Top 5 K-Pop Groups That Would Trend in 2026 for Music Videos

Being a creative and analytical study of Korean trends, I have been keen on the way in which music videos are developing as a medium. I believe that in 2026, some groups will dictate the aesthetic of visual narrative by integrating choreography, cinematic approaches and conceptual unity in a manner that transcends promotion. Having studied the latest releases, industry trends and new trends, I have come up with five k-pop groups that I assume would be trends in 2026 and will have epic MVs.

1. BTS—Bangtan Boys

The return of the entire BTS group in 2026 is a major topical event, as all the members have completed their mandatory military service in 2025. Their next album in 2026 will be their first one since 2022, and it is reported that they have already recorded it, which is indicative of great organisation and a careful production process. The members have made it clear that they are taking this project with the same thinking as they had when they started their careers, meaning that they had plans to balance between innovation and meaningful artistic expression.

Their world tour in 2026 is expected to be their biggest one with 60-65 shows, and it will offer an opportunity to bring the narrative and visual components of their music videos into the live show. The number of shows will be more than 30 in North America, and some shows are also expected in Europe, Asia, and potentially India in an effort to reach the audience. 

This mix of a critically crafted album and massive touring makes it possible to assume that the work of BTS in 2026 will serve as the prime example of narrative integrity, cinematic presentation, and worldwide performance; thus, the work of this band will be one of the central points of reference when examining the contemporary media audiovisual narration of K-pop.

2. Say The Name—SEVENTEEN

The 2026 plans of SEVENTEEN demonstrate a creative development, as well as exercise and control over the activities of the group. Their fifth sub-unit, DxS, with DK and Seungkwan, has debuted, demonstrating a strategic attitude to emphasise the individual performances and not forget about the group as a whole. The first mini-album, Serenade (소aya곡), to be released January 12, 2026, is said to be inspired by the wintry concept of love and memory, which works well in the films and narrative-based music videos. DxS is the chance to demonstrate concentrated dynamics of performance, experiment with choreographic patterning, and use symbolic visual motifs.

Meanwhile, SEVENTEEN will keep the 2026 part of their world tour and play some of the major Asian markets, such as Hong Kong in Kai Tak Stadium, Singapore in National Stadium and Philippine Sports Stadium in Bulacan. The initial tour dates will include nine members: S.Coups, Joshua, Jun, The8, Mingyu, DK, Seungkwan, Vernon, and Dino, due to continuous military service. In June 2026, the much-anticipated homecoming of Jeonghan, back out of military service and back into full-group performances, is foreseen. His comeback will affect the industry in terms of the formation of the stage, the vocal structure, and the overall thematic flow of the live performances and music videos, supporting the image of SEVENTEEN as a precise, coherent, and high-quality production.

3. Stray Kids—Everywhere All Around The World

One such timeline that I am especially interested in is Stray Kids' 2026. They are not merely strategising on how to release music but creating a multiple-tiered presence worldwide. Their next film, The Dominant Experience, a compilation film of SoFi Stadium performances featuring IMAX screens and behind-the-scenes shots, is a blatant indication of how they are venturing into the film industry to tell stories. The fact that they are the headliners of this Rock in Rio only solidifies their strategic positioning in the global live music market.

Analytically, Stray Kids has a good balance of group work and individual creative research. Potential solo work or 3RACHA subunit albums seem to be a way of diversifying content without losing the audience's interest in military recruitments. Their choreography continues to incorporate narrative tools, and my observations show that vocational placement is intentional and increases the emotional appeal. 2026 also acquires additional context with the entry of Jeonghan, which changes the competitive landscape in the industry and how established and new organisations handle timing, presence, and viewership. In sum, Stray Kids is a group that has proven to have strategic foresight, and this is hardly common among the best K-pop groups.

4. (G)I-DLE—Now I-DLE

I-DLE will see a tremendous revival at the start of 2026 and a big comeback after their 8th mini-album, We Are, and world tour 4, Syncopation, in Seoul, on 21-22 February. The name of the tour speaks of the fact that the group is focused on offbeat rhythms and unconventional musical shapes, which means that they are ready to bend their frames and stretch their boundaries in terms of creativity.

The name change of (G)I-DLE to just i-DLE is a calculated reclamation of the identity that places the band in a better position to experiment with music and explore ideas more widely. It is important to note that when member Jeonghan returns, the vocals and performance become dynamic again, and their presence on the stage is improved. Their latest releases are early signs that they will focus on the individual members' style and break the classic K-pop conventions in their upcoming releases. With international tour stops in Asia, Oceania, and Australia (Melbourne and Sydney), I-DLE is consolidating a free creative image with a very powerful international image.

5. BABYMONSTER—B.A.E.M.O.N

BABYMONSTER is also in line to be among the most followed acts of 2026, especially with the acts going back to full group promotions. It was reported that Rami, who had gone on hiatus due to health reasons since May 2025, would be returning to the group with Jeonghan, which means a complete 7-member (OT7) lineup at their comeback in early 2026. Their second full-length album, after the success of their debut album Drip in 2024, is speculated in the industry and is expected to be based on the YG DNA theme of the group, with a heavy focus on hip-hop and rap.

Simultaneously, the current world tour by BABYMONSTER, Hello Monsters, which will be launched in early 2025, will proceed into 2026 and will visit such places as Asia for a Fan Concert Tour. This continued international exposure, coupled with their recent mini-album We Go Up, released in October 2025, means that the group is approaching a monetisation phase, in the eyes of YG Entertainment, with more frequent releases, performances and promotion. Visually and performance-wise, this stage will allow the group to continue to polish choreographic patterning, cinematic framing, and placement of vocals, and this could make BABYMONSTER a trendsetter in the 4th-generation acts.

Ongoing Analysis—Patterns Emerge:

Based on my current analysis, some of the trends that would be of particular interest by 2026 include:

• The music videos are becoming more operational as narrative vehicles, and the choreography, visual symbolism and story are becoming a part of the videos instead of being seen as independent elements.

• Cinematic framing, choreographic patterning and the placement of voices have all become critical elements in the production of emotional and conceptual effectiveness.

• BTS and SEVENTEEN are still setting the standards of narrative consistency and quality of production, and the initiatives of groups such as BABYMONSTER and Stray Kids are shaking the very foundations of creativity, trying out the most provocative ideas and innovative imagery.

The year 2026 will make K-pop music videos stronger, as they are an advanced intersection of performance, cinematic art and narrative exploration. These five categories provide a window into the changing artistry of the genre and give much to the viewer of modern audio visual storytelling.

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