Beautiful Chaos: The Turbulent Two-Year Rise of KATSEYE

From the late 90s to the early 2000s, girl groups ruled the world and dominated the music charts. Spice Girls, Pussycat Dolls, Destiny’s Child. However, over time, the music industry has gradually shifted away from groups to solo artists as they allowed greater flexibility in marketing and creative control. The 2010s saw the resurgence of girl groups with Little Mix and Fifth Harmony, but both groups struggled to maintain the same level of success as their predecessors and eventually disbanded. As K-pop began to spread globally, groups like Girls’ Generation, 2NE1, and TWICE rekindled interest in girl groups and demonstrated their potential to achieve international success. When BLACKPINK broke into the Western market, they elevated the potential of what a girl group could achieve, with accomplishments such as performing at Coachella and collaborating with artists such as Selena Gomez and Lady Gaga.

When KATSEYE appeared in 2024, they quickly rose to prominence as the newest “it” girl group by blending K-pop’s rigorous training with Western pop sensibilities. Their debut signaled a new chapter in the evolution of global girl groups and redefined what it means to be a girl group in the modern era. However, over their nearly two-year career, KATSEYE has come under heavy scrutiny for the authenticity of their music and image, as they have slowly been perceived less as musicians and more as influencers.

A Global Experiment

In 2021, South Korean entertainment company HYBE Entertainment entered a partnership with American record label Geffen Records. HYBE is a South Korean entertainment company known for producing K-pop groups such as BTS, LE SSERAFIM, and ENHYPEN. Geffen Records is an American record label under Universal Music Group that has signed iconic bands and artists like Guns N’ Roses, Elton John, and Olivia Rodrigo. Together, the two companies launched an ambitious project: A global audition program to form a global girl group that integrated K-pop’s disciplined training with Western music styles. In November 2021, thousands of young women auditioned in hopes of being chosen. Out of the thousands, only 20 finalists would be picked as potential candidates. The girls moved to LA to undergo the same rigorous training system used for K-pop idols, including vocal, dance, and performance. At the end, six girls were chosen as official members of HYBE and Geffen’s newest global girl group: Sophia Laforteza, Daniela Avanzini, Yoonchae Jeung, Lara Rajagopalan, Megan Skiendiel, and Manon Bannerman.

On June 28, 2024, KATSEYE debuted with their first upbeat single, “Debut”. Although it was intended as a confident introduction to the members’ personalities, listeners were not impressed, as the song was only 2 minutes long and lacked a proper bridge. “Touch” redeemed KATSEYE with its addictive chorus and iconic pinky-to-thumb hand movements, which became a viral TikTok dance trend. The music video embraced a dreamy Y2K aesthetic that perfectly complemented their soft-girl concepts. In addition to the track and the MV, fans grew attached to members’ candid personalities as they enjoyed their unfiltered interactions on social media. Their unfiltered humor, authentic charm, and genuine sisterhood made them seem endearing to a global audience that saw them as a group of best friends.

In their April 2025 comeback, the group released “Gnarly” as the lead single for their second EP, Beautiful Chaos. “Gnarly” was a complete 180 compared to “Touch”. The song featured a hyper-pop sound with the group performing provocative choreography in very revealing outfits. Fans were polarized about the song, with some calling it “a hot mess” or “worst song ever”. They accused the label of trying to make the group go viral on TikTok. The song’s production received the most criticism as it contained an explicit sound clip from an adult film that was widely regarded as inappropriate, especially since it was in the presence of a minor member, Yoonchae, who was 17 at the time. The mention of “Tesla”, “boba tea,” and “Takis” in the song’s lyrics felt cringey as it felt like a desperate attempt to appeal to Gen Z trends. On the other side, some praised “Gnarly” as a campy hit that slowly grows on you. Fans thought it was a clever attempt at satire that mocked Hollywood and celebrity culture.

The group recovered their image with their Latin-infused R&B hit “Gabriela” in June 2025. Described as a “Gen-Z Jolene,” the song quickly became a fan favorite thanks to its telenovela-inspired music video, captivating choreography, and the standout vocals from each member. However, the release of “Internet Girl” in early 2026 brought the group and the label back under heavier backlash. Critics said the song was nothing more than a “Gnarly” copycat, designed to go viral on TikTok again. The biggest critique is that the baby-voice sample (“I’m getting out of here”) used in the song’s intro, followed by the lyric “eat zucchini.” . Fans speculate the label is leveraging AI for the group’s music production and visuals in music videos. It was discovered that “351 Studio,” an AI-focused creative studio, was credited for creating the visualizer for “Internet Girl”. Fans were outraged, believing this undermined KATSEYE’s musical authenticity.

Brands on Brands

After the viral success of “Touch”, KATSEYE’s popularity skyrocketed and soon attracted the attention of major brands in fashion, beauty, and food. The group’s Y2K concept and fashion became a core part of their identity, making them style icons for Gen Z. In Fall 2025, they collaborated with American clothing brand GAP on its “Better in Denim” promotion, which featured early 2000s trends. The commercial featured the group dancing to a remix of Kelis’s “Milkshake” while wearing custom Gap denim outfits. The campaign amassed 400 million views in three days thanks to its Y2K nostalgia and TikTok-friendly choreography.

However, after the release of “Gnarly” and “Internet Girl,” fans noticed a decline in the group’s music quality and an increase in brand sponsorships and advertising. While it is common in K-pop for idols to star in commercials or serve as brand ambassadors for luxury labels, some fans felt KATSEYE’s music was being pushed to the back burner in favor of promotional activities. Many began to believe the group is becoming more like influencers than musicians, with endorsements overshadowing their artistry. Perhaps the most bizarre of all of their collabs was their partnership with 5 Gum. The campaign featured group-branded packs with each member’s favorite flavor, a custom glass marble matching each member’s eye color, a 5 Gum wrapper kissed with an actual lipstick print from one of the girls, and a room spray containing each member’s exhaled breath (what?).

Unsurprisingly, that last item sparked widespread debate and discomfort among EYEKONS and the general public. Many accused HYBE-Geffen of exploiting KATSEYE, sexualizing them through their music and promotional material to gain attention on social media through shock value. Concerns were especially heightened regarding Yoonchae, whom fans felt was particularly vulnerable as she was given outfits and mature choreography beyond what was considered appropriate for her age. In an era where K-pop idols are debuting at increasingly younger ages, the situation has reignited discussion about the treatment of minors in the entertainment industry and the ethical responsibilities of entertainment companies. While HYBE-Geffen has yet to issue a formal response to the backlash, the criticism has galvanized fans to action, demanding more age-appropriate styling and choreography for the group.

The Manon Factor

The biggest cloud currently hanging over the group is Manon’s hiatus. On February 20, through KATSEYE’s accounts on Weverse and X, HYBE-Geffen released an official statement stating Manon will be taking a temporary hiatus. Shortly after, Manon released a statement on her personal Weverse account to address to fans about her break from KATSEYE. The announcements sent EYEKONS into a frenzy of concern and speculation. Fans demanded transparency and more information from both companies while spreading hashtags such as #GetWellSoonManon and #EYEKONSLoveManon online to show their support.

However, Manon’s departure from the group had been speculated for some time. On Instagram, Manon was seen liking a post by @thesimplysimone, who discussed the “lone Black girl” trope in girl groups. In pop music, there is a recurring pattern in which a single Black member in a predominantly white or multi-racial group faces tokenism, unequal treatment, and marginalization. In her video essay, the creator draws parallels between Manon’s experience and that of members in groups such as Fifth Harmony and Little Mix, specifically Normani and Leigh-Anne.

In multiple interviews, Normani has openly expressed how being in Fifth Harmony affected her mental health and self-confidence. In a 2016 Facebook Live, Camila Cabello perceived that Normani did not praise her enough and launched a cyberbullying campaign against her. As the only black member of the group, Normani faced death threats and racial slurs. Camila took to Twitter to tell her fans to stop bullying her bandmate.

“There’s so much that I don’t even remember because I suppressed it,” said Normani in an interview with Rolling Stone in 2024, “That’s just my way of protecting myself from having to deal with everything.”

In the case of Little Mix’s Leigh-Anne, she has vocalized her experiences with racism, colorism, and industry prejudice throughout her career. She expressed feeling “invisible” and overlooked by fans and industry professionals while also receiving racial attacks online, telling her to leave the group. In a now-deleted Instagram video, she addressed the reality of being the only Black member in her group.

“My reality is constantly feeling like I have to work 10 times harder and longer to mark my place in the group because my talent alone isn’t enough.“

In an interview with The Cut early this year, Manon addressed the “lazy” accusations she faced during Pop Star Academy: KATSEYE, stating,

“Being called lazy, especially as a Black girl, is not fair. Now I feel like I always need to put in extra work to prove something, even though I really don’t.”

On August 21, 2024, HYBE-Geffen released Pop Star Academy: KATSEYE on Netflix. The documentary chronicles the formation of KATSEYE through The Debut: Dream Academy, following their journey from the global audition to the group’s final lineup. Rather than a genuine behind-the-scenes look at how the group came together, the show was actually a competitive reality show in which the trainees were pitted against each other in missions. The final lineup was determined by both professional evaluation and global fan voting. Those who did not receive enough votes were eliminated from the competition and sent home. Because the documentary aired after KATSEYE had debuted, fans were exposed to past drama between the girls, specifically the tension surrounding Manon’s absence during group practice. Unlike the other competitors, she had no prior professional experience in singing or dancing. HYBE scouted her on social media, believing she had star potential, and invited her to participate in the global casting competition. With no formal training under her belt, Manon managed to become one of the top 20 finalists in Dream Academy.

Due to reportedly being sick, Manon was absent from team rehearsals and missed curfew check-ins. The other trainees grew frustrated by her unexplained absences and lack of communication. They believed she was bringing the team down and not taking the competition seriously. According to reports, she was suffering from COVID-19 during Dream Academy. Manon, who was raised in Switzerland, states it is standard in Swiss culture to take time off if you are sick or injured. She stated she was perplexed by Korea and America’s grind-and-hustle culture, which glorifies productivity over personal health. Although the members have stated they have reconciled with Manon, a margin of fans saw them as “mean girls” for talking about Manon behind her back. On one side, some defended the girls’ attitude toward Manon, arguing that the stress of the competition justified their frustration as they were concerned of being sent home. On the other, Manon’s supporters defended that her actions were attributed to cultural differences and her being new to professional training, which made her more prone to fatigue and injury.

In February 2024, criticism of Manon’s work ethic resurfaced again. Not by former trainees. Not by netizens. By Daniela’s father. Rafael Avanzini posted comments regarding Manon’s temporary hiatus, stating the group did not need her and should continue without her. He also made remarks comparing Daniela to BLACKPINK’s Lisa, stating she was “better trained” and that being Latina was a “major advantage against Asian dancers”. EYEKONS across social media united to defend Manon from Rafael’s disparaging comments. The backlash led Rafael to issue an official apology, claiming he was not in the “right headspace” when he made the comments and reacted emotionally to protect his daughter from online hate.

Performing on stage at Coachella is a musician’s dream come true. For KATSEYE, this represented the pinnacle of their career. This year, KATSEYE was slated to be one of the headliners at Coachella. However, the group would perform with a five-member lineup. Manon has previously expressed that performing at Coachella was a dream of hers. On Weekend 1, KATSEYE debuted in the Sahara Stage as a quintet and performed a 45-minute set of their biggest hits, such as “Touch” and “Gabriela,” along with a live performance of their new song, “PINKY UP”. They also surprised audiences with a joint performance of “Golden” with the singers of HUNTR/X (EJAE, Audrey Nuna, and Rei Ami). As for Manon, she appeared on PinkPantheress’s set for a dance cameo and was spotted at Justin Bieber’s party with Lizzo. In a video, Manon was approached by a fan who spotted her at a fast-food restaurant, saying they missed her on stage with KATSEYE. Manon responded, saying, “Oh my god, I wish.”

What is Next For KATSEYE?

After two turbulent years marked by viral success, commercial controversies, and lineup changes, KATSEYE now stands at a crossroad. With Manon’s hiatus and growing debates about their artistic identity, the group’s next steps are highly anticipated yet uncertain. EYEKONS and industry watchers alike are eager to see whether HYBE-Geffen will reinvent KATSEYE to properly showcase the group’s talent and artistic potential or continue prioritizing commercial partnerships and viral marketing over their musical growth. Whichever direction they take, KATSEYE’s next move will not only define the group’s legacy but could also set a precedent for how international girl groups are managed in the modern music industry.

What are your thoughts about KATSEYE? Do you think they still have the potential of becoming one of the biggest girl groups in pop music?

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