Popular K-Pop Idol Expresses Disappointment Over Current Greeting Culture In The Industry.
Lee Daehwi, a prominent member of the K-pop group AB6IX and formerly of the globally successful project group Wanna One, has brought a significant industry-wide discussion to the forefront regarding the erosion of traditional social protocols within the South Korean music scene. During a recent guest appearance on the long-running MBC variety program Radio Star, which aired on April 29, the 23-year-old artist articulated his concerns over the changing atmosphere of backstage etiquette, specifically focusing on the "greeting culture" that has long served as a cornerstone of professional conduct in K-pop.
Daehwi, who has been a fixture in the industry since his highly publicized debut in 2017, noted a palpable shift in how younger artists, or "hoobaes," interact with their senior counterparts, or "sunbaes." His observations provide a rare window into the internal social dynamics of the industry, suggesting that the rigid hierarchical structures and formal demonstrations of respect that once defined K-pop are rapidly evolving, or in his view, deteriorating.
The Decline of the Waiting Room Tradition
Central to Daehwi’s disappointment is the decline of the "waiting room visit." In the traditional K-pop ecosystem, it was considered mandatory for junior groups to visit the dressing rooms of senior artists during music show recordings. These visits were more than mere pleasantries; they were formal introductions where juniors would present their signed physical albums, offer a 90-degree bow, and introduce their group’s concept.
"I always tell juniors to greet well," Daehwi stated during the broadcast, trailing off as he attempted to describe the current state of affairs. He highlighted a significant role reversal that has occurred in recent years. "I want to get close to the juniors, but no one comes to visit me in the waiting room. In the past, I used to go personally to greet them and hand over CDs, but these days, I end up going to greet the juniors first."
This shift represents a departure from the Confucian-rooted values of seniority that have historically governed South Korean professional environments. For a senior artist to initiate a greeting to a junior is traditionally seen as an act of extreme humility, but Daehwi’s comments suggest it has become a necessity for those seeking to maintain any form of inter-group connection.
The Professional Significance of Greeting Production Staff
Daehwi further expanded his critique to include the relationship between artists and production staff. He noted that the practice of seeking out Production Directors (PDs) to offer greetings has largely vanished. In the context of South Korean broadcasting, PDs hold substantial influence over an artist’s career, making decisions on camera blocking, screen time, and invitation lists for future variety appearances.
"These days, the culture of going to greet PDs has largely disappeared," Daehwi remarked. He expressed a desire for the reinstatement of these practices, not out of a sense of self-importance, but as a means of fostering a collaborative and respectful working environment. "I hope it comes back. I still want to go and greet them."
The disappearance of this practice may be attributed to several factors, including the increasing scale of music show productions and the heightened security protocols that limit movement backstage. However, for veterans like Daehwi, these interactions are vital for maintaining the human element in an increasingly industrialized and fast-paced entertainment sector.
A Chronology of Influence: Lee Daehwi’s Formative Years
To understand Daehwi’s perspective, one must look at the grueling conditions under which he was trained and debuted. Daehwi rose to fame as the center for the theme song of Produce 101 Season 2 and eventually placed third in the final lineup, joining Wanna One at the age of 17.
During the Radio Star episode, Daehwi reflected on the intense physical and mental toll of his early career. He revealed that at the height of Wanna One’s popularity, the group’s schedule was so demanding that they often averaged only seven hours of sleep per week. This level of exhaustion led to a moment of professional crisis during a music show recording.
"I did pre-recordings for music shows when I was exhausted and said, ‘I hope this is the last recording,’" he recalled. This admission of burnout was met with immediate correction from his senior group members. He shared that the older members of Wanna One pulled him aside to offer stern but necessary guidance. They advised him, "You shouldn’t have that kind of mindset. You have to be grateful to be on stage."
Daehwi credits this intervention as a major turning point in his life. It shifted his focus from his own physical discomfort to the privilege of his position, instilling a sense of professional gratitude that he now feels is missing in the newer generation of idols. This background explains his current insistence on traditional greetings; for him, these rituals are a manifestation of the gratitude and humility that sustained him through his most difficult years.
The Impact of the Pandemic and the Digital Shift
While Daehwi’s comments focus on the behavior of individuals, industry analysts point to broader systemic changes that have contributed to this cultural shift. The COVID-19 pandemic, which began in early 2020, played a pivotal role in dismantling backstage traditions. For nearly three years, music shows operated under strict social distancing guidelines. Backstage areas were compartmentalized, and interaction between different "bubbles" of artists and staff was strictly prohibited to prevent outbreaks.
During this period, a whole generation of "Fourth Generation" and early "Fifth Generation" idols debuted without ever experiencing the traditional waiting room culture. For these artists, the lack of interaction became the "new normal." Furthermore, the industry’s transition from physical media to digital streaming has made the ritual of exchanging signed CDs feel antiquated to some. With many groups now focusing on viral TikTok challenges and digital engagement, the physical act of walking down a hallway to hand over a plastic disc is viewed by some younger management teams as an inefficient use of time during a packed filming schedule.
Broader Implications for the K-Pop Industry
The discourse sparked by Lee Daehwi is not an isolated incident. In recent years, several second and third-generation idols have hinted at a growing disconnect between the "old guard" and newcomers. The tension lies in the balance between maintaining cultural heritage and adapting to a modernized, globalized workforce.
From a management perspective, the decline in formal greetings could be seen as a move toward a more "Westernized" professional model that prioritizes efficiency and personal boundaries over hierarchical rituals. However, critics argue that this comes at the cost of the "family" atmosphere that previously characterized the K-pop industry. The "K-pop family" sentiment often led to cross-group collaborations, mentorship, and a sense of shared struggle that helped artists navigate the pressures of fame.
Furthermore, the lack of rapport with production staff can have tangible effects on the quality of a broadcast. A group that has a personal relationship with the camera crew and PDs is often more likely to receive favorable "ending fairy" shots or detailed lighting adjustments. By moving away from these traditions, newer groups may inadvertently be making their working lives more transactional and less collaborative.
Official Responses and Industry Sentiment
While there has been no official statement from the major "Big Four" agencies (HYBE, SM, YG, and JYP) regarding Daehwi’s comments, the sentiment is echoed by many industry veterans. Staff members at major broadcasting stations like SBS, KBS, and MBC have occasionally noted in anonymous forums that the backstage atmosphere has become "quieter" and "colder" compared to a decade ago.
On social media, fan reactions have been divided. Some applaud Daehwi for his honesty, agreeing that respect and humility are timeless virtues that should be preserved. Others argue that the industry has become too demanding, and expecting exhausted idols to spend their few minutes of rest visiting dozens of rooms is unreasonable.
Conclusion: A Call for Cultural Preservation
Lee Daehwi’s reflections on Radio Star serve as a poignant reminder of the human element within the K-pop machine. By sharing his personal journey from an exhausted 17-year-old to a seasoned senior, he emphasizes that greeting culture is not about ego or power trips, but about acknowledging the collective effort required to bring a performance to life.
As the K-pop industry continues to expand globally, the tension between traditional Korean values and modern global standards will likely persist. Whether the industry heeds Daehwi’s call to return to these "lost" traditions or continues toward a more distant, professionalized model remains to be seen. However, his comments have successfully reignited a necessary conversation about what it means to be a professional in one of the world’s most competitive entertainment landscapes. The "greeting," once a simple gesture of politeness, has now become a symbol of the industry’s struggle to hold onto its roots in the face of rapid change.
