Opinion K-Pop labels are betting big on India. Will it pay off?
Indian and Korean artists have worked with each other, and many Indians have been part of K-pop groups. However, most of these experiments have either failed or have not received a breakthrough response
The K-pop entry will also likely trigger a similar shift in the way popular culture is consumed in India, particularly pop music culture. (Express Photo) 
Over the last decade, South Korea’s K-pop industry has experienced exponential growth, largely driven by the popularity of the Hallyu Wave. This popularity has helped the K-pop industry penetrate even previously difficult-to-break markets, like North America and Latin America. Following this success, the industry is now targeting India as its new challenge. Following the growing influence of the Hallyu Wave in India, major Korean labels are expanding their markets. The aim is to replicate a proven K-pop framework that has been successful in other regions. Nonetheless, despite the popularity of South Korea’s soft power, it will be challenging for K-pop to establish a strong foothold in India.
Building on Fandom Culture
This is not the first time K-pop agencies have sought to expand into a new market such as India. For quite some time, the agencies have experimented with new models known as the “K-pop methodology” domestically and tried to replicate them in international markets like the US. KATSEYE is the best example of this new strategy. The new girl group born out of extensive K-pop training has emerged as the model. Following the group’s success, HYBE (record label owning the group) has also replicated the strategy in Latin America and Japan, with two groups in the making, the SANTOS BRAVOS and &TEAM respectively.
The growth of K-pop witnessed in the last decade was made possible due to the democratisation of the internet and the proliferation of K-content across major OTT platforms. This was solidified by the Covid pandemic, which familiarised Indian audiences with the Korean cultural content. While external factors have played a significant role in its popularisation, the K-pop globalisation phenomenon is a well-strategised and coordinated plan undertaken by the record labels. This shift towards international markets is mainly due to two reasons: K-pop’s decreasing popularity in Korea and the increasing demand in international markets.
As per Circle Chart’s 2025 mid-year report, the domestic consumption of music has decreased by 6.4 per cent year on year and 64 per cent since 2019. A similar pattern is seen in album sales, which have dropped from 46.7 to 42.4 million units compared to last year. These signals suggest that K-pop has reached its peak, forcing Korean agencies to look outwards.
K-pop’s entry into new markets is also driven by other factors: Saturation in traditional domestic markets and across East Asia, increasing restrictions in old markets such as China, and growing aspirations of Korean agencies. Taking these factors into account, India fits the bill. India has a vast young population with 50 per cent of its population below the age of 30, and 185 million music streaming users. Data show that the popularity of K-pop has increased by 362 per cent between 2018 and 2023. According to Spotify, Indians were the most active listeners of K-pop hubs on the platform. Additionally, the country already has a fandom, particularly among the female demographic, with an increasing number of fans among the male population.
K-Pop and India: Will the recipe work?
On September 23, HYBE Label, which manages the BTS group, released a statement announcing the establishment of HYBE India, a subsidiary based in Mumbai. The objective stated in the press release underlined their intention to “discover and nurture talented artists in India and connect them with the global audiences” through what they called a “multi-home, multi-genre” strategy. Following this development, media reports emerged that other agencies, such as JYP Entertainment and Galaxy Corp, are also eyeing entry into the Indian market, although there are no clear timelines.
In the last decade, there have been more instances of greater collaboration between the Indian and Korean pop music industries. On the one hand, Indian and Korean artists have worked with each other, and on the other, many Indians have been part of K-pop groups. However, most of these experiments have either failed or have not received the breakthrough response. Collaborations between Armaan Malik and Eric Nam, as well as those between Diljit Dosanjh and Jackson Wang, did not perform well. Similarly, Indian artists like Sriya in Blackswan and Aria in the X:IN group have achieved success entering the K-pop industry and have maintained a consistent trajectory without breaking into the top echelons.
Coming into India, the giants will have to balance between the country’s diverse cultural nuances and the K-pop authenticity (fan communication and synchronised choreography) that has attracted the fans. Ensuring the globalisation of K-pop does not lose its cultural characteristics will be a massive task. Simultaneously, the negative aspects of the K-pop regime (pressure to succeed, exploitation, rigid control, privacy concerns, scrutiny by fandom, and beauty norms) and the human toll this will have on the trainees will be another point of contention. One of the reasons for the declining popularity of K-pop in Korea is its dilution, increased international collaboration and mixed language. Following this change, many have questioned the verity of the K-pop brand. On top of this, they will also face India’s rich cultural heritage and music, which will be one of the strongest contenders.
Looking at the success of groups like KATSEYE as a template for India may be a flawed strategy. The presence of a heterogeneous target audience, a dedicated regional fanbase (across the music industry), and language barriers (primarily English) make the K-pop methodology adaptation in India more challenging. For instance, recent data showed that KATSEYE’s monthly listeners reached 33.4 million on Spotify in November 2025, compared to Arijit Singh’s 50.7 million, highlighting the appeal of Indian music irrespective of K-pop’s popularity.
At the same time, there is a silver lining in this. Similar to the OTT space, access to better foreign content compelled many local production companies and directors to produce stories that were different from the “hero-villian” template. The K-pop entry will also likely trigger a similar shift in the way popular culture is consumed in India, particularly pop music culture. For instance, many Indian pop groups that have emerged in the last few years, such as W.I.S.H., First5, and Outstation, have benefited from the K-pop fan base. The entry of K-pop will also help the local music industry. With the entry of K-pop, they will also gain better infrastructure and investment, including training and financial support, as well as a streamlined structure to the pop music scene.
Considering all the factors, it can be said that the success of both K-pop and Indi-pop groups shows that there is ample space for both to grow together.
The writer is a junior fellow with the Strategic Studies Programme at the Observer Research Foundation
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