K-POP Experiences Deepening Divergence Between Domestic and International Charts... Global Success vs. Weakening Domestic Foundation

Various charts and rankings released in 2025 to measure K-POP’s global influence have revealed new trends within the genre. Analysts note that a “divergence” is worsening, as K-POP achieves success in international markets while its domestic foundation weakens. Kakao Entertainment announced the launch of a unified K-POP artist chart in partnership with China’s Tencent Music Entertainment Group and Japan’s Line Music. Scheduled to debut in the first half of next year, this chart will consolidate streaming data from Korea, China, and Japan—the three major Asian music markets—into a single ranking. The chart, which will be published on the Melon platform, will combine Melon’s listening data with streaming data from Tencent Music’s QQ Music, Kugou Music, Kuwo Music, WeSing, and Line Music. Jang Yoon-jung, CEO of Kakao Entertainment, stated, “The collaboration among these three companies leading Asia’s music industry holds special significance. By providing a reliable global standard chart for K-POP, we hope to create new value for the industry, artists, and fans.”

Billboard’s 2025 Billboard K-POP Artist 100 ranking was compiled based on performance from October 2024 to September 2025. The rankings take into account the U.S.’s Billboard Hot 100 and Billboard 200 album charts, the Billboard Global 200 singles chart reflecting international influence, tour data, and streaming and music sales figures in Korea. SEVENTEEN (with 13 members) topped the list. The group has proven to be the strongest K-POP group by maintaining consistent success in the U.S., global, and Korean markets. Having reached new heights after a decade of career, SEVENTEEN released “Spill the Pills” in November last year, which reached position 5 on the Billboard 200, and “Happy Birthday” in June this year, which reached position 2 on the same chart. Their three sub-units also contributed to their global dominance.

BLACKPINK’s Rosé made history with her collaboration “Apartment” featuring Bruno Mars. Debuting at position 8 on the Hot 100 in October 2024, this song achieved the highest chart position ever for a K-POP female solo artist and reached position 3 in February. STRAY KIDS continued this streak by securing consecutive number 1 spots on the Billboard 200 with “Hop” in December 2024 and “Karma” in August 2025, becoming the only artist since the start of regular weekly charts in 1956 to debut with all seven albums at number 1. ATEEZ reached number 1 on the Billboard 200 with “Golden Hour: Part 2” in November 2024, and in 2025, they entered both the 200 and Hot 100 charts with “Golden Hour: Part 3” and “Lemon Drop.” TWICE remained on the Billboard 200 for 14 consecutive weeks with “This Is For” released in July.

However, the gap between domestic and international charts was significant. According to a comparison between Billboard’s “Billboard Korea Hot 100” (based on domestic streaming and sales) and “Billboard Korea Global K-Song” (based on data from over 200 countries), only 6 of the top 25 songs overlapped, with only 3 common in the top 10. “Golden” by KPop Demon Hunters reached number 1 on global charts but only position 10 on domestic charts, showing a difference of more than 10 places between the two rankings. Only two songs, “Good Goodbye” by Hana and “Spaghetti” by LE SSERAFIM and j-hope, appeared in the top ranks on both charts.

The diversity of artists on domestic charts also differed. The top 25 domestic songs were performed by 14 unique artists (based on groups), whereas the top 25 global songs featured 18 artists. Notably, 6 of the top 25 domestic songs were by solo artists without prior K-POP group experience, while all 7 solo artists in the top 25 global songs were former members of existing K-POP groups. This indicates that while K-POP groups transitioning to Western pop artists is the most proven path to success globally, independent artists without a K-POP background are driving charts domestically. This suggests that as K-POP achieves global success, the gap with Korea’s domestic music ecosystem is widening.