BTS' enduring success is the rarity, not the norm in the K-pop industry. — AFP pic By Malay Mail First Published: Saturday, 15 Aug 2026 1:33 PM MYT SEOUL, Aug 15 — Fewer than four in every 100 K‑pop idol groups ever manage to sell 300,000 copies of a single album, according to a new long‑term industry analysis that underscores how sharply concentrated commercial success has become despite K‑pop’s global reach.According to Korea Times, the study, published in the Journal of Korea Entertainment Industry Association by Kim Jeong‑seop of Sungshin Women’s University, examined all 1,182 idol groups that debuted between 1996 and 2025. After excluding soloists and coed acts, the dataset covered 588 girl groups and 594 boy groups — an average of nearly 40 debuts a year.Only 97 groups (8.21 per cent) surpassed 100,000 sales, the level at which a stable fandom is typically considered established. Just 42 groups (3.55 percent) crossed the 300,000‑copy threshold, widely regarded as the break‑even point for production and marketing. Nineteen groups (1.61 percent) reached the million‑seller mark.At the very top, only eight acts — BTS, Seventeen, Stray Kids, EXO, TWICE, NCT, Tomorrow X Together and ENHYPEN — have exceeded 10 million cumulative album sales, representing just 0.68 percent of all groups analyzed.The study also found steep attrition rates. Idol groups remain active for an average of 4.12 years, well short of the seven‑year standard contract cycle. While 88 percent of groups are still active one year after debut, the figure drops to 55 percent by year three and just 18 percent by year ten. Roughly 82 percent disband within a decade.Boy groups tend to last longer — 5.11 years on average — compared with 3.13 years for girl groups. The report attributes this to stronger repeat purchasing patterns among boy‑group fandoms, while girl groups rely more on general public recognition, streaming, and event bookings.Debut timing also played a role. Groups launched between 2006 and 2010 showed the highest survival rates, benefiting from a stable digital music market and rising fan spending before competition intensified in the 2010s.Kim called for structural reforms to support smaller agencies, including long‑term development systems, shared facilities, and re‑entry pathways for acts that fail to gain traction early.