BTS. Image: Big Hit Music via The Korea Herald/Asia News Network
K-pop is a hot topic on Twitter. The social network revealed that 7.5 billion tweets about the topic were posted in one year across its platform — a phenomenon that is getting bigger every year.
With a new record for number of tweets with the hashtag #KpopTwitter, the Korean pop fan community is only growing more powerful online. Twitter listed down on its blog the top 20 countries where fans talk about their passion online the most and those with the largest number of fans on Twitter.
In 2020, Indonesia was already dominating the top 20 countries where people were talking about this kind of music on Twitter. The Philippines gained two places at the expense of Thailand, which dropped to third place, thus making South Korea fall off the podium!
However, little changes in the top 20 in terms of the countries with the largest number of K-pop fans on Twitter. While Indonesia remains the country with the most Korean pop fans, Japan nearly catches up with second place while France gains two places to reach 14th.
Concerning the most mentioned artists, it is no surprise that the legendary group BTS takes first place, which it already held in 2020, followed by NCT and female group Blackpink.
Here are the top 20 countries by volume of tweets with the hashtag #KpopTwitter 2020 to 2021:
1. Indonesia
2. Philippines
3. Thailand
4. South Korea
5. United States
6. Brazil
7. Malaysia
8. Mexico
9. Japan
10. India
11. Argentina
12. Peru
13. United Kingdom
14. Vietnam
15. Turkey
16. France
17. Chile
18. Canada
19. Saudi Arabia
20. Singapore
Here are the top 20 countries with the most K-pop fans on Twitter:
1. Indonesia
2. Japan
3. Philippines
4. South Korea
5. United States
6. Brazil
7. Thailand
8. Mexico
9. Malaysia
10. India
11. Turkey
12. Argentina
13. United Kingdom
14. France
15. Spain
16. Saudi Arabia
17. Canada
18. Vietnam
19. Peru
20. Colombia
IB
RELATED STORIES:
K-pop idol Ten all set to release solo song ‘Paint Me Naked’ this August
BTS: ‘We want to help future generation with public role’