The group, ‘FIFTY FIFTY’, which is causing a sensation on the U.S. Billboard chart, has set another K-pop girl group record on Spotify, the world’s largest music streaming platform.
According to Spotify on May 19, FIFTY FIFTY achieved a monthly listener count of 34,307,590. This surpasses the record set by leading K-pop girl group ‘BLACKPINK’ of 34,123,272 monthly listeners on September 26 last year, marking the highest monthly listener count for a K-pop girl group.
Previously, on May 7, FIFTY FIFTY surpassed 30 million monthly listeners, a feat accomplished only 170 days since their debut, marking the fastest time a K-pop act has achieved this milestone.
Moreover, FIFTY FIFTY’s ‘Cupid’ (Twin Ver.) has set a record for the longest-running K-pop girl group entry on Spotify’s ‘Daily Top Songs Global’ top 10, continuously breaking their own records.
Meanwhile, FIFTY FIFTY has also been making records on the U.S. Billboard main singles chart ‘Hot 100’, maintaining their position for eight consecutive weeks (17th place), marking the longest entry for a K-pop girl group. They recently held their position for eight consecutive weeks on the UK Official Singles Chart Top 100, reaching 11th place.
Recently, an unfamiliar K-pop group name was spotted on the Billboard Hot 100. This group is FIFTY FIFTY, whose song ‘Cupid’ rose to 94th place on April 4, after debuting at 100th place on March 28. FIFTY FIFTY is a girl group that debuted only four months ago under the newly formed agency, Attract. This group, still relatively unknown to domestic fans, has managed the unbelievable feat of entering the Billboard chart without going through Melon, one of the most crucial popularity indicators in K-pop.
One could say that this is an extension of the reverse-import phenomenon of K-pop popularity, which started to become prominent during the BTS era. However, it might be more appropriate to view it as intertwined with K-pop’s response strategies to changes in the media environment. The emergence of a unique sub-genre, ‘social media pop’, is often discussed in popular music these days.
Catering to the tastes of SNS users, this genre could be described as ‘easy-listening pop’ for the SNS era – music that is easy to listen to and versatile for use in individual videos. The Newgens phenomenon, the popularity of Aespa, and the surprising success of FIFTY FIFTY can all be said to be connected to this trend in some way. This phenomenon is interesting because it is linked to the identity of ‘K-pop’.
K-pop’s rapid rise in the global popular music market was due largely to the emphasis on the ‘K’ identity and the branding strategies of major agencies. However, new audiences who are not concerned with the nationality or traditional genre divisions of music are starting to demand more ‘pop’ than ‘K’ from K-pop. This could mean that they are the true participants in the cosmopolitan and hybrid world of popular music that K-pop has aspired to be. The era of truly cosmopolitan K-pop, not bound by the ‘K’ identity, seems to be approaching closer than expected.
