Less than three weeks ago, Purple Kiss released their latest single, with grand announcements of an upcoming English-language album and a North American tour. Yet today (the 4th), the girl group announced they would cease activities by November, marking a sudden exit after four years of leaving an indelible mark on the K-pop scene with their distinctive style and talent. While their agency, RBW, explained this as a “respectful choice for the members’ dreams,” the abrupt nature of the farewell has sparked bigger questions among fans and within the industry.

Is this the limit of a mid-sized label, or simply an issue of an oversaturated market?

Many point to both the limitations of smaller agencies and the oversaturation of the girl group market when discussing Purple Kiss’ disbandment—and this isn’t unfounded. With dozens and even hundreds of idol groups debuting each year, the K-pop industry is nothing short of a jungle. For those outside the “Big Four,” simply maintaining consistent media exposure and a loyal fandom is an uphill battle. That even a group with Purple Kiss’ originality and skills couldn’t secure a top-tier spot underscores the industry’s ruthless reality.

But can all the blame be placed solely on market forces? Among their fandom, PLORY, there has been persistent criticism of RBW’s “lack of consistent promotional strategy.” Despite releasing quality albums, the group was often left without follow-up content or campaigns to build on their momentary buzz, and the long gaps between activities were notable. Even RBW—a mid-sized agency that tasted massive success with Mamamoo—seemed too slow to adapt to the ever-changing market environment. In the end, Purple Kiss’ dissolution seems the result of both a harsh market and an agency’s complacency.

A three-month grace period—is it really an act of consideration?

Perhaps the most ironic aspect of this disbandment is its “spectacular farewell schedule.” Although announcing the end of all group activities, RBW confirmed that all pre-scheduled events—including the North American tour and the final concert—will proceed as planned, effectively setting a three-month grace period. Is this a final gesture of consideration for the fans and members?

For both fans and members, these final months carry mixed emotions. On one hand, it’s a last chance to create memories together; on the other, it’s a bittersweet, arduous journey towards an already determined goodbye. Behind the agency’s talk of ending “on a high note” likely lies a combination of honoring promises made to fans and a realistic need to wrap up the group’s engagements successfully. Is this really a beautiful send-off, or does it feel more like a long and sorrowful “funeral procession”?

Ultimately, the Purple Kiss story poses vital questions for the K-pop ecosystem. What more is needed for artists with talent and originality, beloved by fans, to consistently find sustainable paths? One can only hope that Purple Kiss’ final performances mark the beginning of a wider reflection on these issues.

Note “This article was translated from the original Korean version using AI assistance, and subsequently edited by a native-speaking journalist.”

Photo=RBW