Latest news with #CircleChart
The Star
4 days ago
- Entertainment
- The Star
K-pop's global rise and local fall
Industry drivers: Rookie girl group KiiiKiii. Girl groups have historically driven fandom growth and revitalised the market, but this year's lineup failed to deliver the same impact. — The Korea Herald/ANN Despite chart-topping hits on Billboard and sold-out world tours across the United States, Europe and South-East Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home – particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalised the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4% year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7%. Meanwhile, physical album sales – a metric typically bolstered by passionate fans – also dropped by 9%, totalling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing 1 million units in sales fell from nine to seven, and not a single release managed to exceed 3 million – a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. 'This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences – part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' he said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. 'In contrast, solo artists are resonating more with casual listeners,' he said. The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with Drowning at No. 1, Hwang Garam with I Am a Firefly at No. 3 and Jo Jazz with Don't You Know at No. 7 – none of whom enjoy major global recognition – significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavour – but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.' — The Korea Herald/ANN
Time of India
5 days ago
- Entertainment
- Time of India
Is K-pop's Dream Fading at Home? Data Reveals Why Korean Youth Are Losing Interest
After Global Hype, Domestic Cooldown: What the Numbers Say While K-pop continues to dominate worldwide stages, signs of domestic fatigue are becoming clear in Korea's home market. According to the Circle Chart 2025 Mid-Year Report, consumption of K-pop's top 400 digital tracks dropped by 6.4% compared to last year, and by a staggering 49.7% since 2019-the peak year. Physical album sales, a vital indicator of fan dedication, also fell by 9% year-on-year, reaching 42.4 million units sold, down from 46.7 million in 2024. Albums crossing the 1 million sales mark fell from 9 to 7, while no album surpassed 3 million copies this year, unlike last year when Seventeen notably achieved this feat. These figures are reinforced by data from the Korea Music Content Association and Circle Chart, highlighting a clear domestic slowdown. Dwindling Rookie Girl Groups: Where's the Fresh Spark Gone? Previously, rookie girl groups injected energy and buzz into the K-pop scene, often dominating the charts. However, the 2025 mid-year data shows a stark drop in new group appearances. Only aespa, Ive, and NewJeans secured spots in the top 10 girl groups, compared to five in 2024. Data analyst Kim Jin-woo of Circle Chart explains, "The rookie girl group presence sharply declined. The shift toward English-heavy songs and similar-sounding beats to appeal globally has dulled the unique appeal that domestic audiences cherished." by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like This Japanese AI invention allows you to speak 68 languages instantly. The idea? Genius. Enence 2.0 Undo This trend reflects labels prioritizing international recognition, although it risks disengaging core local fans. Solo Artists Rising: Changing the K-pop Landscape Another significant trend is the rise of solo artists dominating charts traditionally ruled by groups. In the current top 10 digital rankings, 7 are solo performers, including Woodz ("Drowning"), Hwang Garam ("I Am a Firefly"), and Jo Jazz ("Don't You Know"). These soloists may lack massive global tours but connect deeply with domestic listeners. Music critic Lim Hee-yun notes, "Fans increasingly seek authenticity, relatable content, and direct communication, which solo artists deliver effectively through social media." This shift indicates a change from fanclub-driven group mania to more individualistic music consumption. Shifting Fan Culture: What's Behind the Domestic Decline? Why is Korean youth losing enthusiasm for K-pop? Experts point to concept repetition, a surge in English lyrics, and a saturated market with fewer standout newcomers as key reasons. These factors contribute to declining concert attendance, lower merchandise sales, and shrinking hardcore fandoms. Nonetheless, the industry remains optimistic due to K-pop's growing global footprint, especially in North America, Europe, and Southeast Asia. However, sustaining strong domestic support remains crucial for long-term stability.
Korea Herald
7 days ago
- Entertainment
- Korea Herald
Is K-pop's global strategy backfiring? As popularity up abroad, domestic interest wanes
Absence of breakout rookie girl groups and weakening domestic fandom raise concerns for K-pop's future at home Despite chart-topping hits on Billboard and sold-out world tours across the US, Europe and Southeast Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home — particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalized the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4 percent year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7 percent. Meanwhile, physical album sales — a metric typically bolstered by passionate fans — also dropped by 9 percent, totaling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing 1 million units in sales fell from nine to seven, and not a single release managed to exceed 3 million — a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences — part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' Kim said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated,' he said. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. In contrast, solo artists are resonating more with casual listeners.' The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with 'Drowning' at No. 1, Hwang Garam with 'I Am a Firefly' at No. 3 and Jo Jazz with 'Don't You Know' at No. 7 — none of whom enjoy major global recognition — significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. 'Ballads or rock-inflected songs with strong melodic structure and individual expression are better suited for immersive listening,' he said. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavor — but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.' jaaykim@
Korea Herald
31-07-2025
- Entertainment
- Korea Herald
Is K-pop's global strategy backfiring? As popularity up abroad, domestic interest wanes
Absence of breakout rookie girl groups and weakening domestic fandom raise concerns for K-pop's future at home Despite chart-topping hits on Billboard and sold-out world tours across the US, Europe and Southeast Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home — particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalized the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4 percent year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7 percent. Meanwhile, physical album sales — a metric typically bolstered by passionate fans — also dropped by 9 percent, totaling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing 1 million units in sales fell from nine to seven, and not a single release managed to exceed 3 million — a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences — part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' Kim said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated,' he said. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. In contrast, solo artists are resonating more with casual listeners.' The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with 'Drowning' at No. 1, Hwang Garam with 'I Am a Firefly' at No. 3 and Jo Jazz with 'Don't You Know' at No. 7 — none of whom enjoy major global recognition — significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. 'Ballads or rock-inflected songs with strong melodic structure and individual expression are better suited for immersive listening,' he said. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavor — but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.'
Korea Herald
30-07-2025
- Entertainment
- Korea Herald
Is K-pop's global strategy backfiring? As popularity soars abroad, domestic interest wanes
Absence of breakout rookie girl groups and weakening domestic fandom raise concerns for K-pop's future at home Despite chart-topping hits on Billboard and sold-out world tours across the US, Europe and Southeast Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home — particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalized the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4 percent year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7 percent. Meanwhile, physical album sales — a metric typically bolstered by passionate fans — also dropped by 9 percent, totaling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing one million units in sales fell from nine to seven, and not a single release managed to exceed three million — a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences — part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' Kim said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated,' he said. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. In contrast, solo artists are resonating more with casual listeners.' The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with 'Drowning' at No. 1, Hwang Garam with 'I Am a Firefly' at No. 3 and Jo Jazz with 'Don't You Know' at No. 7 — none of whom enjoy major global recognition — significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. 'Ballads or rock-inflected songs with strong melodic structure and individual expression are better suited for immersive listening,' he said. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavor — but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.'
