K-pop’s global dominance is wavering — here’s why even homegrown fans are losing interest

Once poised to dominate the global music scene, South Korean pop, or K-pop, now faces a crisis.

Despite initial success in breaking into American pop charts, recent developments suggest the K-pop wave may be receding. Missteps in album releases, legal issues with rising stars like NewJeans, and waning interest from domestic fans are causing jitters in the industry.

In the early 2020s, South Korean pop music, or K-pop, appeared to be on the cusp of a major breakthrough in the American music industry. BTS’s track “Dynamite” topped the US charts in 2020, and by 2023 Blackpink had become the first K-pop act to headline Coachella.

However, by 2025, the narrative took a drastic turn. Solo albums by Blackpink members Jennie and Lisa debuted at No.7 on the US album chart but dropped out of the Top 10 after just a week. Neither album produced a single that peaked higher than No.68.

Emerging acts such as Tomorrow X Together, Ateez and Twice have seen solid initial chart positions before quickly losing momentum. NewJeans, a young K-pop group previously considered the genre’s strongest hope in the US market after Blackpink and BTS, have been swamped by controversies and legal issues in South Korea.

Sarah, an anonymous host of the Idol Cast podcast, argues that K-pop has lost traction in its home market because it’s no longer tailored to its Korean audience. Instead, it’s trying to appeal to a globalised audience and losing its identity in the process.

This shift towards English lyrics coincides with K-pop becoming more isolated from South Korean culture and moving onto gated online platforms like Weverse.

“K-pop is built to be exported,” says US reporter Tamar Herman. However, this strategy has alienated Korean listeners while newer acts like Le Sserafim and Aespa struggle to make their mark in the US market without a strong marketing push from their labels.

Meanwhile, in South Korea, J-pop acts, Korean rap and “2D idols” like Plave are filling up the charts while older K-pop hits continue to be streamed globally. The most recent hit from a K-pop star was “APT” by Blackpink member Rosé, which deviated from the K-pop sound to lean into pop-punk and new wave, and included a collaboration with Bruno Mars.

The group NewJeans, once hailed as one of the biggest success stories in K-pop’s western expansion, is now embroiled in a legal battle with their former label, Hybe.

The group’s attempt to break free from the rigid K-pop corporate system has sparked discussions about the rights of K-pop stars as workers. Their conflict with Hybe could potentially “collapse” the K-pop industry, according to a coalition of trade bodies.

Despite these challenges, Herman still believes that there is untapped potential in the US for K-pop. However, it is clear that the industry needs to reassess its global strategy and re-establish its connection with its domestic audience.

The struggles faced by K-pop in maintaining its global appeal serve as a stark reminder of the volatile nature of the music industry. As K-pop has shifted its focus to a homogenised, globalised audience, it seems to have lost its unique appeal both at home and abroad.

This reflects broader trends in the music industry, where authenticity and cultural specificity often play a crucial role in an artist’s or genre’s global success.

The case of NewJeans, once hailed as an upcoming success story, is particularly telling. Their conflict with their label Hybe has not only halted their own career trajectory, but also brought attention to the underlying issues within the K-pop industry model–including artists’ rights and fair practices in the industry. 

Meanwhile, the shift of K-pop content onto gated online platforms indicates a wider industry trend towards exclusive content models. However, this model may risk alienating potential new fans who are unwilling or unable to access these platforms.

Despite these challenges, it’s important to note that K-pop still holds potential for growth and reinvention. However, it’s clear that for K-pop to truly overcome its current crisis, it may need to reassess its approach – valuing authenticity and artist rights while carefully managing its global and domestic appeal.

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