'Chart squatting': How artists exploit the Chuseok streaming slump

Just four days. That is all it takes for a gap to open up in South Korea's music charts during this year's Chuseok holiday. The songs that loop through earphones on subway commutes, bus rides and lunch breaks go quiet when daily routines stop — and when people rest, the charts rest with them.

According to Circle Chart, operated by the Korea Music Content Association, music streaming usage fell during the Chuseok week in 2024, with the holiday itself recording the lowest consumption of the entire period.

"This is a window when 'chart squatting' becomes possible," said Kim Jin-woo, a data journalist at Circle Chart. "During major holiday breaks like Chuseok or Lunar New Year, as well as year-end periods and big sporting events like the World Cup or the Olympics, overall streaming usage typically drops — making it a prime time to move into the charts."

"Chart squatting" refers to a marketing strategy in which artists release new music during off-peak periods when major acts are less likely to drop competing tracks. There is one paradox, however: the vacancy appears, but it does not stay empty for long.

The drop in streaming during holiday breaks comes down to a shift in lifestyle rhythms. Experts say that because music consumption is heavily concentrated during commuting hours, usage naturally falls on days when people are not traveling to school or work.

"Domestic music consumption differs between weekdays and weekends, and the overall structure is commuter-driven — usage peaks during rush hours," Kim said. On weekdays, the fixed windows of travel and pre- or post-work time function as dedicated listening slots. Holidays break that rhythm entirely.

Holidays also bring a surge in in-person gatherings with family and friends, along with a spike in time spent on video content, gaming and films that people had put off. Kim describes this as "a redistribution of time that was previously spent on music toward other activities."

When overall streaming volume falls, the competitive landscape of the charts shifts as well. With the total market shrinking, a smaller influx of new listeners can produce a comparatively noticeable climb in the rankings.

Melon, South Korea's leading music streaming platform, calculates its Top 100 by combining 50 percent of usage from the past 24 hours with 50 percent from the most recent hour. Within that usage figure, streaming accounts for 40 percent and downloads for 60 percent. Daily, weekly and monthly charts follow the same 40-60 split.

When overall chart usage is low and listeners concentrate on a newly released track, that early traffic can carry greater weight in the rankings. The download component is particularly significant — concentrated purchases by a fandom or early supporters immediately after release can have a meaningful impact on chart entry.

One of the most cited examples of a successful chart-squatting move is "Eottaessseulkka" by Kim Na-young, released on Dec. 30, 2015. According to Circle Chart, the song shot up the major streaming charts immediately after its release, reaching No. 1 on Melon, Genie and other leading real-time charts the following day. The period was dominated by major-label idol groups and the soundtrack of the hit drama "Reply 1988." For Kim, who had limited mainstream recognition at the time, topping the charts was a genuine upset.

Of course, releasing a new track during an off-peak period just before a holiday does not guarantee a top-chart finish. Not everyone can walk into an empty house just because the door is open.

In practice, Kim Na-young's chart-squatting success was ignited by a vertical live performance video from Dingo Music that went viral. The clip drove the song into the top five within three hours of release, and by the following morning the video had surpassed 1 million views. It was the viral content that opened the path to the top — the chart vacancy alone was not enough.

"Two conditions must be met for chart squatting to work," Kim said. "The first is releasing a new track during a period of sharply reduced overall streaming — a chart vacuum. The second is exploding early traffic through viral marketing on digital platforms."

This year's Chuseok holiday runs for four days, with the holiday itself falling on Friday. Music consumption is likely to dip both in the days leading up to and during the break, and major new releases are expected to be relatively sparse.

The window, however, is short. The moment the holiday ends, a wave of comebacks is set to begin, and the chart-squatting opportunity will close quickly.

On Sept. 28 — the first day after the holiday — BOYNEXTDOOR, produced by Zico of Hybe subsidiary KOZ Entertainment; All Day Project from The Black Label, led by Teddy; NiziU from JYP Entertainment; and streaming powerhouse N.Flying are all scheduled to make their comebacks.

Industry insiders stress that "converting the early listeners gained during the holiday into regular listeners is what matters," adding that artists must "sustain interest in the track through videos, short-form content, live clips and SNS activity immediately after release." Even a successful chart-squatting move means little if artists cannot hold their position by drawing organic streams from listeners once the holiday is over.

When competition is fierce, major labels and established artists quickly dominate the upper rankings. But off-peak periods like holiday breaks represent an open opportunity for indie artists and overlooked gems that would otherwise struggle to break through.

"Indie artists and hidden tracks that normally cannot even crack the charts can use these traffic lulls to gain exposure at the top — a virtuous cycle of discovery," Kim said. "Listeners, too, can have the positive experience of stepping outside their usual top-star playlists and rediscovering fresh, high-quality songs they had missed. Strategic chart squatting is a useful channel for diversifying charts that are otherwise dominated by capital."