When Zico fallen Any song In January 2020, he did not simply release a song at the top of the ranking, he involuntarily opened the doors for what would become a It was Tiktok-First in k-pop.
With the help of stars like Hwasa AND ChunghaZico launched a promotional campaign that was not based on traditional musical shows or long -term teaser. Instead, he Pioneer opened the K-Pop Tiktok Challenge formula: Publish a short and easy dance to follow on social media and let virality do the rest.
The result? Any song I went to Supernova dominating streaming platforms and social media feeds. But above all, he set up to New project As K-Pop songs could (and should) be promoted.
Since then, almost all K-Pop outputs, regardless of gender or artist status, have followed the same playbook: build a captivating point choreography, pre-caric it on Tiktok and push “challenges” with label companions, influencers or idols.
This move has attracted criticism for market creativity and reducing music into 15 seconds optimized fragments for trendy algorithms. While Zico’s Any song It was a fully formed and sonically rich track that occurred viral, the songs that followed often feel produced exclusively for short -form attention.
CNG comments:
- Why do people blame Zico for this? Lol. Those who copy it are the problem.
- “Golden Phone”
- This was a direct culture to emerge, however, due to shorts, coils and Tiktok.
- I just don’t like it. It is incredible that there are still followers of the trend of the gold phone.
- The culprit number one that ruins K-Pop is the damned Japanese, voices of deaf goat.
This move has attracted criticism for market creativity and transform music into content that can be heard designed for small trends rather than made for the artistic expression. More and more songs are designed by thinking about the virality of social media, built not to be heard from start to finish, but to capture a few seconds of attention in an infinite parchment.
