YUQI of i-dle is expanding her solo career in China while maintaining her group activities and contract with Cube Entertainment, offering an alternative to the route commonly taken by foreign-born K-pop members.
YUQI released her second EP, “二十七 (27),” on Oct. 8. Built primarily around Chinese-language songs, the album examines her life and internal changes at the age of 27.
The record was produced and released within her existing relationship with i-dle and Cube rather than through a separate Chinese agency or an independent label. It demonstrates that a K-pop company can support music shaped by a member’s native language and home market without separating it from the group’s wider career.
YUQI opened a solo fan concert tour in Guangzhou on Oct. 11. The approximately 10,000-seat concert sold out, and additional shows are scheduled in major Chinese cities including Chengdu, Beijing and Shanghai.
Foreign members of K-pop groups have often pursued more locally focused solo careers only after leaving their original agencies or establishing separate structures for individual activities.
BLACKPINK’s Lisa continues group activities through YG Entertainment but founded LLOUD to manage her solo work. She later released the Thai-titled single “SaWaDiKa” and announced the EP “PRESS PLAY,” which places greater emphasis on her Thai identity.
BamBam concentrated on solo activities after leaving JYP Entertainment and released “HOMETOWN,” his first album composed entirely of Thai-language songs, last year. Former miss A member Jia also began working more extensively in China after the end of her JYP contract.
YUQI’s career has developed differently. After debuting with i-dle in 2018, she began building a public profile in China the following year as a regular cast member of Zhejiang Television’s “Keep Running,” the Chinese adaptation of “Running Man.”
She continued appearing on the programme across multiple seasons between 2023 and 2025. Her participation in iQIYI music competition “Stage Boom,” Chinese releases and television drama soundtracks also helped establish her as a singer rather than solely a television personality.
Her local activities have since expanded into commercial partnerships, including a project marking Shanghai Disney Resort’s 10th anniversary and an endorsement deal with Lay’s.
There was speculation that YUQI might pursue a China-centred career when i-dle’s contract renewal approached last year. She instead renewed with Cube, which has continued to support her domestic television, music and advertising work.
The arrangement provides both sides with practical benefits. YUQI retains the global platform and production network associated with an established K-pop group, while Cube remains involved in a solo career supported by an existing Chinese audience.
Her case does not establish a universal model, since local management conditions and individual popularity vary considerably. It does, however, show that a foreign-born member does not necessarily have to leave the original K-pop agency to produce native-language music or build an independent profile at home.
If that structure proves sustainable, it could broaden the career options available to foreign K-pop artists while allowing group and solo activities to continue within the same partnership.
SayArt.net ReaA JUNG queen7203@gmail.com
The i-dle member’s Chinese-language EP and domestic tour present a different model for foreign-born K-pop artistsCourtesy of CUBE Entertainment
YUQI of i-dle is expanding her solo career in China while maintaining her group activities and contract with Cube Entertainment, offering an alternative to the route commonly taken by foreign-born K-pop members.
YUQI released her second EP, “二十七 (27),” on Oct. 8. Built primarily around Chinese-language songs, the album examines her life and internal changes at the age of 27.
The record was produced and released within her existing relationship with i-dle and Cube rather than through a separate Chinese agency or an independent label. It demonstrates that a K-pop company can support music shaped by a member’s native language and home market without separating it from the group’s wider career.
YUQI opened a solo fan concert tour in Guangzhou on Oct. 11. The approximately 10,000-seat concert sold out, and additional shows are scheduled in major Chinese cities including Chengdu, Beijing and Shanghai.
Foreign members of K-pop groups have often pursued more locally focused solo careers only after leaving their original agencies or establishing separate structures for individual activities.
BLACKPINK’s Lisa continues group activities through YG Entertainment but founded LLOUD to manage her solo work. She later released the Thai-titled single “SaWaDiKa” and announced the EP “PRESS PLAY,” which places greater emphasis on her Thai identity.
BamBam concentrated on solo activities after leaving JYP Entertainment and released “HOMETOWN,” his first album composed entirely of Thai-language songs, last year. Former miss A member Jia also began working more extensively in China after the end of her JYP contract.
YUQI’s career has developed differently. After debuting with i-dle in 2018, she began building a public profile in China the following year as a regular cast member of Zhejiang Television’s “Keep Running,” the Chinese adaptation of “Running Man.”
She continued appearing on the programme across multiple seasons between 2023 and 2025. Her participation in iQIYI music competition “Stage Boom,” Chinese releases and television drama soundtracks also helped establish her as a singer rather than solely a television personality.
Her local activities have since expanded into commercial partnerships, including a project marking Shanghai Disney Resort’s 10th anniversary and an endorsement deal with Lay’s.
There was speculation that YUQI might pursue a China-centred career when i-dle’s contract renewal approached last year. She instead renewed with Cube, which has continued to support her domestic television, music and advertising work.
The arrangement provides both sides with practical benefits. YUQI retains the global platform and production network associated with an established K-pop group, while Cube remains involved in a solo career supported by an existing Chinese audience.
Her case does not establish a universal model, since local management conditions and individual popularity vary considerably. It does, however, show that a foreign-born member does not necessarily have to leave the original K-pop agency to produce native-language music or build an independent profile at home.
If that structure proves sustainable, it could broaden the career options available to foreign K-pop artists while allowing group and solo activities to continue within the same partnership.
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