Epik High & INFINITE Speak Out on Unpaid Streaming Revenues from Woollim Entertainment
On March 5, a video titled “Epik High Directly Asks Why They Dissed INFINITE ft. Knitting” was uploaded on Epik High’s YouTube account. In the video, members of Epik High and INFINITE shared that they never received any streaming revenue from their former agency, Woollim Entertainment.
Epik High’s Experience with Woollim
Epik High, a legendary hip-hop trio from the second generation of K-pop, was signed to Woollim Entertainment from their debut in 2001 until early 2009. During this time, they released many hit albums, including “Swan Songs,” “Remapping the Human Soul,” and “Pieces, Part One.” Some of their most iconic songs, like “Fly,”” Love Love Love,” and “Umbrella,” became major successes.
Despite these achievements, the group never saw any earnings from their music’s streaming revenue. This surprising revelation came up during an episode of Epik High’s YouTube show, “Bad Bros.”
INFINITE Faces the Same Issue
During the episode, Epik High’s Tablo, Mithra Jin, and DJ Tukutz were joined by INFINITE members Sungkyu and Woohyun. As they reminisced about their time at Woollim, Tablo brought up the fact that Epik High never earned anything from streaming. Curious, he asked if INFINITE had the same experience.
Without hesitation, Sungkyu and Woohyun both answered “yes,” leaving Tablo in shock. He was baffled that even a hit song like “Be Mine” hadn’t earned them anything. Tukutz was equally surprised, questioning why INFINITE made no money from streaming, especially since digital platforms were already well-established by then.
Sungkyu confirmed, “Honestly, we never got a proper payout from streaming revenue.”
The Industry’s Flawed System
Although Tablo was clearly frustrated, he clarified that it wasn’t necessarily Woollim CEO Lee Jung Yeop’s fault. Instead, he blamed the industry’s outdated practices at the time. When Epik High signed their contract, digital streaming wasn’t a major part of the music business.
Tablo recalled a shocking moment when he saw an article stating that “Fly” had made 3.70 billion KRW (about $2.56 million USD) in its first week, yet he hadn’t received a single penny.
Table said, “I was hosting a live radio show when I saw the article. It said ‘Fly’ made 3.7 billion KRW in the first week. I was DJing, and I thought, ‘3.7 billion? I haven’t even gotten 100 won?’ I just blurted it out on air.”
Although he laughed while recalling the moment, his story highlights the harsh reality of unfair contracts in the industry. Many artists, despite their success, continue to struggle with wage disparities due to outdated agreements and company policies.