When Santos Bravos appeared on Mnet’s weekly music show “M Countdown” (2004-) on Thursday, the scene looked familiar to anyone who follows K-pop: Flashy yet precise camera works, cute finger hearts and the close-up pose known as the “ending fairy” — except that the Latin American quintet was singing in Brazilian Portuguese.

The Mexico City-based boy band, launched by K-pop powerhouse HYBE, is among the latest foreign acts to find its way into Seoul's media machinery.

Milli, a Thai rapper, recently became one of the finalists on Mnet’s rapper competition show, “Show Me The Money” (2012-), before finishing the race in fourth place. Meryl Streep and Anne Hathaway made a visit to Seoul on April 8 as “Devil Wears Prada 2” is set to premiere for the first time in the world in Korea on Wednesday, ahead of its U.S. premiere on Friday. Japanese girl group Cute Street drew more than 10 million views for its “M Countdown” appearance a month ago in its first Korean appearance.

The flow, it appears, suggests a reversal for an industry that has long been defined by how aggressively it sent its own artists abroad in search of bigger returns outside its small domestic red ocean — in dollars, yen or yuan.

But for the latest visitors, the won may be beside the point, experts say.


Dropping K through K

For Santos Bravos, coming to Korea was only natural, said Gabi, the Puerto Rican member of the group.

“We’re trying for this group to be not only be known in Latin America but all over the world,” he said during an April 11 news conference held at HYBE’s headquarters in central Seoul for the group’s first visit to the capital city.

“We think Korea is a market that is very important to us, because it’s where HYBE was born.”

But the visit was not merely ceremonial, or a tribute to the company’s roots — it’s a strategic one.

"If you want to appeal to existing K-pop fans around the world, there is honestly nothing better than Korean music shows, Korean programs and Korean content," said a source at a major K-pop agency, who requested anonymity.

“Foreign fans usually absorb K-pop by watching translated Korean content. But no matter how hard Santos promotes on Latin American programs, that content is not necessarily going to travel to Southeast Asia or other regions in the same way.”

This means that for foreign acts making promotional stops in Seoul, the target is often not Korea alone, but the audiences watching Korea from elsewhere.

The logic behind it is different from the way Korean idol groups have long debuted in Japan, where Japan-specific releases are used to tap into the neighboring country’s massive domestic music market, the second largest in the world after the United States.

Katseye, the multinational girl group created by HYBE and Geffen Records, has also promoted repeatedly in Korea through multiple music show appearances, despite being billed as an international pop act.

Both Santos Bravos and Katseye are flagship products of HYBE’s “multihome, multigenre” initiative, aiming to expand the K-pop production model into other markets.

The driving idea behind the strategy is that for K-pop to become truly global, it cannot remain confined by the prefix “K” in its name. HYBE founder Bang Si-hyuk has repeatedly argued since 2023 that K-pop has to “drop the K” to become “just pop” if it wants to become the true mainstream genre of the world.

Yet in trying to move beyond the “K,” HYBE’s global groups are also leaning on Korea’s domestic promotional infrastructure.

“It seems there is still a bit of distance when trying to appeal to Korean fans or Southeast Asian fans only through activities in the United States,” the industry source suggested.


From Bangkok to Seoul to Bangkok

That strategy often centers on one of K-pop’s most avid consumer bases: Southeast Asia.

According to the 2026 Overseas Hallyu Survey, published on March 30 by the Korean Foundation for International Cultural Exchange, the Philippines ranked first among 30 surveyed regions in the share of respondents who said Korean content was popular in their own country, followed by India, Vietnam, the United Arab Emirates and Malaysia.

The Philippines also had the highest proportion of K-content in overall content consumption at 35.8 percent, followed by Indonesia at 34.1 percent, Malaysia at 32.3 percent and Egypt at 32.3 percent.

This means making it in Korea often also gives artists momentum across Southeast Asia — even for stars who are already well-established in their home countries.

Rapper Milli said she decided to compete on Mnet’s “Show Me The Money” because of the strength of Korea’s entertainment industry.

"I feel like Korea’s entertainment scene is really, really strong — I think it’s the strongest industry in Asia, so why not?” she said. “I wanted to learn and try it myself in the bigger space."

Thai stars Nunew Chawarin and Zee Pruk, famous as duo ZeeNunew, also embarked on separate ventures into Korea. Nunew made an official Korean debut with the single “Leave Me With Your Love” in September last year, and Zee held a news conference for his Korean promotions in March.

But Korea’s domestic market is not necessarily the main prize, according to Shim Jae-geol, a music critic and the CEO of marketing agency JX United, who worked with both artists during their visits to Korea.

“I don’t think people working on such projects come in with huge expectations [for profits],” Shim said.

"Revenue generated within Korea alone may be modest compared to what artists can directly earn overseas," he said.

But the visibility in Korea travels.

"The fact that they are gaining popularity in Korea seems to make it easier for them to market themselves regionally," Shim said.

BY SHIN HA-NEE [shin.hanee@joongang.co.kr]