Contract Wars: K-Pop’s High-Stakes Battle Against ‘Tampering’

A series of high-profile legal disputes involving superstar groups like Fifty Fifty, EXO-CBX, and NewJeans has cast a shadow over the vibrant K-pop industry, bringing the controversial issue of “tampering” to the forefront. In the K-pop world, tampering refers to the unauthorized contact by a rival agency or producer with an artist who is still bound by an exclusive contract, essentially attempting to poach them.

While such conflicts were once settled behind closed doors, the massive financial investments required to launch a modern idol group—and the even greater potential rewards—have made these disputes a critical threat to the industry’s foundation.

The Precedent: The Fifty Fifty Saga

The most explosive tampering case to date involved the girl group Fifty Fifty, who skyrocketed to global fame in 2023 with their viral Billboard Hot 100 hit, Cupid.” Just as their fame peaked, the group shocked fans in June of that year by filing for an injunction to suspend their contracts with their agency, Attrakt.

Attrakt immediately fired back, accusing “external forces” of trying to lure the members away. The agency pointed fingers at The Givers CEO Ahn Sung-il, the producer of “Cupid.” The Seoul Central District Court ultimately dismissed the group’s injunction, and after a failed appeal, member Keena returned to Attrakt. The agency then terminated its contracts with the remaining three members—Saena, Aran, and Sio.

The fallout has been immense. Attrakt has since filed a 13 billion won (approx. $9.2 million) lawsuit for damages against the three former members, their parents, and executives at The Givers, and has also filed criminal complaints against Ahn for embezzlement. In a further twist, the three former members have since signed with a new agency, rebranded as “Ablume,” and are reportedly working with Ahn on new music.

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The legal battle surrounding Fifty Fifty set a major precedent for tampering disputes in the industry.

A Feud of Subunits: EXO-CBX and SM Entertainment

Another major case involved Chen, Baekhyun, and Xiumin of the EXO subunit, EXO-CBX. In 2023, the trio notified their agency, SM Entertainment, of their intent to terminate their contracts, citing unfair contract lengths and a lack of financial transparency.

In early 2024, Baekhyun launched his own independent label, INB100. However, just months later, INB100 became a subsidiary of a company co-founded by producer MC Mong, whom SM had already accused of being the third party behind the dispute. SM Entertainment released a statement claiming this development proved what they “already suspected: tampering with CBX is now undeniable.” Despite the ongoing feud, the members remain under contract with SM for their activities as part of the full EXO group.

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The members of EXO-CBX are in an ongoing dispute with their agency, SM Entertainment.

The HYBE-Ador Dispute: A Battle Over NewJeans

The most recent and perhaps most consequential tampering allegations involve the superstar girl group NewJeans. The conflict centers on claims that the former CEO of their agency Ador, Min Hee-jin, attempted to engineer the group’s separation from its parent company, Hybe Corporation.

In late 2024, NewJeans’ legal team sent a letter to Ador threatening to terminate their contracts. The group then declared their contracts nullified and began pursuing independent activities. Ador promptly filed a lawsuit, and a court granted a partial injunction to block the group’s activities without the agency’s approval. The case, which hinges on whether the ousting of Min Hee-jin constitutes a justifiable loss of trust for contract termination, is awaiting a final ruling.

K-Pop

The legal battle over NewJeans has sent shockwaves through the K-pop industry.

Why It Matters: The Industry’s Fight for Sustainability

The K-pop industry is sounding the alarm. In a joint press conference, five major music associations stated, “K-pop’s sustainable growth depends on everyone honouring their promises.”

Debuting a single idol group can cost an agency anywhere from 1 to 10 billion won before an album is even released, with no guarantee of success. If artists can be poached before these massive investments are recouped, the entire business model is undermined. Agencies view their idols as vital assets, sometimes registering their stage names as intellectual property, making tampering akin to corporate espionage.

As one K-pop official bluntly put it, “If artists can unilaterally ignore the law and break contracts whenever they wish, who would risk investing 10 billion or 100 billion won to create a K-pop group? For the sustainability of K-pop, tampering must never be tolerated.”

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