In a move that has drawn significant attention within the music industry, BLACKPINK’s Rosé has reportedly withdrawn from the Korean Music Copyright Association (KOMCA) due to growing frustrations with the unfair distribution of revenue from music streaming platforms in South Korea.
Industry insiders reveal that this decision stems from systemic issues in how streaming profits are allocated, with songwriters in Korea receiving a disproportionately small share compared to their counterparts in other major music markets such as the United States, the United Kingdom, and Germany.
According to recent reports, Korean songwriters are allocated only about 10.5% of the total revenue generated from streaming, which is notably lower than the 12.3% given in the U.S., 16% in the U.K., and 15% in Germany.
This discrepancy is exacerbated by the fact that domestic streaming platforms like Melon take a significantly larger cut of the profits, around 35%, whereas platforms in other countries typically take about 30%.
While these figures show some improvement from over a decade ago—when Melon claimed over 57% of revenue and songwriters received merely 5%—the distribution remains heavily skewed against the creators of the music.
Experts point to the involvement of numerous ‘middlemen’ in the revenue distribution chain as a major problem.
In South Korea, the streaming income must first be distributed to multiple copyright management organizations and various rights holders before songwriters actually receive their share.
This contrasts with practices in other countries, where revenue is often split mainly between the artist and their publisher, allowing artists to retain a much larger portion of the profits.
In Korea, mandatory ‘management fees’ paid to agencies and companies further reduce the amount that songwriters ultimately receive, sometimes by a substantial margin.
For Rosé, who generates revenue from both domestic and international markets, the financial impact is even more significant.
She must pay fees to both an international music publisher and a domestic publisher, meaning that up to 30% of her potential earnings are lost to management fees alone.
This situation has reportedly been a decisive factor in her choice to leave KOMCA, highlighting the broader dissatisfaction among Korean artists and composers regarding current copyright and revenue distribution systems.
Rosé’s withdrawal sheds light on a larger conversation about reforming Korea’s music industry to ensure fairer compensation for creators and artists.
It also raises awareness of the challenges faced by songwriters who contribute significantly to the global popularity of K-pop but often receive a fraction of the revenue generated by their work.
The industry, fans, and policymakers alike are watching closely to see how this issue will unfold and whether changes will be made to support artists like Rosé in the future.
