In the week following the release of ENHYPEN’s BORDER : CARNIVAL on April 26, the new album saw a daily average of 440,224 listeners globally on streaming service Spotify. The average daily listeners for BORDER : DAY ONE, their debut album, was 198,435 for the week following its release on November 30. During each of their respective launch weeks, the total number of streams for CARNIVAL and DAY ONE reached 17,885,580 and 10,273,040 respectively, showing a 121.9% increase in the number of daily listeners and 74.1% more streams. We can speculate more about the significance of this growth by looking at physical album sales in this initial period: CARNIVAL had sold 384,699 physical copies in South Korea one week after its release—outselling DAY ONE by 36.9% and making it the 31st best-selling initial release as of May 6. The album also topped the weekly Oricon chart in Japan and reached ninth place on the Billboard World Albums chart in the US. As the number of listeners increased, so too did the number of albums sold.
ENHYPEN rose to number one on a music show for the first time on Tuesday, taking first place on SBS MTV’s The Show with their new single “Drunk-Dazed,” while #ENHYPEN1stWin was the top trend worldwide on Twitter. It’s difficult to say for sure just how popular the boys are after becoming the world’s top trending topic on Twitter just the one time, but seeing as they were trending at the same time as streams and album sales were growing, it’s only natural to be curious about the correlation between them all. That day, #ENHYPEN1stWin trended at first place in Korea, second in Japan, third in the US, and within the top 50 in 30 other countries. ENHYPEN has a strong enough fanbase in Korea, the US and Japan—the largest markets for the K-pop industry—for their music show win to claim the top spot on Twitter’s trend charts. It’s highly likely that this is a reflection of increased global music consumption and sales of ENHYPEN’s latest album. In that sense, ENHYPEN’s success with BORDER : CARNIVAL is as exceptional as it is ideal. Even now, when it has become the norm for popular K-pop idols to enjoy international fame, it’s rare that a group should see such meaningful music sales in their three biggest markets just two albums in and five months after their debut; for that same achievement to be accompanied by increased streaming figures and social media mentions is all the better.
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