JENNIE’s “like JENNIE” Ranks #1 on K-Brand Index; DAY6 Dominates Domestic Charts as 2025 Signals Shifts in K-POP Market

The Korean music market underwent significant restructuring in 2025. In the “K-Brand Index” assessment released by the Asia Brand Research Institute, JENNIE’s “like JENNIE” topped the K-POP song category due to its overwhelming popularity, while DAY6 regained its status as a major force in the market by leading domestic charts with “한 페이지가 될 수 있게.”

The Asia Brand Research Institute’s K-Brand Index was calculated by analyzing 51,118,910 pieces of online big data collected over January 2026 from the top 30 entries of the 2025 Melon Chart TOP100. Unlike traditional charts, this evaluation system applies eight weighted criteria: trends, media, social media, positivity, negativity, engagement, community, and AI index. JENNIE’s first-place finish demonstrates that she has secured a position as a “popular choice” beyond her strong fanbase.

The top 10 rankings followed JENNIE with DAY6 in second place with “한 페이지가 될 수 있게,” Rosé & Bruno Mars in third with “APT.,” Hwasa in fourth with “Good GoodBye,” Wooz in fifth with “Drowning,” Hwang Ga-ram in sixth with “나는 반딧불,” Eclipse in seventh with “소나기,” and IVE in eighth and ninth with “ATTITUDE” and “REBEL HEART,” respectively. Notably, IVE became the only group to have two of its songs simultaneously in the TOP10, proving its brand reliability as an artist whose title tracks and B-sides alike enjoy public support.

Changes in the domestic market are even more pronounced. According to the “2025 K-POP World Map” analysis from the K-POP Radar, a comprehensive dashboard for K-POP artists, DAY6 rose from second place in 2024 to first place, with aespa and IU ranking second and third, respectively. G-Dragon led in terms of increase in views, with around 200 million more views, while BIGBANG reached fourth place overall, showing how the strong returns of legendary artists are influencing the market. Among solo artists, Wooz ranked 11th overall with about 160 million more views, while JENNIE placed 12th overall but third in terms of increase in views, underscoring her individual brand power.

In the global market, a structure centered on South Korea, Japan, and Indonesia continues, though share reorganization is underway. Per K-POP Radar’s analysis, South Korea’s share of K-POP consumption increased further compared to 2024, confirming its growing momentum. Japan remained in second place but saw its share drop from 8.44% to 7.41%, indicating that the market has entered a mature stage. The United States rose one rank to fourth place, accounting for 6.25% of global K-POP consumption.

Key artists across different global markets also exhibited distinct positioning. In the U.S., Stray Kids maintained first place with an 8.63% share, while KATSEYE ranked third overall after recording around 206 million more views, leading in growth rate. In the UK, Rosé held first place both overall and in terms of growth rate, with an overwhelming 11.63% share, while in Taiwan, IVE kept first place with a 5.69% share, sustaining its influence in Southeast Asian markets.

The changes in the 2025 K-POP market indicate simultaneous adjustments to the status of existing powerhouses and increased globalization. In the domestic market, the returns of legendary artists and the rise of new-generation artists are creating competitive dynamics, while in the global market, share fluctuations in key countries such as the U.S., UK, and Taiwan suggest the future direction of K-POP consumption.