How trot became K-pop fans’ biggest fear and possible ‘KPop Demon Hunters’ showstopper

Maggie Kang, director of Netflix’s animated film “KPop Demon Hunters,” attends a press conference held in Yongsan District, central Seoul, on Aug. 22. [NETFLIX]

 
Kim Mi-ra, a 71-year-old restaurant owner in eastern Seoul, hasn’t really heard of “KPop Demon Hunters” yet, let alone that its sequel might involve a trot song. But she’s certain she knows what could have inspired that idea.
 
“Lim Young-woong’s the one who brought trot to this new level, even to global attention,” she said with pride, referring to the reigning trot sensation whom she has ardently followed over the past five years — with all the dedication of a veteran K-pop fan, from joining online fan communities to taking part in streaming campaigns.
 
 
Lim is a breakout trot star who shot to stardom after winning TV Chosun’s hit trot audition program “Mister Trot” (2020-). Since then, he has been setting new records as a trot singer, from concert attendance and album sales to streaming performance. His latest release, “Eternal Moment,” even briefly toppled HUNTR/X’s “Golden” from the top spot on Melon’s Top 100 chart.
 

Merchandise of trot singer Lim Young-woong is displayed at fan Kim Mi-ra’s restaurant in eastern Seoul on Sept. 11. [SHIN HA-NEE]

 
“How can we talk about Korean music without mentioning Lim?” she added.
 
And her intuition may not be far off.
 
No one knows exactly how HUNTR/X’s story will continue in the sequel to the animated Netflix megahit, but director Maggie Kang has sprinkled a few unexpected crumbs.
 
“I’d like to introduce more diverse musical styles and genres of Korea,” the director told reporters during her visit to Seoul on Aug. 22.
 
“Genres like trot, maybe,” Kang continued. “Trot is such a huge bang these days — I’d like to show different aspects of Korean music.”
 
Yes, Kang’s right. Trot has roared back into the spotlight in Korea over the past few years, and international fans have noticed as well, with a mix of awe and dread.
 

Singer Lim Young-woong [MULGOGI MUSIC]

 
One Reddit user recalled how their sister was “extremely upset” to learn that Lim would be releasing music in the same month as aespa, meaning that the girl group would be facing off against the trot singer on streaming platforms for ranking.
 
“After all, who is Lim Young-woong and why are K-pop fans so afraid of him?” asked the user.
 
The top reply, with 945 upvotes, put it like this: “A trot singer very popular among ajumma [older women], who are notoriously dedicated and too good at voting. They’re monsters [respectfully].”
 
But before we get to how Lim became K-pop’s unlikely nemesis or restaurant owner Kim a respectful member of his “notoriously dedicated” fan club, it’s worth pausing to answer the bigger question: What exactly is trot, and what does the genre mean for Koreans?
 
Trot may be an English word, but as a music genre, it has taken on a unique meaning in Korea, far removed from its dictionary definition.
 
Musically, trot is loosely defined by its foxtrot-inspired two-beat rhythm and the stylistic influence of traditional Korean folk music on vocals, especially in its earliest form in the 1930s. At the time, these songs weren’t called “trot,” as they were simply popular music, making them the very first form of modern Korean pop.
 
Its origins, however, have been a somewhat controversial and debated topic.
 
Some suggest that trot originated from Japanese enka, which shares similar stylistic elements, while others point out that the genre evolved into something distinctively Korean, particularly after the nation’s liberation from Japan’s colonial rule in 1945.
 
The controversy even led to one of Korea’s greatest pop hits, “Dongbaek Agassi” — which translates to “Camellia Lady” — by legendary singer Lee Mi-ja being banned in 1965 over the alleged Japanese influence. The stigma lingered well into the 1980s, leaving a scarlet letter on the genre.
 

Visitors view the cover of singer Lee Mi-ja’s 1964 hit “Dongbaek Agassi,” which translates to “Camellia Lady,” displayed at Busan Modern & Contemporary History Museum in Busan on Oct. 23, 2024. [SONG BONG-GEUN/JOONGANG PHOTO]

 
But that very history of suppression is what defined and shaped trot into what it is today, according to Son Min-jung, professor of music education at Korea National University of Education. Son, one of Korea’s leading trot scholars, authored the first trot-focused research paper on the international ethnomusicology publication “Asian Music” in 2006.
 
“Just like how ‘Golden’ tells a story of overcoming struggles, trot’s history began amid systemic oppression under Japanese colonial rule,” Son said.
 
“The genre, which was widely enjoyed by the general public, had long been stigmatized either as a remnant of Japan’s rule or a symbol of crudity by elites,” the professor explained. “But that’s how its story of resilience began as well.”
 

Singer Lee Mi-ja around the release of her legendary hit song ″Dongbaek Agassi,″ which translates to ″Camellia Lady,″ released in 1963 [JOONGANG PHOTO] ‘동백아가씨’가 발표됐을 무렵의 이미자. [중앙포토]

 
Cultural forms that are glorified and elevated to institutional status often stagnate “like an artifact in a museum,” Son pointed out, but trot avoided that fate precisely because it had to adapt and evolve to endure.
 
Still, for decades, trot was largely viewed as niche music for the elderly — up until 2019, when TV Chosun’s smash hit audition program “Miss Trot” (2019-) and “Mister Trot” series brought it back into the mainstream.
 

Singer Song Ga-in, winner of TV Chosun’s ″Miss Trot″ (2019), performs during a showcase on Feb. 11 in western Seoul. [YONHAP]

 
That is how Kim first discovered her favorite trot star, Lim, in 2020.
 
“It felt like I was hit by lightning,” said the 71-year-old, smiling as she recalled the moment she heard Lim’s singing on television for the first time, which constantly plays in her mandu (dumpling) soup restaurant.
 
“Before that, I used to only hear songs from the 1970s and 1980s, and honestly thought trot is kinda crude,” she said.
 
Now, her restaurant is decorated with Lim’s posters and merchandise everywhere. Kim chats daily with her fellow fans on group chats every day and streams Lim’s songs on Melon to boost his chart ranking. She even urged her granddaughters to join, to which they complained, “You don’t need to do this, grandma, he’s already winning!”
 

Merchandise of trot singer Lim Young-woong displayed at fan Kim Mi-ra’s restaurant in eastern Seoul on Sept. 11 [SHIN HA-NEE]

 
Kim’s story reflects a broader trend. The rise of “active seniors” — older people who are socially and economically engaged — has laid the groundwork for trot’s grand comeback.
 
The Covid-19 pandemic also amplified that momentum, Prof. Son noted.
 
“During hard times, people tend to turn to something like religion or community,” said Son. “Trot music embodies traditional moral values like family, solidarity and overcoming hardship together.”
 
Today, Son believes trot has more potential than ever to resonate beyond Korea. Or, rather, perhaps it’s the global audience that has finally become ready.
 
“If something is too foreign, people would find it difficult to embrace. But if something feels too familiar, then that loses its appeal as well.”
 
Trot, in its current form, is neither too foreign nor worn-out for the general audience outside Korea, meaning that it could be a refreshing new dose of K-ness for international listeners.
 
“Korean culture’s true strength comes from its resilience born out of the history of overcoming struggles,” said Son. “Trot is the epitome of that.”

BY SHIN HA-NEE [[email protected]]