02/03/2025
YG Entertainment’s Management of BABYMONSTER: Growing Concerns
YG Entertainment’s management of BABYMONSTER has become a real reason for concern among fans who feel like the group is being let down by the industry, potentially causing serious internal problems for the members. From alleged overworking to poor promotional strategies, many wonder whether YG is truly supporting BABYMONSTER in the ways they need—especially given the group’s rookie status in a fiercely competitive K-Pop landscape.
Table of Contents
- Intro: Overworking & Debut Issues
- Chiquita’s Health Scare & Performance Woes
- Intense Promotions: The “SHEESH” Era
- Ahyeon’s Dance Style Controversy
- Absence from Major Award Shows
- Group Cohesion Concerns & Training
- Domestic vs. International Promotions
- Conclusion & Long-Term Implications
Intro: Overworking & Debut Issues
Ever since BABYMONSTER debuted in 2023, fans have been vocal about several issues that appear to be influencing the group’s performance and growth. The main suspicion is that YG Entertainment is overworking the members, without providing proper promotional opportunities that are crucial for a rookie group’s survival in the cutthroat K-Pop scene.
Some feel that YG’s focus has been on “quantity over quality” when it comes to scheduling, pushing the group into various commitments without ensuring their physical and mental well-being. This alleged overwork has naturally led to fans questioning how it might affect the members’ overall health, especially considering the range of ages in BABYMONSTER.
Chiquita’s Health Scare & Performance Woes
One of the most alarming instances that sparked these discussions happened on Inkigayo during a performance of their hit song “SHEESH.” Fans noticed that Chiquita—the youngest member—appeared visibly exhausted, struggling to keep pace with the choreography and maintain her composure.
Partway through the performance, she looked dangerously close to fainting, prompting immediate concern. Clips and images of this moment circulated quickly online, with fans decrying the possibility that YG was pushing the group beyond healthy limits. Many accused the label of prioritizing profit over idol well-being, pointing out that Chiquita’s young age should require extra care. Observers also wondered if older members might be dealing with similar stress, but simply hiding it more effectively.
Fans argue that YG needs to remember how rigorous the idol life can be and that for a minor like Chiquita, the long practice hours, press events, and promotional schedules could be more detrimental. This concern highlights a broader trend in K-Pop: more and more young idols are debuting, raising ethical questions about the pressures placed on underage artists.
Intense Promotions: The “SHEESH” Era
During the “SHEESH” promotions, it did look like the company was committed to showcasing BABYMONSTER’s talents. From multiple music show appearances to various interviews, fans initially appreciated the efforts to get the group’s name out there. However, the sheer volume of these promotions—and the fact that they seemed condensed into a short time—left many wondering if the group had any room to rest.
For a rookie act, consistent exposure is essential, but not at the expense of physical health. The “SHEESH” era, some argue, was a double-edged sword. While it helped BABYMONSTER gain momentum in terms of recognition, it may have taken a serious toll on members’ stamina. The sight of Chiquita nearly collapsing was enough for many to conclude that YG’s scheduling strategy may be flawed.
Ahyeon’s Dance Style Controversy
Another point of contention is stage comfort and creative freedom. A few months ago, Ahyeon became the center of debate when fans noticed her dancing style changed drastically within a couple of days. During a November performance of “DRIP” on Inkigayo, netizens observed that Ahyeon’s energy was dialed back compared to previous shows, where she’d been labeled “over-dancing” by some viewers.
The abrupt change led to speculation that YG’s management might be pressuring her to tone down her onstage presence to fit a certain image. Others pointed out that her costumes—short dresses and high heels—could limit her movement. They proposed she might be afraid of a wardrobe mishap, resulting in stiffer performances. Regardless of the exact cause, this shift fueled a broader conversation about whether YG is sacrificing the members’ comfort and personal artistry for the sake of uniform branding or audience appeal.
Absence from Major Award Shows
Perhaps the most prominent issue is YG’s promotional decisions. Rookie groups thrive on visibility, especially at high-profile award shows. Disappointingly, as 2024 came to a close, BABYMONSTER was missing from the lineups of key events like the 2024 MAMAs and the Melon Music Awards—both huge platforms for rookie and established idols alike.
Fans were quick to criticize YG, saying the label had missed critical opportunities for BABYMONSTER to gain mainstream attention. The group’s absence at these award shows was seen as a clear sign of mismanagement, with netizens posting scathing comments: “BABYMONSTER is the first-ever YG rookie who will not attend any major K-Pop award shows. Congratulations, YG.” Many interpret YG’s strategy as having high expectations of the group but offering them little chance to shine on the big stage where it truly counts.
For new artists, taking part in these events isn’t just about performing—it’s about networking, building industry clout, and gaining publicity that can fuel their careers for years to come. Missing out on these shows feels like a setback that could stifle BABYMONSTER’s growth and momentum.
Group Cohesion Concerns & Training
Beyond health and promotional scheduling, another hot topic is internal group cohesion. Some fans argue that YG rushed BABYMONSTER’s debut without allowing the members enough time to build strong chemistry. This concern goes beyond typical stage performance—it touches on how the members interact, train, and support each other.
Critics have pointed to differences in the group’s dancing, especially during a recent “DRIP” performance. There, each member seemed to move independently, sparking discussions about inconsistent choreography. Was the group underprepared? Were they undertrained, or were they simply told to highlight their individual styles?
One fan’s theory is that YG prioritized debuting as soon as possible—banking on the hype of introducing a new girl group—rather than letting the members spend more time together in the practice room. As a result, netizens worry that BABYMONSTER is missing that harmonious “team feeling” that is crucial for standing out in a crowded market. One comment read, “They feel more like a collection of individuals than a unified team,” which many find alarming for a group so early in their career.
On the other side, some fans suggest that the members’ diverse skill sets and personalities can bring a unique energy to the group. They argue that each member’s individuality might eventually prove to be an asset, but only if YG can effectively nurture their collaborative spirit.
Domestic vs. International Promotions
An additional concern is that BABYMONSTER’s recent activities seem heavily aimed at the Japanese market, with far fewer domestic appearances in Korea. Many fans believe that rookie groups especially need to establish a solid domestic fanbase by attending local events and festivals, as well as making a splash on major Korean award shows. Neglecting this foundation could make it harder for them to gain a stable footing long-term.
Netizens on online forums are describing YG’s promotional strategy as “confusing and counterproductive.” While the group’s single “SHEESH” gained attention in Korea for its vocal and dance appeal, the group’s promotional focus appears to pivot toward overseas audiences, leaving home fans feeling overlooked. There’s also talk that YG might be limiting BABYMONSTER’s potential collaborations—online or offline—thus restricting their domestic exposure even more.
Some fans remain optimistic, saying that once BABYMONSTER cements a foothold internationally, YG might shift its focus back to Korea. However, critics argue that ignoring a group’s home base early on can lead to a lack of local fan loyalty, which might be hard to rebuild later.
Conclusion & Long-Term Implications
The debate over BABYMONSTER’s management underscores a larger issue in K-Pop: the delicate balance between aggressive promotion and genuine artist care. Fans worry about burnout, lack of cohesion, and missed opportunities that could impact the group’s longevity. They also highlight that being absent from major industry events or ignoring domestic fans might undermine BABYMONSTER’s future potential.
Ultimately, supporters are calling for a more balanced approach—one where health, proper rest, cohesive group dynamics, and meaningful promotional events all play a role in BABYMONSTER’s journey. Many hope YG Entertainment will take these criticisms to heart, adjusting their strategies to ensure the group isn’t just debut-ready, but also set up for a sustainable and successful career. For a brand-new group like BABYMONSTER, the stakes are high, and how YG responds could shape the group’s trajectory for years to come.
