K-Pop Global Consumption Axis Reshaped···United States Rises to 4th Place, Western Countries Enter the Scene Together

The K-Pop Radar, a comprehensive dashboard for K-Pop artists operated by music startup SpaceAudity, released its analysis of global K-Pop consumption for 2025. The “2025 K-Pop World Map,” which is based on view counts of related videos on YouTube’s Artist Chart, displays the scale of K-Pop consumption by country, as well as changes in artist market shares and growth rates.

According to the 2025 analysis of K-Pop consumption by country, South Korea, Japan, and Indonesia maintained positions 1 through 3 respectively, just as in the previous year. South Korea, the birthplace of K-Pop, once again demonstrated strong growth trends with an even higher market share compared to 2024. The domestic K-Pop market showed dynamic developments due to the return of established artists and legendary musicians. DAY6 rose from 2nd place to 1st, while aespa and IU ranked 2nd and 3rd respectively. G-Dragon climbed to 5th place overall, thanks to an increase of approximately 200 million views, and BIGBANG also secured 4th place, successfully uniting the domestic fanbase.

In the global market, a clear trend of diversification in K-Pop consumption is evident. The United States rose one position to 4th place, accounting for 6.25% of global K-Pop consumption. This nearly 1 percentage point increase in share shows that localization strategies and global collaborations are yielding tangible results. In the U.S. market, Stray Kids maintained 1st place with a 8.63% market share, while KATSEYE ranked first in terms of growth rate, with an increase of approximately 260 million views.

Japan, on the other hand, still held 2nd place but saw its market share drop from 8.44% to 7.41%, along with a decline in total view counts, indicating that the market has entered a mature stage. India dropped to 5th place. Taiwan made it into the Top 10 by rising in rank for two consecutive years, reaching 9th place, with IVE holding 1st place with a 5.69% market share. The United Kingdom surged to 17th place, moving out of the Top 20, while Rosé claimed both 1st place and the highest growth rate, with an overwhelming 11.63% market share.

The simultaneous entry of Western countries such as France, Germany, and Canada shows that K-Pop consumption is expanding into a more globally diversified phase. KATSEYE secured a spot in the upper ranks by proving its competitiveness across English-speaking regions. In the domestic market, solo artists also showed significant progress. WooZoo ranked 11th overall and 2nd in terms of growth rate, with an increase of approximately 160 million views, while Jennie reached 12th place overall and 3rd in growth rate, demonstrating her strong personal brand influence.