ANN/THE KOREA HERALD – A storm is brewing in the K-pop industry as EXO’s Xiumin finds himself at the centre of a controversy involving his former agency, SM Entertainment.
On Tuesday, his new company, INB100, accused SM of blocking his appearance on KBS’s “Music Bank,” claiming the network had ignored repeated requests for scheduling.
The following day, MC Mong, co-founder of INB100’s parent company One Hundred, doubled down on the allegations, calling out SM for its alleged behind-the-scenes manoeuvring.
According to One Hundred, KBS informally communicated that Xiumin would not be permitted to perform on the programme alongside artists still under SM Entertainment. This sparked backlash, with MC Mong taking to social media to unleash a fiery critique, accusing the powerhouse agency of hypocrisy, greed, and industry manipulation.
“Do you guys remember coming to my house to apologise? Now, you’re isolating yourselves, acting barbaric and violent. It’s disgraceful,” he wrote, further criticising SM’s leadership.
The post was swiftly deleted but not before making waves online.
KBS, however, denied the accusations, insisting that discussions regarding Xiumin’s appearance were still ongoing and that there had been no deliberate exclusion.
The dispute adds another chapter to an already turbulent history between Xiumin and SM Entertainment. Last year, Xiumin, along with fellow EXO members Baekhyun and Chen, left SM to establish INB100.
The three, known collectively as EXO-CBX, were embroiled in a legal battle against their former agency, challenging their contracts over alleged unfair terms and financial opacity.
The conflict was ultimately resolved in August, with the trio agreeing to continue EXO group activities under SM while maintaining solo careers elsewhere.
SM Entertainment has previously accused MC Mong and Big Planet Made (BPM) of attempting to poach EXO members—an allegation both parties denied.
At the time, MC Mong served as an internal director at BPM, further fuelling speculation about power struggles within the industry.
Industry insiders suggest that if One Hundred’s claims hold merit, the implications go beyond just SM Entertainment. Music critic Lim Hee-yun pointed out that despite the growing number of online platforms, major television networks and entertainment agencies continue to dictate much of the promotional landscape in K-pop.
“With a limited pool of top-tier production companies and broadcasters, large agencies wield significant influence, sometimes at the expense of independent artists,” Lim explained.
Stephanie Choi, a postdoctoral researcher at the State University of New York at Buffalo, highlighted the shifting dynamics of artist promotion. She noted that while television was once the primary promotional tool for K-pop idols, the rise of social media has changed the game.
“Companies now rely heavily on fan-led grassroots promotion,” she said. However, she warned that controversy can put fans in a difficult position.
“Fans are often asked to advocate for their idols, but they also fear that public disputes could tarnish an artist’s image—especially ahead of a major album release.”
As tensions rise, the industry watches closely to see how this dispute will unfold. Will SM Entertainment respond further, or will Xiumin’s team push forward with legal action?
One thing is clear—this latest clash underscores the complex power dynamics within K-pop, where agency influence, broadcasting politics, and fan activism continue to shape the fate of artists in an ever-evolving landscape.
