Kholidah
YG Entertainment’s latest girl group, BABYMONSTER, is currently facing a wave of critical scrutiny following the release of their newest title track, "Choom" (meaning "Dance"). The song, which serves as the lead single for the group’s third mini-album, premiered on May 4, 2026, but the initial reception has been characterized by a significant divide between the group’s dedicated fanbase and the broader domestic music community. While the members continue to receive praise for their individual performance skills and vocal prowess, the creative direction of the music itself has reignited a long-standing debate regarding YG Entertainment’s internal production capabilities following the reduced involvement of long-time hitmaker Teddy Park.
The Immediate Reception of "Choom"
The controversy began to gain momentum shortly after the music video for "Choom" was uploaded to official streaming platforms. On the popular South Korean community portal Pann, a post criticizing the track quickly went viral, amassing hundreds of thousands of views and thousands of comments within hours. The author of the post argued that the song felt like a "painfully generic" attempt to replicate the success of their senior labelmates, BLACKPINK.
Specific criticisms focused on the song’s structural elements, which many netizens claimed have become overly predictable. The post highlighted the use of a "group chorus" or a high-energy chant at the end of the track—a signature "YG outro" that has been a staple of the company’s releases for over a decade. The critique suggested that the company’s creative team appears to be operating in a vacuum, seemingly disconnected from the evolving trends of the global and domestic music markets. "Does their company lock them up somewhere and keep them from listening to other artists’ music?" the viral post questioned, reflecting a growing sentiment that YG’s musical formula has become stagnant.
The Legacy of the "YG Sound" and the Teddy Factor
To understand the weight of these accusations, it is necessary to examine the historical context of YG Entertainment’s musical identity. For the better part of two decades, the "YG Sound" was largely synonymous with Teddy Park. As the primary producer for legendary acts such as BIGBANG, 2NE1, and BLACKPINK, Teddy was credited with blending hip-hop foundations with electronic drops and catchy, anthemic hooks.
However, Teddy’s role within YG Entertainment has shifted significantly in recent years. With the establishment and expansion of his own independent subsidiary, THE BLACK LABEL, his direct involvement in the day-to-day production of YG’s flagship groups has diminished. While he contributed to BABYMONSTER’s earlier conceptualization, the primary production duties for their recent discography have fallen to internal YG producers and external songwriters curated by the company’s A&R department.
The backlash against "Choom" suggests that many listeners believe YG is struggling to replicate Teddy’s specific "magic touch." Critics argue that while the new tracks attempt to mimic the bravado and structure of Teddy’s hits, they lack the nuanced production and trend-setting elements that previously set YG apart as an industry leader.
A Timeline of BABYMONSTER’s Creative Trajectory
The criticism surrounding "Choom" is not an isolated incident but rather the latest chapter in a series of debates regarding BABYMONSTER’s artistic direction since their debut.
- November 2023: BABYMONSTER debuts with "BATTER UP." While the song achieved significant views on YouTube, it was met with mixed reviews from critics who felt the production was dated and too reminiscent of mid-2010s K-pop.
- April 2024: The group releases "SHEESH," which saw a stronger performance on domestic charts like MelOn. However, the song was again compared heavily to BLACKPINK’s "How You Like That," with many pointing out the similar "empty drop" chorus and aggressive rap verses.
- Late 2025 – Early 2026: As the group moved into their second year, fans expected a shift toward a more distinct identity. The announcement of their third mini-album was met with high expectations for a "new era."
- May 4, 2026: The release of "Choom" confirms to many critics that YG Entertainment is doubling down on its established formula rather than innovating.
Comparative Analysis: The Evolution of the Big 4
The disappointment expressed by some segments of the public is amplified by the current state of the K-pop industry. YG’s "Big 4" competitors—HYBE, SM Entertainment, and JYP Entertainment—have all undergone significant stylistic shifts over the past three years.
Groups like NewJeans (HYBE/Ador) and IVE (Starship) have popularized "easy-listening" tracks and Y2K aesthetics, while aespa (SM) has leaned into "hyper-pop" and futuristic "metal" concepts. In contrast, BABYMONSTER’s reliance on the "girl crush" trope and heavy EDM-hip-hop hybrids is being viewed by some as anachronistic.
Data from domestic music charts indicates that while BABYMONSTER maintains a massive international following—largely driven by Southeast Asian markets and the group’s immense talent—their "Perfect All-Kill" potential in South Korea is being hindered by a lack of domestic public interest in the "YG formula." Industry analysts note that for a group to achieve longevity in the Korean market, they must balance global appeal with music that resonates with local listeners’ changing tastes.
The Role of Executive Leadership in Creative Output
Another recurring theme in the criticism is the role of Yang Hyun Suk, the founder and executive producer of YG Entertainment. Following his return to a prominent leadership role, he has been heavily involved in the training and production of BABYMONSTER.
While his "hands-on" approach was credited with the success of previous generations, some netizens argue that his creative sensibilities may not be aligning with the current generation of listeners. Comments on the Pann post suggested that the company needs to empower a younger generation of producers and A&R professionals to take the lead. The sentiment "Yang Hyun Suk should stay out of the kitchen" has become a common refrain among disgruntled fans who believe the group’s immense talent is being stifled by "old-school" management.
Technical Critiques: Breaking Down "Choom"
Music critics have pointed out several technical reasons why "Choom" has failed to land with the same impact as previous YG hits:
- Predictable Dynamics: The song follows a verse-pre-chorus-drop structure that has become the standard for YG girl groups. Without the unique sonic textures that Teddy often employed, the structure feels more like a template than a composition.
- The "Empty" Chorus: Like "SHEESH," "Choom" relies on a minimalist instrumental drop for its chorus rather than a melodic hook. While this works in a club setting, it often lacks the "earworm" quality necessary for sustained chart success.
- Lyrical Themes: The lyrics continue to focus on themes of "being the best" and "dominating the scene," which critics argue lacks the emotional depth or relatability found in the discographies of their contemporary rivals.
The Implications for YG Entertainment’s Future
The accusations that YG struggles without Teddy pose a significant strategic challenge for the company. As BLACKPINK members focus more on solo activities and individual labels, BABYMONSTER is the primary vehicle for YG’s girl group brand. If the group cannot establish a unique identity that distinguishes them from their predecessors, they risk being perpetually viewed as a "placeholder" act.
However, it is important to note that BABYMONSTER remains one of the most commercially successful rookie groups in the world. Their YouTube metrics, album sales, and touring potential remain at the top of the industry. The "disappointment" cited in recent reports is primarily a critique of artistic innovation rather than commercial viability.
Conclusion: A Crossroads for BABYMONSTER
The backlash against "Choom" serves as a wake-up call for YG Entertainment. The group possesses all the necessary components for legendary status: world-class vocals (Ahyeon and Rami), exceptional dance skills, and a diverse, multilingual lineup. The bottleneck, according to the current public discourse, lies in the creative output.
As BABYMONSTER prepares for the promotional cycle of their third mini-album, the pressure is on YG Entertainment to prove that they can thrive in a post-Teddy era. Whether the company will pivot to a new sound in future releases or continue to refine their signature style remains to be seen. For now, the "stubbornness" noted by netizens remains a defining characteristic of the label, for better or for worse. The success of their next project will likely determine whether YG can reclaim its title as a trendsetter or if it will continue to face accusations of being a relic of its own past success.
