Rose's departure from Korean copyright agency may open new path for K-pop artists

BLACKPINK member Rose performs on NBC's "The Tonight Show Starring Jimmy Fallon," Dec. 11, 2024. Captured from Rose's Instagram

By Pyo Kyung-min

• Published Feb 25, 2025 6:20 PM KST
• Updated Feb 26, 2025 1:13 PM KST

BLACKPINK's Rose has withdrawn from the Korea Music Copyright Association (KOMCA), becoming only the second artist in K-pop history to do so. The move has sparked discussions within the local music industry, particularly because her song copyrights will now be managed by a U.S. distributor.

According to KOMCA, Rose applied to terminate her copyright trust on Oct. 31, 2024, officially ending her contract with the organization on Jan. 31 after a three-month grace period. KOMCA, which represents over 50,000 members, protects copyrights and collects royalties on behalf of songwriters.

Rose's departure marks the first such case in 22 years, following singer Seo Tai-ji's exit in 2003.

Seo, widely regarded as a pioneer of K-pop, withdrew from KOMCA after the organization approved a parody version of his 1995 song "Come Back Home" without his consent. He later sued KOMCA over royalty payments, winning a partial victory, though related lawsuits that went on for 12 years.

With her withdrawal, the copyright management of Rose's songs now falls under a U.S. distributor.

While renewing their contracts for BLACKPINK group activities with YG Entertainment, the members chose different paths for their solo careers. Rose signed an exclusive contract with U.S.-based record label, Atlantic Records, under Warner Music Group in September 2024. The label oversees international copyrights through the American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music Inc. (BMI).

Since then, Rose has been focusing on the international stage. Her global hit single "APT.," featuring Bruno Mars, continues to perform strongly on the U.S. Billboard Hot 100 main singles chart, ranking seventh this week. The song debuted at No. 8 in October 2024 and climbed back to the Top 10 in early January, as Christmas songs lost popularity after the holidays.

Behind the decision

Following the announcement, Korean media reported speculations that Rose's withdrawal signals a break from the Korean music industry to focus on her U.S. career.

However, industry experts dismissed this notion, saying the change primarily affects how her earnings are processed, not her career direction.

"It simply means that her distribution details will be reported and settled through the U.S. system and it won't affect her activities in any significant way," pop culture critic Jung Min-jae told The Korea Times.

Some reports suggest that Rose's decision could be made to avoid dual fees associated with copyright registration in both Korea and the U.S.

While avoiding these fees could be a factor, transitioning to a U.S.-based copyright management system may provide a more streamlined approach for an artist with an international career.

Unlike Korea's centralized system, where KOMCA and the Korean Society of Composers, Authors and Publishers handle most music copyrights, including broadcasting, performances and streaming, the American industry employs a more decentralized approach, employing multiple organizations to manage various aspects of music rights.

In the U.S., performance rights — covering public plays of music on the radio, streaming services and live venues — are managed by organizations and licensing companies such as ASCAP, BMI, SESAC and Global Music Rights. Mechanical royalties, or payments for reproducing music on CDs, vinyl and digital downloads, are overseen by the Mechanical Licensing Collective and the Harry Fox Agency.

Meanwhile, synchronization rights, which apply to music used in films, TV shows and commercials, are typically negotiated directly between rights holders and production companies.

This system may give songwriters more detailed control over their rights, allowing for greater autonomy and flexibility, but also requires them to explore more complex licensing situations.

New options

As K-pop continues to expand its global reach, copyright management becomes an increasingly complex issue. With most K-pop artists now earning revenue from international markets, Rose’s departure from KOMCA sets a precedent, raising questions about whether the organization can keep pace with the industry’s evolving needs.

While the U.S. has long dominated the music industry, collecting fees globally for decades, Korea's music industry has only recently begun expanding its influence beyond Asia, thanks to the meteoric rise of K-pop. According to KOMCA, it collected 37.7 billion won ($26.3 million) worth of overseas royalties in 2024, a 38.1 percent increase from 27.3 billion won in 2023.

However, if KOMCA cannot efficiently manage global copyright usage and payment collection, more K-pop artists may consider switching to international agencies that offer more effective copyright management.

Critic Jung noted that the BLACKPINK singer's decision could serve as a catalyst for other Korean artists to consider similar paths, especially those with high international exposure.

"Only Rose knows the exact reasons behind the decision to leave KOMCA ... However, from an artist's perspective, factors such as settlement methods and fee structures inevitably come into play," the critic said.

"Considering these factors, Rose's withdrawal has undoubtedly set a precedent for K-pop artists pursuing international careers."