K-pop acts dominate Billboard World Albums chart with Stray Kids, EVAN, ENHYPEN, CORTIS, ILLIT, TUIDE, BTS, LE SSERAFIM, ATEEZ leading

KUALA LUMPUR, 5 OCTOBER 2026 —

K-pop Dominates Billboard’s Global Charts as Stray Kids Extend Reign, Soloist EVAN and Established Acts Sustain Momentum

Stray Kids’ latest mini album THIS & THAT has cemented its place as the undisputed leader of global music consumption, claiming its sixth non-consecutive week atop Billboard’s World Albums chart for the week ending October 3.

The album’s sustained dominance underscores the shifting dynamics of the K-pop industry, where solo artists and established groups alike are reshaping international music trends—with Malaysia’s growing K-pop fanbase and thriving digital music market serving as a key regional battleground for streaming and sales.

The chart’s composition reveals a landscape where both solo careers and group albums thrive, reflecting the industry’s evolution beyond traditional K-pop idols. While Stray Kids’ THIS & THAT remains the anchor, the presence of soloist EVAN (Heeseung) at No. 2 with his debut mini album DEATH OF ME—which also cracked the Billboard 200—signals a broader trend of solo artists leveraging their individual brands to achieve mainstream success.

Meanwhile, legacy acts like BTS continue to exert influence, with three albums still active on the chart after years of dominance, proving that K-pop’s global appeal endures long after initial releases.

Stray Kids’ Dual Dominance THIS & THAT not only retained its No. 1 spot on the World Albums chart but also marked its seventh consecutive week on the Billboard 200, where it currently sits at No. 34. The album’s longevity—now in its sixth non-consecutive week at the top—demonstrates its resilience in a competitive market, where K-pop albums typically see shorter peak performances.

Separately, Stray Kids’ upcoming 2025 album KARMA re-entered the World Albums chart at No. 25, extending its total chart tenure to 54 weeks, a testament to the group’s ability to sustain fan engagement across multiple projects.

Soloist EVAN’s Breakout EVAN (Heeseung) of SEVENTEEN made a significant impact with DEATH OF ME, his first solo mini album, which jumped to No. 2 on the World Albums chart in its third week. The album also debuted within the top 50 of the Billboard 200, a rare achievement for a K-pop soloist and one that aligns with the rising trend of members branching out independently.

EVAN’s ascent highlights the strategic importance of solo ventures for groups looking to diversify their revenue streams and fanbases.

Established Groups Maintain Presence ENHYPEN’s latest release, THE SIN: BLISS, held steady at No. 4 in its fifth week, while its placement at No. 196 on the Billboard 200 underscores the challenges of sustaining U.S. chart relevance without a major promotional push.

CORTIS, another rising act, saw its EP GREENGREEN at No. 5 in its 21st week, with their debut EP COLOR OUTSIDE THE LINES lingering at No. 8 after 55 weeks—a rare feat for a K-pop group’s second release.

ILLIT’s MAMIHLAPINATAPAI remained at No. 7 in its 21st week, while TUIDE’s debut EP TUNE & PLAY entered the chart at No. 9 in its second week, signaling the emergence of newer acts in the global K-pop ecosystem.

BTS’s Enduring Legacy BTS continued its multi-album dominance, with Proof at No. 11 (224 weeks on the chart), Map of the Soul: 7 ~The Journey~ at No. 15 (47 weeks), and Love Yourself: Answer at No. 16 (204 weeks). The group’s ability to maintain chart presence years after release reflects its unparalleled global influence, particularly in markets like Malaysia, where BTS remains a cultural touchstone.

LE SSERAFIM’s PUREFLOW held at No. 12 in its 18th week, while ATEEZ’s GOLDEN HOUR: Part.5 was at No. 14 in its 13th week, further illustrating the sustained interest in third-generation K-pop groups. aespa’s LEMONADE remained at No. 17 in its 17th week, and NewJeans’ Get Up closed out the top 20 at No. 20 in its 159th week, proving that even fourth-wave acts can achieve prolonged chart success.

Malaysia’s Role in K-pop’s Global Expansion The Billboard World Albums chart’s composition aligns with Malaysia’s status as a key market for K-pop consumption. Local streaming platforms and fan communities have driven demand for both established and emerging acts, with Stray Kids, BTS, and NewJeans frequently topping Malaysian music charts. The success of soloists like EVAN also resonates locally, where fans increasingly support individual member projects alongside group releases.

Industry observers note that Malaysia’s digital-first music consumption habits—fueled by platforms like Spotify, Apple Music, and local K-pop fan sites—have accelerated the adoption of global K-pop trends, making the country a bellwether for the genre’s regional and international trajectory.

The chart’s latest rankings suggest that K-pop’s global appeal is not only sustained but expanding, with solo careers and newer groups gaining traction alongside veteran acts. For Malaysia’s music industry, this trend presents both opportunities and challenges, as local artists and labels navigate a competitive landscape where international K-pop dominance continues unabated.

The next phase of the industry’s evolution will likely hinge on how these global acts adapt to shifting fan behaviors and regional market dynamics—particularly in Southeast Asia, where Malaysia remains a pivotal player.