aespa’s Dirty Work has been their most divisive title track yet it seemed destined to be a hit. As of this post, the music video has over 35 million views. Their agency SM Entertainment released remixes, an English version, and an alternate version that features U.S. rapper Flo Milli.
Billboard chart watchers even projected a potential debut around #99 on the Hot 100. But when the list dropped, the song was nowhere to be found, not on the Hot 100, not even on the Bubbling Under. And while fans scrambled to figure out what went wrong, the real answer is simple: SM Entertainment.
The agency didn’t promote Dirty Work like they actually wanted it to succeed in the U.S. Because if they had, we’d be having a very different conversation right now.
The Promotions Were Bare Minimum at Best
For a group as globally popular as aespa, you’d expect a real U.S. rollout. Appearances on morning and late-night talk shows. A TikTok campaign. An interview blitz with major outlets. Instead, SM Entertainment dropped the single, threw out a couple remixes, and… that was it.
Yes, the song had an English version. Yes, it had a Flo Milli remix. But those things don’t mean much without the support to actually reach new listeners.
aespa’s previous releases like Drama and Supernova gave the girls a major boost. But instead of building on that momentum, SM didn’t take advantage of it at all. They didn’t even try to promote those songs in the US and instead focused on sending aespa on multiple concert tours.
And this isn’t a one-off mistake. It’s a pattern.
SM’s U.S. Strategy Is Nonexistent
This isn’t just about aespa. SM’s entire approach to the U.S. market is outdated and half-hearted. The label seems stuck in a loop: they launch a single or album, expect it to chart without support, then back off the second it doesn’t explode overnight.
We saw it with Girls’ Generation when they appeared on American television in 2012. We saw it again with NCT 127, whose U.S. visibility came in short bursts, only to be quietly abandoned. Now, it’s aespa’s turn in the cycle.
Meanwhile, other K-pop labels like HYBE and YG understand that the U.S. market is a long game. You can’t show up once and expect to win. You have to keep showing up. SM? They show up late, unprepared, and leave early.
Generic Songs, Wasted Potential
Another issue is the music itself. aespa has a distinct, futuristic sound that fans love. But Dirty Work sounds like a watered-down attempt to appeal to Western fans. In trying to appeal to a broader market, SM lost what made aespa unique in the first place.
This isn’t the first time fans have pointed this out. There’s a disconnect between what makes aespa special and the kinds of English tracks SM pushes as their international face. When songs don’t reflect the group’s true strengths, of course they’re going to fall flat.
You Can’t Fake a U.S. Hit
To make things worse, there were reports of some of aespa’s Chinese fans spoofing U.S. locations using VPNs to boost streams and sales. If Billboard detected that kind of activity, they could’ve disqualified or discounted those numbers, which would explain why Dirty Work didn’t even place on the Bubbling Under chart.
Fans are trying to compensate for the lack of actual marketing and visibility. But you can’t fake a grassroots hit. You need strategy, real investment and a willingness to play the long game. And SM lacks all three.
Why Won’t SM Commit to the U.S.?
It’s not like SM lacks resources. They have the budget, the connections, and the global fanbase. But when it comes to the U.S., they act like a company that’s afraid of commitment.
They’ve invested heavily in Japan through partnerships with Avex. They’ve built major strategies for China and Southeast Asia. But in the U.S.? They go it alone, avoid local label partnerships, and expect Korean methods to work overseas.
They’re also risk-averse. Every time a U.S. venture doesn’t result in immediate, chart-topping success, they backpedal. They’re afraid of alienating their core domestic fans and refuse to adapt their strategies for Western audiences.
And ultimately, they seem convinced that the SM brand is strong enough to carry itself across borders. That belief is delusional and it’s actively holding their artists back.
Now it’s possible that SM doesn’t feel comfortable sending aespa to the US with everything that’s going on. I can’t even fault them for that because a lot of Americans don’t even feel safe in their own country. But there are ways to promote Dirty Work. SM could have aespa do virtual interviews like they did during the COVID-19 pandemic. They could also pre-record performances of Dirty Work so they could air on TV. SM has options and it would be nice to see them explore those options in the future.
This Should Be a Wake-Up Call
Dirty Work failing to chart on Billboard Hot 100 is a symptom of a much bigger issue. SM Entertainment continues to mishandle U.S. promotions, squandering the global potential of its artists by refusing to put in the work.
aespa has the talent, the visuals, the stage presence, and the fandom to make waves in the West. But none of that matters if their label won’t meet the moment.
Until SM decides to play the game properly, they’ll keep watching other companies dominate the U.S. charts while their own artists miss the shot they’ve earned.
