"Produce 101," which created a syndrome in 2016 with its concept of having the public serve as producers to form an idol group, is back in the spotlight as its "national idols" return to the stage one after another. Wanna One and I.O.I are leading the comeback. Their return is stirring nostalgia among K-pop fans while raising expectations, and analysts say it signals more than a simple comeback—it reflects how the K-pop industry has transformed over the past decade.
Wanna One Unveils Reality Program 'Wanna One Go: Back to Base' via Mnet
Synergy Expected from Members' Diverse Careers, Including Park Ji-hoon of 10-Million-Ticket Film 'The King's Man'
Wanna One is taking the lead. Mnet unveiled the reality program "Wanna One Go: Back to Base" on the 28th of last month. Despite variables such as mandatory military service and individual activities, the project is said to have gained momentum thanks to the members' strong will to reunite. The fact that members have built individual recognition through solo careers as singers, actors, and variety show personalities is also expected to amplify synergy upon their reunion. In particular, member Park Ji-hoon is enjoying major popularity for his role as King Danjong in "The King's Man" (16.73 million admissions), the second-highest-grossing Korean film of all time.
Wanna One was formed in 2017 through "Produce 101" Season 2, creating a syndrome with consecutive hits including "Energetic" and "Beautiful," starting with "Nayana." During their roughly 18-month run, they sold more than 3.5 million albums and topped multiple music shows, becoming a landmark success story for project groups.
'National Girl Group' I.O.I Plans New Album and Overseas Tour
Youngest Member Jeon Somi to Write and Compose Title Track and Other Songs
I.O.I is also reuniting to mark its 10th debut anniversary. Nine members, including Jeon Somi, Kim Se-jeong, and Chungha, will resume activities after nine years. Along with a new album release, they will hold commemorative concerts at Seoul's Jamsil Indoor Stadium from May 29 to 31, followed by a planned tour of major Asian cities including Bangkok and Hong Kong.
Born through "Produce 101" in 2016, I.O.I, also known as the "national girl group," proved the viability of project groups by leaving behind numerous hits such as "Pick Me," "Dream Girls," and "Very Very Very." After their run, members transitioned into solo singers and actors, maintaining steady careers. In particular, Jeon Somi is participating in the writing and composing of both the title track and other songs on the new album.
Comebacks of 'Produce 101' Project Idols Signal K-Pop Industry Shift
Combined Consumption of Concerts, Reality Shows, and Overseas Tours Now the Norm
Proven Idols from a Decade Ago and the IP-ization of Artists with Diverse Careers Also Play a Role
The reunion of "Produce 101" idols—a project that drew attention a decade ago solely for its concept of the public directly creating an idol group through the role of producer—captures the shifts in the K-pop industry. One key factor drawing attention is the structural nature of these groups. For project groups, the narrative running from competition to debut plays a crucial role in securing fandom. The "growth narrative" and fan participation experience formed through the "Produce 101" series do not easily fade with time.
Changes in content consumption patterns have also influenced these reunions. Whereas activities once centered on music releases and broadcast appearances, today's landscape has normalized a combined consumption of concerts, reality shows, and global tours. Wanna One's reality program and I.O.I's Asian tour plans directly reflect this trend.
Ultimately, analysts say the wave of reunions among "Produce 101" project idol groups goes beyond "summoning nostalgia"—it can be seen as a strategic choice by the K-pop industry to expand already-proven artist intellectual property (IP) in various forms. In particular, as past fandoms combine with today's platforms, project groups are once again rising to the center of K-pop and the broader K-content market.
