Rosé Exits Korea Music Copyright Association—Will She Become the Taylor Swift of K-Pop?

BLACKPINK’s Rosé has officially withdrawn from the Korea Music Copyright Association (KOMCA), marking the first case of its kind in 22 years since Seo Taiji in 2003. This unprecedented move could have significant implications for Korea’s music copyright landscape.

Why Did Rosé Leave KOMCA?

According to KOMCA’s ‘Deregistered Works’ list, Rosé submitted her trust termination request on October 31, 2023. Following a three-month grace period, her contract officially ended on January 31, 2024, meaning she will no longer manage her copyrights through KOMCA.

Rosé’s exit is closely tied to her global music expansion. Her hit collaboration with Bruno Mars, ‘APT.’, skyrocketed to No. 3 on the Billboard Hot 100, setting a new record for the highest-charting K-pop female soloist. The track has remained on the Billboard Hot 100 for 17 consecutive weeks, currently sitting at No. 7.

Given her increasing global reach, switching to an international copyright management system was a strategic move. A Korean music industry insider told Dispatch, "For artists like Rosé, who generate significant royalties overseas, dual fees in both Korea and the U.S. become unnecessary." One such example who sparked a global uproar and shifted the entire music industry was Taylor Swift, after removing her catalog from Spotify and Apple previously. Many recognize similarities between the two artists, suggesting Rosé as the next trailblazer in the K-pop industry.

Who Will Manage Rosé’s Copyrights Now?

Rosé’s copyrights will now be managed by an American publisher. After signing an exclusive deal with Atlantic Records under Warner Music Group in September 2023, she is expected to register with major U.S. copyright organizations such as ASCAP (American Society of Composers, Authors, and Publishers) or BMI (Broadcast Music, Inc.) for international rights management.

Similar to Seo Taiji’s Exit in 2003?

The last major KOMCA exit occurred in 2003, when Seo Taiji became the first Korean artist to withdraw. His decision stemmed from a copyright dispute over his song ‘Come Back Home’, after KOMCA authorized an unauthorized parody album. Seo Taiji publicly criticized the lack of artist control in the system, sparking widespread discussion about copyright reform in Korea.

What Does This Mean for K-Pop?

With the globalization of K-pop, more artists may opt for international copyright management, especially those with significant revenue from overseas streaming and performances. Rosé’s departure could reignite discussions about Korea’s copyright system and how K-pop artists balance domestic and international royalties.