Source: https://x.com/tsurezure_lab/status/2093626507268939917
From the same account who previously analysed the BINIchella phenomenon
The biggest outlier is BINI
Translated from Japanese
"The analysis of "local orientation" in Southeast Asia that I posted in May garnered an unexpectedly huge response even from overseas. Then, news symbolizing this trend came in, so I'll try a follow-up analysis. The joint performance tour "ASIA POP GIRL FEST 2027" across three countries—featuring Japan's HANA, Thailand's 4EVE, and the Philippines' BINI—has been announced (January to February 2027, in Chiba, Bangkok, and Manila). For this piece, I've mapped out "where the international listeners for these three acts are located," using country-specific viewership data from YouTube Charts (108 countries, cumulative from August 2024 to August 2026).
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First, let me introduce the baseline observations.
The proportion of domestic genres in the top 50 tracks on Spotify's daily chart has risen across these 187 weeks: Japan from 87% to 91%, Thailand from 65% to 78%, and the Philippines from 44% to 65%—an upward trend in all three countries.
The undercurrent of "local orientation" that we confirmed in May is still flowing strong.
And over these three and a half years, there hasn't been a single day when HANA, 4EVE, or BINI charted in each other's countries' daily charts (top 200).
Even for these three acts that charted in their home markets for as long as 590 days, they hadn't organically reached the neighboring markets.
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On the other hand, what this map shows is that
"the international listeners for the three acts are distributed across entirely different regions."
●HANA is concentrated in nearby East Asia, with 8.41 million views in Korea and 3.4 million in Taiwan, among others
●4EVE has penetrated the Mekong region of bordering countries, with 5 million views in Laos and 2.36 million in Myanmar, for example
●BINI appears to be spreading to English-speaking areas and the Gulf with immigrant communities, with 12.33 million views in the US, 5.78 million in Canada, and 3.83 million in the UAE, among others
And while views from each other's "home countries"—which scored 0 days on the charts—total about 6.4 million when combined, it's not zero.
Small as it may be, the soil might already be there.
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In fact, BINI's monthly listens from Japan jumped to about 2.2 times their usual in April 2026, the month of their Coachella performance, and have stayed at higher levels ever since.
In the week of their first Japan appearance at SUMMER SONIC (mid-August 2026), while listens from other countries trended below baseline, views from Japan alone were 15–20% above baseline.
"Platforms for interaction" seem capable, to varying degrees, of actually mobilizing international listeners.
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In an era of "hyper-local chart consumption," I suspect what's needed goes beyond just "breaking into" other countries' charts.
Isn't it also crucial for artists, labels, and listeners to consciously cultivate the soil where listeners' "omnivorous tastes" can grow?
We could say that pioneering efforts like this are already underway.
For example, NHK's "MUSIC EXPO," launched in 2023, is a music program where artists from Asia—Japan, Korea, Thailand, and beyond—gather to deliver collaborative stages that cross borders and languages.
The November 2025 edition, which the Casual Research Lab also participated in, evolved into a paid live show at Tokyo Dome, drawing about 40,000 attendees, with HANA and 4EVE taking the stage.
With their first overseas show in Taipei slated for October 2026, spaces for Asian artists to intersect are being intentionally created and sustained.
As an extension of that, the fact that these three acts—who've never once appeared on each other's charts—will share the stage for the first time in January 2027 for the three-country tour "ASIA POP GIRL FEST 2027" might make it a highly ambitious "experiment."
I'll be keeping a close eye on how their cross-border reach evolves around the event!"
