SEOUL – A recent wave of departures by popular idols – from Heeseung of Enhypen to Mark and Ten of NCT – has surprised fans, with multiple members leaving their groups within a month.
Industry insiders, however, say such moves are not unusual, particularly among idols in later stages of their careers. They point to a combination of artistic ambition, contract cycles and the growing financial independence enabled by social media.
South Korean singer Heeseung, 24, announced on March 10 that he would leave Enhypen and transition to a solo career through Belift Lab. The agency said the decision followed “deep discussions” about the group’s direction and each member’s future, adding that it chose to respect Heeseung’s musical aspirations.
In April, Mark and Ten announced within days of each other that they would not renew their contracts with SM Entertainment.
Canadian star Mark, 26, will conclude all activities with NCT and its sub-units. Meanwhile, Thai idol Ten, 30, is expected to continue participating in group activities with NCT and its sub-unit WayV, under future agreements with a new agency, to be arranged on a case-by-case basis. This is similar to arrangements seen with Taemin of Shinee and D.O. of Exo.
An executive at a major K-pop agency, who declined to be named, said such decisions often emerge as idols approach a decade in the industry.
“There are always members who have a clear sense of what they want to pursue musically,” the executive added. “Before their debut, they prioritise making it into a group and often compromise. But over time – especially after completing military service – many begin to seek individual careers.”
Most K-pop groups operate under the standard seven-year contract recommended by the government. NCT members are believed to have signed longer agreements due to the group’s project-based structure. Mark and Ten debuted as part of NCT U in 2016 and reached a contract renewal point in April. In many cases, renewal periods become key turning points for artistes weighing group versus solo paths.
The executive added that creative limitations within group activities can drive such decisions.
“Management ultimately has to focus on profitability, which often means aligning with what fans want,” the executive said. “But not every member will be satisfied with that direction. Younger artistes may accept it, but those with over 10 years of experience find it harder to compromise.”
While Heeseung’s case differs – Enhypen debuted in 2020 and are relatively early in their career – his decision still reflects a broader trend. He hinted at an upcoming solo album just weeks after announcing his departure, reinforcing speculation that artistic ambition played a central role.
Critics also point to structural changes in the entertainment landscape. Music critic Lim Hee-yun said the rise of digital platforms has fundamentally shifted the power dynamic for idols.
“The concept of being a celebrity has changed,” he added. “With platforms like social media, artistes no longer rely solely on agencies. They can communicate directly with fans and generate income through their own channels.”
He noted that sponsored posts on platforms such as Instagram can generate tens of millions of won each, depending on an idol’s popularity.
“For idols, that income comes from their own personal brand,” he said.
“But if they have to split it with the agency, it can create an incentive to go solo and retain full control over their earnings.” THE KOREA HERALD/ASIA NEWS NETWORK