K-pop’s global chart success: True milestone or outdated obsession?

As K-pop’s global influence expands, agencies have increasingly emphasized their artists' accomplishments on prestigious charts like the Billboard Hot 100 and the UK Singles Chart.

However, industry insiders argue that benchmarking traditional chart rankings reflects outdated thinking, as these once-iconic indicators have lost much of their relevance over the past decade due to a major shift in music consumption toward online streaming.

Big Hit Music announced Tuesday that BTS member V’s recent single “Winter Ahead (with Park Hyo Shin)” ranked No. 99 on this week’s Billboard Hot 100. The company also stated, on Nov. 30, that BTS's Jin had secured the No. 4 spot on the Billboard Hot 200 chart with “Happy,” while “Running Wild” debuted at No. 53 on the Hot 100 chart.

Similarly, Rose's The Black Label announced on Oct. 29 that her duet with Bruno Mars, “APT.,” debuted at No. 8 on the Billboard Hot 100, and later climbed to No. 2 on the UK Official Singles Chart.

Billboard’s Hot 100 and Billboard 200 remain two of the most prominent indicators of a release’s success. The Hot 100 tracks the top songs in the US based on streaming, radio airplay, and sales. Billboard 200 ranks the most popular albums in the US, including streaming and physical sales. The UK Official Charts have also long been regarded as a leading barometer of global pop music success.

Beyond promoting placements on the Billboard Hot 100 or Billboard 200, K-pop agencies now regularly emphasize performances on sub-charts such as the Billboard Artist 100, Billboard Global Excl. US, and Digital Song Sales.

Music critic Lim Hee-yun noted the heightened focus on chart performance seems to stem from a thirst for the longstanding authority the Billboard and UK Singles charts represent, particularly in terms of local sales credibility.

“K-pop exemplifies this trend, as it places greater emphasis on chart achievements, perhaps driven by a desire to solidify its global recognition and validates its success through these traditional metrics,” he said.

Another music critic Kim Do-heon echoed Lim’s view, saying that gaining recognition on international charts and achieving global success has always been a core aspiration for K-pop and its agencies, a goal they’ve pursued consistently from the past to the present.

“Additionally, as K-pop is seen as an export-oriented genre, it draws attention from a global audience, often incorporating messages that promote national pride," Kim added.

However, the importance of these charts has waned in the last decade. Lim said that while the Billboard and UK Singles charts still hold sway in the global music scene, their influence and prominence have significantly diminished due to growing importance of music streaming platforms like Spotify and the rise of social media like TikTok.

“People’s music consumption habits have changed. Now, they listen to songs based on personal preferences or tracks trending on social media, making traditional chart formats less relevant to many,” Lim said.

“For music enthusiasts, consumption often happens through the platforms they use -- whether it’s relying on algorithmic recommendations, discovering songs that suit their tastes, or exploring playlists curated by the platforms themselves.”

Kim also said that streaming has become the dominant form of music consumption, followed by album sales and online downloads.

“There is growing skepticism about the significance of music charts like Billboard and the UK Singles Chart, which many people still view as highly authoritative,” Kim said. “Critics, however, question whether these charts truly matter, pointing out negative perceptions surrounding the overemphasis on metrics such as album sales, first-week sales and digital downloads as primary indicators of success.”