BLACKPINK’s Rosé recently made headlines for withdrawing from the Korean Music Copyright Association (KOMCA), and experts say the reason lies in the country’s outdated royalty system that underpays artists.
KOMCA reported that only about 10.5% of streaming revenue in Korea reaches songwriters and copyright holders. This is lower than in countries like the U.S. (12.3%) and the U.K. (16%). Meanwhile, Korean streaming services like Melon keep around 35% of the revenue, which is higher than the global average of less than 30%.
One key problem is the many middlemen involved in Korea’s system. Revenue has to pass through several groups — including distributors and copyright organizations — each taking a cut before the artist receives their share. In contrast, many international artists deal directly with one publisher, making the system simpler and more beneficial for creators.
Experts believe this complex system caused Rosé to leave KOMCA. Because her music earns income overseas, she faces double fees: paying both international publishers and Korean copyright groups. This can cut her earnings significantly. While direct deals with platforms like Apple Music could give her 100% of her revenue, using Korea’s channels may reduce it to just 60-70%.
Rosé’s withdrawal is historic — she is the first Korean artist to leave KOMCA since Seo Taiji did so in 2002. Rosé applied to terminate her contract in October 2024, and it officially ended in January 2025.
This move highlights growing concerns over how Korean artists are compensated and may push for changes in the country’s royalty distribution system.
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