect diminishes, YG’s unique color feels like it’s fading.”
