K-Pop Accelerates Growth in Global Markets···SEVENTEEN Tops Billboard, Rosé and KATSEYE Experience Rapid Rise

The global K-pop market in 2025 features both the continued dominance of established groups and the swift ascent of new-generation idols. According to latest data from international music chart organizations, competition within the genre has intensified, with artists from various generations competing fiercely on the global stage. SEVENTEEN secured the top position on the 2025 Billboard K-Pop Artist 100 chart. Billboard calculated this ranking by evaluating performance across the U.S. Billboard Hot 100, Billboard 200, Global 200 charts, as well as domestic streaming and music sales from October 2024 to September 2025. Over the past year, SEVENTEEN maintained strong results in the U.S., global, and domestic markets, releasing albums such as “Spill the Feels” which debuted at number 5 on the Billboard 200, and “HAPPY BURSTDAY” which reached number 2 in June. The group’s sub-units, including BSS, HOSHI X WOOZI, and CxM, also released albums that further strengthened the group’s global influence.

Individual activities by BLACKPINK members have shown notable growth. Rosé reached number 3 on the Hot 100 with her collaboration song “APT.” featuring Bruno Mars, achieving the highest ranking among K-pop female solo artists. The track entered the chart at number 8 in October 2024 before climbing toward the top in February 2025. On the Global Artist Top 20 list compiled by K-Pop Radar based on YouTube artist rankings, BLACKPINK took first place, Rosé came in second, and BTS finished in third. Not only Rosé but also Jennie (6th) and Lisa (11th) saw significant rank improvements compared to the previous year, demonstrating that BLACKPINK has established global influence beyond just the group as a whole.

Boy groups from the latter half of the second generation to the third generation are also delivering outstanding results. STRAY KIDS had both their albums “HOP” and “KARMA,” released in December 2024 and August 2025, reach the top of the Billboard 200. They became the only artist since Billboard 200 began regular tracking in 1956 to have seven debut albums all reach number 1. ATEEZ topped the Billboard 200 in November 2024 with “Golden Hour: Part 2,” and continued to appear on the chart in 2025 with “Golden Hour: Part 3” and the song “Lemon Drop.” Among new-generation idols, KATSEYE’s growth is particularly noteworthy. The group rose 49 places compared to the previous year, finishing in ninth place on the global Top 20. Their performances at major international festivals such as Lollapalooza Chicago and Summer Sonic are believed to have driven significant global attention. In the U.S. market, KATSEYE led in growth volume with approximately 260 million additional views, and they also ranked high in the UK, showcasing their competitiveness across English-speaking regions.

Among new-generation girl groups that debuted after 2023, BABYMONSTER topped the list with around 2.5 billion views, followed by KATSEYE and ILLIT. Group comebacks also impacted the market. G-Dragon led in domestic view growth volume with approximately 200 million additional views, finishing in 20th place overall. His comeback influenced not only his personal metrics but also the rankings of his former group BIGBANG, lifting them to number 10 — a 10-place rise from the previous year. Most of these views originated in South Korea, indicating that a strong domestic fanbase and public trust were key drivers behind his return.

Regional changes in K-pop consumption are also evident. South Korea, Japan, and Indonesia retained positions 1 through 3 as the core markets for global K-pop consumption, while the U.S. rose one place to fourth. The U.S. accounted for 6.25% of global K-pop consumption, representing a roughly 1 percentage point increase, suggesting that localization strategies and global collaborations are yielding tangible results. Japan remained in second place but saw its share drop from 8.44% to 7.41%, indicating that the market is entering a more mature phase. Expansion into Western countries is also prominent. Taiwan entered the top 10 for the second consecutive year, rising to ninth place, while the UK surged from outside the top 20 to 17th. The inclusion of Western countries such as France, Germany, and Canada in the K-pop consumption rankings shows that global consumption of this genre is becoming more diversified.

In the domestic market, DAY6 topped the charts, followed by aespa and IU in second and third places, respectively. Rosé dominated the UK market with an overwhelming 11.63% share, securing first place there as well as first place in terms of growth volume. New idol groups are also rapidly making their way into the rankings. On the 2025 Top 10 debutant artists list, HATS2HEARTS led with approximately 310 million views, followed by All Day Project and CORTIS. Groups such as KickFlip, KIKI, AHOPE, and CLOSE YOUR EYES formed a dense cluster in the rankings with around 100 million views each, indicating fierce competition. This reflects a trend where mid-sized agencies and groups with diverse concepts are competing alongside larger groups rather than dominating alone. Meanwhile, it is analyzed that new boy groups still face limited entry into the top rankings, with a closed growth structure centered around strong core fanbases continuing to prevail.