Southeast Asia’s Social Media Surge Redefines K-Pop’s Global Reach

In the ever-evolving world of K-pop, Southeast Asia has emerged as a powerhouse, not just for talent but as a digital engine driving the genre’s global expansion. With over 630 million people, booming economies, and unparalleled social media engagement, the region is reshaping how K-pop connects with the world. From Thai superstar Lalisa Manoban—better known as Lisa of Blackpink—to emerging idols from Indonesia, Vietnam, and the Philippines, Southeast Asia’s influence is undeniable. But it’s not just about star power; it’s about the numbers, the trends, and the viral platforms like TikTok that amplify K-pop’s reach far beyond Asia’s borders.

A Digital Powerhouse Fueling K-Pop’s Growth

Southeast Asia’s economic ascent, with a combined GDP growth of 4 to 5 percent annually, has created a fertile ground for cultural consumption. This, paired with the region’s hyper-connected digital landscape, has turned countries like Thailand, Indonesia, and Vietnam into key markets for K-pop. Social media engagement with the genre here outstrips global averages, with TikTok emerging as a critical platform for viral trends. As music critic Lim Hee-yun noted, “When something goes viral on TikTok in Southeast Asia, it often spreads beyond Asia.” This phenomenon has not gone unnoticed by K-pop agencies, which rely heavily on data analytics to track and harness these trends.

A striking example is the Korean indie band Wave to Earth, which struggled for recognition at home but exploded in popularity after going viral in Thailand. Today, they boast more Spotify followers than some of K-pop’s biggest names, like IU, and are on a world tour. Such stories underline Southeast Asia’s role as a launchpad for global success. According to TikTok’s annual reports, K-pop dominated the platform’s charts in 2023 and 2024, with acts like Blackpink, BTS, and NewJeans claiming top spots among the most popular global artists. A 2024 joint study by TikTok and Kantar further revealed that users in Indonesia, Thailand, and Vietnam spend significantly more on Korean cultural products than non-users, with Indonesians leading in streaming hours and daily K-pop consumption.

Thailand’s Trailblazers: Lisa and Beyond

At the forefront of Southeast Asia’s K-pop wave is Thailand, a country that has produced some of the industry’s most iconic figures. Blackpink’s Lisa, who debuted under YG Entertainment in 2016, stands as a global symbol of this trend. With over 105 million Instagram followers—earning her a Guinness World Record as the most-followed K-pop artist—she has shattered barriers, becoming the first K-pop singer to perform at the Academy Awards in Hollywood on 2 March 2025. Her success has not only elevated her own profile but also inspired a generation of Thai trainees eager to follow in her footsteps.

“Trainees always have role models, and in Thailand, there are already many successful cases—especially Lisa, a powerful example,” a YG Entertainment official recently explained. The agency has continued to tap into this talent pool, debuting Thai idols Pharita and Chiquita in the group Baby Monster. Other Thai stars, such as Natty of Kiss of Life, Minnie of (G)I-dle, and Ten of NCT, have also made their mark, with Ten becoming the first Thai artist to debut under SM Entertainment, one of K-pop’s “Big Four” agencies.

Indonesia: A Market of Untapped Potential

While Thailand has long been a K-pop stronghold, Indonesia is rapidly catching up as a market of immense potential. With a population of 270 million—making it the world’s fourth most populous country—and a third of its citizens aged between 10 and 29, the demand for K-pop content is staggering. Jakarta has become a must-stop destination for K-pop world tours, often alongside Bangkok, and the country ranked third in Korean music imports in 2024, behind only Japan and Taiwan, according to Luminate’s Year-End Music Report.

Yet, despite this appetite, Indonesia has produced relatively few K-pop idols compared to Thailand. That may be changing with the debut of Carmen, an Indonesian member of Hearts2Hearts under SM Entertainment, marking her as the first from her country to join a “Big Four” agency. While some speculate that her inclusion was a calculated move to penetrate the Indonesian market, SM Entertainment insists it was purely about her vocal fit for the group. “Her nationality was not a factor,” an official clarified. Still, Carmen joins a small but growing roster of Indonesian idols, including Dita of Secret Number and Kim of VVUP, signaling a shift toward greater representation.

Vietnam and the Philippines: Emerging Talent Hubs

Vietnam and the Philippines are also carving out their own spaces in the K-pop landscape. NewJeans’ Hanni, a Vietnamese-Australian idol, has become a prominent figure, though her dual nationality somewhat obscures her representation of Vietnam. More recently, male Vietnamese idols like Hanbin of Tempest and Kien of ARrC, who debuted in 2022 and 2024 respectively, have begun to make waves. In the Philippines, the rookie girl group UNIS introduced Elisia and Gehlee in March 2024, with Elisia breaking ground as the first foreign winner of a K-pop TV audition program, “My Teenage Girl.” Their popularity has already translated into sold-out concerts in Manila and Cebu, hinting at the Philippines’ growing influence.

The Strategic Shift of K-Pop Agencies

K-pop agencies, once focused on markets like China and Japan, are now pivoting to Southeast Asia, recognizing the region’s dual value as a talent reservoir and a consumer base. This shift is not merely opportunistic; it may be essential for the industry’s sustained growth. As digital platforms like TikTok continue to amplify Southeast Asian voices, the region’s fans are not just passive consumers but active creators, shaping trends that reverberate globally. A TikTok Korea official highlighted this dynamic, noting that 31 percent of Indonesian TikTok users consume K-pop daily—2.3 times more than non-users—underscoring their role in accelerating the genre’s reach.

However, questions remain about the long-term implications of this trend. If agencies increasingly prioritize Southeast Asian markets, could this reshape the sound or identity of K-pop itself? Some industry observers suggest that integrating diverse cultural influences might lead to innovative sub-genres or hybrid styles, though such speculation remains unconfirmed. What is clear is that Southeast Asia’s social media power and economic clout are redefining K-pop’s trajectory, positioning the region as a linchpin of the industry’s future.

A Cultural Exchange with Global Impact

Beyond the charts and streaming numbers, Southeast Asia’s role in K-pop represents a broader cultural exchange. Idols like Lisa and Carmen are not just ambassadors of their countries; they are bridges between Korean entertainment and global audiences, embodying the borderless nature of digital culture. For fans in Bangkok, Jakarta, or Ho Chi Minh City, seeing their compatriots on the world stage fosters a sense of pride and connection, further fueling engagement.

As K-pop continues to evolve, Southeast Asia stands at the heart of its next chapter. The region’s digital savvy, youthful demographics, and passionate fanbase are not just supporting the industry—they are steering it. From viral TikTok challenges to sold-out arenas, the message is clear: Southeast Asia is no longer just a market for K-pop; it is a vital force shaping its global destiny.