French President Invites K-Pop Pioneer Lee Soo-man to Establish Cultural Hub in Paris Amid AI Creative Revolution

Why Is France Backing K-Pop’s Founding Producer In The Age Of AI?

South Korea’s legendary music producer Lee Soo-man, the man behind iconic K-pop acts such as Super Junior, Girls’ Generation (SNSD), and NCT, has received a surprising endorsement from French President Emmanuel Macron.

The two met at the Élysée Palace on 20 June, following Lee’s keynote speech at the France Music Week Summit in Paris.

On 20 June, South Korean music producer Lee Soo-man met French President Emmanuel Macron at the Élysée Palace after speaking at the France Music Week Summit in Paris.

Macron, well-briefed on Lee’s cultural influence, proposed that Lee establish a permanent A2O office in France to strengthen cooperation between Korean and French creatives.

The President also directed Minister of Culture Rachida Dati to begin talks on turning the idea into action.

A2O described the meeting as “far from a ceremonial greeting,” calling it a “symbolic turning point in creator rights protection and a new model of Korea-France cultural collaboration.”

K-Pop Meets Paris As Lee Becomes The Only Asian Voice At Summit

Held at Place de l’Opéra, France Music Week gathered over 100 global music executives including Warner Music Group CEO Robert Kyncl, YouTube Global Head of Music Lyor Cohen, and Universal Music France CEO Olivier Nusse.

Lee stood out as the sole Asian speaker at the event, which focused on innovation, rights, and industry sustainability in the face of growing AI disruption.

He was introduced at the summit as “the man who created K-pop”—a title that resonated with attendees eager to understand the global formula behind the genre’s success.

Lee, who now operates out of Los Angeles via A2O Entertainment, used the stage to speak on the urgent need to rethink how creators’ rights are managed in an AI-driven era.

Rethinking Creativity In A World Where Fans Become Makers

Lee’s keynote struck a chord with music industry leaders as he outlined his evolving vision of fan engagement.

“We must imagine a world where fans evolve from mere consumers to prosumers—actively participating in the creation, reinterpretation and even monetisation of content. In the future, anyone can become a producer.”

He warned that this shift, driven by generative AI, demands a rethink in copyright systems.

“We must protect the rights not only of original creators but also of re-creators and prosumers.”

Lee Soo-man was the only Asian speaker at the France Music Week Summit, standing out among over 100 global music industry leaders.

The producer also touched on his proprietary “Culture Technology” system—his strategic method for developing global talent and exporting cultural assets—drawing attention from executives who referenced K-pop’s structure as a case study.

Why Is France Betting On Lee’s Cultural Vision?

Macron’s move is more than diplomatic—it’s strategic.

As France looks to elevate its position in the creative economy, the support for Lee’s permanent base signals an intent to tap into Korea’s proven music export model.

With Europe’s regulatory attention increasingly turning toward AI and content rights, the timing appears deliberate.

By engaging a figure like Lee, who bridges entertainment and technology, France positions itself to co-shape future standards in IP and creator economics.

Macron reportedly told Lee he recognised his “dual identity as both a creative visionary and a successful entrepreneur,” further confirming the political weight behind the proposal.

Who Holds Power In An AI-Driven Creative World?

As AI accelerates and content creation becomes decentralised, Lee Soo-man’s vision reflects a broader reckoning in the music industry: ownership is no longer just about who made the original—it’s about who reimagines it.

Macron’s invitation may mark a turning point not just in diplomacy, but in who gets to define value in a future where fans are no longer just watching, but building.

The next cultural revolution may not come from studios—but from the audience itself.