In cultural industries where producers shape the creative process, status determines how much freedom they have to reinvent their artists. High-status producers command the resources and audience support needed to take bold risks with their artists’ images. In contrast, mid-status producers are more inclined to adapt to prevailing market trends. A new study published in the Strategic Management Journal explores this dynamic in the Korean pop music industry, or K-pop, revealing how the standing of entertainment agencies affects the ways idol groups shift their concepts, with gender further constraining these changes.

The research, conducted by Heeyon Kim of Cornell University, Yoonjeoung Heo of Xi’an Jiaotong-Liverpool University, and Chi-Nien Chung of Hong Kong Polytechnic University, builds on earlier studies of category shifts in creative markets. Previous work emphasised the limitations artists face when moving between categories. Still, this team considered how shifting identities over time can create multifaceted profiles that ultimately strengthen an artist’s appeal and adaptability. By reframing identity shifts as potential advantages, they brought new insight into how status interacts with long-term creative strategy.

The authors advanced three hypotheses about status and identity change. First, they suggested that mid-status actors are especially motivated to follow dominant trends, hoping that conformity will win them greater visibility and audience acceptance. Second, they argued that high-status actors, while more cautious initially, are freer to experiment over time and more likely to pursue radical shifts that build multifaceted identities. Finally, they recognised that these patterns are not shaped by status alone but are also constrained by broader societal norms, especially those tied to gender, which can narrow the range of acceptable shifts.

To test these ideas, the researchers analysed the K-pop industry, where entertainment agencies exercise substantial control over idol groups’ concepts and images. They created a typology of possible K-pop “concepts” and ranked agencies by high, middle, or low status based on industry awards. Then they examined 680 songs by 122 idol groups from 76 agencies between 2004 and 2016. Each music video was coded for its concept, allowing the team to measure how often groups shifted categories and how these shifts aligned with agency status.

The findings supported all three hypotheses. Idol groups from mid-status agencies most frequently followed the dominant market trends, relying on conformity to capture attention. Groups from high-status agencies, meanwhile, pursued fewer shifts in the short term, focusing instead on establishing distinct identities. Yet when they did alter course, they tended to make the most radical moves, supported by loyal fan bases that allowed experimentation without fear of losing core support. As Kim noted, high-status agencies act as trendsetters, while mid-status agencies are more often followers seeking visibility.

However, the study also showed that gender norms limit these dynamics. The effects of status were most substantial for male idol groups, while female groups were more constrained by societal expectations, regardless of their agency’s standing. In sum, the research demonstrates that higher status grants producers and artists both resources and resilience to pursue multifaceted identities. For managers, recognising their status position is crucial: mid-status actors may need to consolidate their audience by following trends, whereas high-status actors have the privilege to experiment and shape new directions in the creative market.

More information: Heeyon Kim et al, Changing tracks: How status affects category shifts in the Korean popular music industry, Strategic Management Journal. DOI: 10.1002/smj.3739

Journal information: Strategic Management Journal Provided by Strategic Management Society