Is K-pop’s Global Strategy Backfiring? A Shrinking Local Market Raises Alarms

K-pop continues to dominate the international music scene, topping charts and selling out world tours. However, back home in South Korea—the very birthplace of the genre—the landscape is changing, and not for the better. A growing sense of fatigue and disconnection among domestic fans is raising concerns that K-pop’s global-first strategy may be eroding its roots.

One glaring issue in the first half of 2025 is the absence of breakout rookie girl groups. Unlike previous years, which saw acts like NewJeans and LE SSERAFIM breathe fresh energy into the industry, this year’s new debuts have failed to leave a lasting impression. This void has left the Korean idol scene unusually stagnant, especially considering idol groups are central to K-pop’s ecosystem.

According to a mid-year report from Circle Chart, the total digital consumption of the top 400 songs dropped by 6.4% year-on-year and has plummeted nearly 50% compared to its peak in 2019. Physical album sales, which traditionally benefit from loyal fanbases, also declined by 9%, totaling 42.4 million units—down from 46.7 million the previous year. Notably, only seven albums surpassed the one-million mark, and none exceeded three million, a milestone SEVENTEEN achieved just last year.

Kim Jin-woo, a data analyst at Circle Chart, noted the significant drop in girl group dominance within the domestic market. “In the first half of 2024, NewJeans led the market share, with five girl groups in the top 10. This year, only aespa, IVE and NewJeans remain,” he observed.

Kim attributed the decline partly to the increasing use of English lyrics and musical styles geared toward a global audience, which may feel less relatable to Korean listeners. “As groups pivot toward international fans, their domestic appeal weakens,” he explained.

Music critic Lim Hee-yun echoed similar sentiments, stating that shifting content consumption habits have undermined the traditional fan culture. Fans now scatter across social media and self-produced content platforms, diluting the unified power that once defined K-pop fandoms.

The top 10 digital chart for the first half of 2025 is telling: seven spots are occupied by soloists such as Woodz’s “Drowning” (No.1), Hwang Garam’s “I Am a Firefly” (No.3) and Jo Jazz’s “Don’t You Know” (No.7) despite their limited global recognition. Only aespa, IVE and BOYNEXTDOOR represent idol groups in the list.

Lim added that while idol tracks often boast catchy and upbeat energy, they tend to lack emotional depth. “Ballads or rock-infused songs with strong personal color offer more layered and resonant listening experiences,” he said.

Industry insiders worry that if this trend continues, K-pop’s long-term sustainability could be at risk. A weakening domestic market could destabilize the genre’s entire ecosystem. “As K-pop increasingly mimics Western pop to cater to global tastes, it risks losing its unique identity. Unless you’re someone like Jungkook from BTS, it’s hard for this strategy to truly succeed,” one industry official remarked.

Lim further pointed out that despite K-pop’s international reach, it remains more of a trend than a fully integrated part of mainstream global music. “K-pop has expanded worldwide, but it still hasn’t become an organic part of the global music flow,” he concluded.

As K-pop stands at a crossroads, balancing global ambition with cultural authenticity may prove critical not just for continued growth, but for survival.

Sources: K14

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