K-pop's Domestic Decline: Fans Lose Enthusiasm Amid Global Dominance

As of August 2, 2025, the K-pop industry in South Korea is experiencing a domestic cooldown, even as the genre continues to dominate worldwide stages. According to the Circle Chart 2025 Mid-Year Report, consumption of K-pop's top 400 digital tracks has dropped by 6.4% compared to last year, and a staggering 49.7% since the peak in 2019.

Physical album sales, a vital indicator of fan dedication, have also fallen by 9% year-on-year, reaching 42.4 million units sold, down from 46.7 million in 2024. The number of albums crossing the 1 million sales mark has decreased from 9 to 7, and no album has surpassed 3 million copies this year, unlike in 2024 when Seventeen notably achieved this feat.

These figures, reinforced by data from the Korea Music Content Association and Circle Chart, highlight a clear domestic slowdown in the K-pop industry. One significant trend is the declining presence of rookie girl groups, which previously injected energy and buzz into the scene. Only aespa, Ive, and NewJeans secured spots in the top 10 girl groups, compared to five in 2024. Experts attribute this to labels prioritizing international recognition over domestic appeal, leading to a dulling of the unique appeal that local audiences cherished.

However, the K-pop landscape is also seeing a rise in solo artists dominating the charts, traditionally ruled by groups. In the current top 10 digital rankings, 7 are solo performers, including Woodz, Hwang Garam, and Jo Jazz. These soloists may lack massive global tours but are connecting deeply with domestic listeners, who are increasingly seeking authenticity, relatable content, and direct communication.