HYBE may have found an unexpected new way to grow K-pop’s global audience.
The company’s video podcast channel, STAN, has quickly emerged as one of Spotify’s most successful music podcast launches, reaching No. 1 on Spotify’s Music Podcast charts in several major markets—including the United States—just two months after debuting.
According to HYBE, STAN reached No. 1 in Germany on May 5, the United States on May 8, the United Kingdom on May 10, and Australia on May 22. The channel also entered Spotify’s Top Podcast rankings in multiple countries, including Canada, France, Italy, the Netherlands, Ireland, India, Indonesia, and the Philippines.
The achievement is notable not only because STAN is a Korean-language podcast, but because it appears to be attracting viewers who weren’t previously engaged with K-pop.
Beyond the Existing Fandom
Launched in March through a partnership between HYBE and Spotify, STAN was designed to introduce K-pop to broader audiences through video podcast content rather than traditional music promotion.
Instead of focusing solely on artist interviews or fan-oriented programming, the channel blends storytelling, entertainment, and music discussion in an effort to attract viewers who may not already be familiar with K-pop acts.
One of STAN’s flagship programs, The Blood Diary, is hosted by ENHYPEN and features a vampire-themed mystery storyline. According to HYBE, a significant portion of the show’s audience had never previously listened to ENHYPEN’s music.
Spotify also reported that after the launch of STAN, users who had not previously streamed ENHYPEN began consuming the group’s music at significantly higher rates.
In other words, the podcast isn’t simply serving existing fans. It is introducing new audiences to K-pop artists and converting viewers into listeners.
Why Video Podcasts Matter
The success of STAN comes as video podcasts continue to grow across streaming platforms.
While podcasts were traditionally audio-only experiences, platforms like Spotify have increasingly invested in video content as audiences seek more interactive and visually engaging formats.
According to HYBE, more than 95% of STAN consumption occurs through video rather than audio-only listening, highlighting strong demand for visual podcast experiences.
The company believes that format has helped make K-pop more approachable for international audiences who may not be actively searching for Korean music but are willing to engage with compelling entertainment content.
Two Shows, Two Approaches
STAN currently operates with two flagship programs.
The first, The Blood Diary, combines mystery, horror, and thriller elements with K-pop personalities. The series has performed particularly well internationally, entering Spotify’s Top Episode rankings across multiple countries including the United Kingdom, France, Australia, India, Indonesia, and the Philippines.
Episodes one, three, and four each surpassed one million views within ten days of release, while the premiere episode generated nearly 1,500 comments from viewers.
The second program, Music Commentary, takes a different approach by exploring music through unexpected topics such as sports, science, and everyday culture. The show has also found international traction, reaching Spotify’s Top Episode charts in both the United Kingdom and India.
A New Growth Strategy for K-Pop
The success of STAN may signal a broader shift in how K-pop companies approach global expansion.
For years, international growth largely depended on music releases, concerts, and social media engagement. Increasingly, however, entertainment companies are investing in original content that can attract audiences before introducing them to artists.
Rather than asking people to become fans first, STAN attempts to win audiences through storytelling and entertainment, then guide them toward the music.
That distinction may explain why the channel has been able to find success outside traditional K-pop fandom circles.
As competition for global attention continues to intensify, STAN suggests that the next stage of K-pop’s expansion may involve more than music alone. It may depend on creating content that can stand on its own, bringing new audiences into the ecosystem before they ever press play on a song.
