How global groups are taking the K-pop model and running with it
From KATSEYE, to PSYCHIC FEVER, to GIRLSET, more pop groups are taking the K-pop formula to bring together artists from all over the world
PSYCHIC FEVER, GIRLSET, and KATSEYE are three global groups dominating the scene right now.
Photo illustration by Ryan Quan
Words by Anjana Pawa
What began as a niche subculture in music has grown to become a global phenomenon. K-pop has become one of the most powerful engines of the music industry this century, from garnering number one hits across global charts to generating billions of dollars of revenue. But the artists and music are not the only exports that have come from the growth of the industry. As new global groups are formed using the K-pop blueprint, it’s becoming increasingly clear that the world isn’t just listening to South Korean pop music, but also adopting its logic.
Unlike in the West, where groups are often formed either through auditions (like Spice Girls, NSYNC, or One Direction) or more organically (like The Jonas Brothers, and 5 Seconds of Summer) groups like KATSEYE, PSYCHIC FEVER, and GIRLSET (formerly known as VCHA) are the next generation of pop group acts that were formed on purpose to succeed. These groups were formed through reality competitions and powered by labels that cross borders, and are stitched together with members from all over the world, but trained in a system that was practiced and perfected in Seoul.
These are not K-pop groups in the traditional sense, nor do they want to be represented as such. They are generally referred to as global groups, and are marketed that way. Take KATSEYE for example, which was formed through The Debut: Dream Academy, a collaboration between HYBE (the company behind BTS, LE SSERAFIM, and TXT) and Geffen Records. KATSEYE’s members represent more than half a dozen countries. Their debut track was in English, yet every part of their rollout mirrors the K-pop way: intense preparation, survival-show drama, curated narratives, and the kind of cinematic visuals you’d expect from a K-pop video. The group even uses fan lingo rooted in South Korean idol culture, like fans choosing their “bias,” or favorite member, and the release of new music being called a “comeback,” a term that K-pop coined two decades ago.
Before they were GIRLSET, VCHA was launched out of JYP and Republic Records’ A2K project, following the same script: built for the U.S. market but molded by South Korean idol standards, with rigorous training, group dynamic curation, and storytelling crafted for fan engagement. These groups are engineered with precision, assembled to maximize reach across cultures, and debut fully formed with conceptual stories ready to be told.
K-pop’s global influence is a testament to how visionary the system is. It’s shown the world that pop music can be intentional and collaborative. In some ways, this global application of the methodology feels almost like a full-circle moment. The South Korean music industry has long been cross-collaborating with global artists. Since the rise of the genre, K-pop companies were already working with multicultural songwriters, choreographers, stylists, and producers. The initial global appeal was often the result of these cross-cultural collaborations.
What we’re witnessing with the rise of the global group is not just K-pop influencing pop music, but K-pop becoming a methodology—a replicable framework applied across borders and geography. This replicable nature of the training systems and global marketing is reshaping how music groups are conceptualized, formed, and consumed.
That raises the question: When we strip away the language, the cultural specificity, and the context that gave K-pop its original power, what are we left with? Is this still innovation, or are we simply recycling parts of a model because it works?
And there’s no denying that this system works incredibly well. It creates some of the most talented artists in the industry, multiple hit records in a year, and fan communities that are fiercely loyal. That’s why it’s being borrowed across the globe. Because K-pop has always existed in an industry that understands the psychology of fandom, the power of well thought out concepts and aesthetics, and feeds off the global language of pop culture, the longevity of the musical acts can span more than a decade. But when new groups follow the same playbook, how much of it is just extracting the marketing tactics to replicate the financial success of K-pop, without any of its cultural core and how much of it is really about art and the artists?
And that’s where the conversation inevitably turns to something deeper and we need to acknowledge the intention behind replicating the ultra-successful strategy: that it is also a marketing tool built to engage, retain, and monetize fanbases. These new global groups aren't just musical acts—they're branded products launched with coordinated campaigns, merchandise, thought-out strategies, and parasocial relationships built with their fanbases.
If we’re building global pop groups in the image of a South Korean group, but without the context and culture that shaped it, what exactly is being replicated, and more importantly, why? Is it about celebrating a proven model of excellence and innovation, or simply commodifying the most profitable parts of it?
It's undeniable that replicating the formula is currently working, though. These groups are generating momentum, cultivating huge fanbases, and producing sonically compelling music. KATSEYE’s debut has already proven that a group trained in the K-pop tradition but aimed at a global market can make major waves. But as more global acts take shape using the same template, the challenge will be in how they can differentiate themselves and maintain a true global appeal.
Published on September 17, 2025
Words by Anjana Pawa
Anjana Pawa is a Brooklyn-based culture reporter who regularly covers music, entertainment and beauty. You can find her on Twitter at @apawawrites.
Art by Ryan Quan
Ryan Quan is JoySauce's social media manager, associate editor, and all-around visual eye. This queer, half-Chinese, half-Filipino writer and graphic designer loves everything related to music, creative nonfiction, and art. Based in Brooklyn, he spends most of his time dancing to hyperpop and accidentally falling asleep on the subway. Follow him on Instagram at @ryanquans, and check out his work on his website.