The name K-Pop is a modifier referring to a particular genre of idol music in Korea, and it was first used from an outside perspective.
And the inside (Korea) has negotiated with the meaning in the process and accepted it as a general term. Interpellation inevitably implies a hegemonic power relationship. Labeling “Korean Idol music” as “K-pop” seems like an innocent act of recognizing multiculturalism. But the dominance-subjugation relationship and hegemony between culture/countries fundamentally works in multiculturalism. What we can do least as a part of a decolonial approach is to ponder the work of individual artists rather than consider them within the grouped term of K-Pop.