IFPI Asia Chief Highlights K-Pops Global Reach and AIs Role in Protecting Music Rights

On July 7, Mira Chatt, the International Federation of the Phonographic Industry’s (IFPI) Regional Director for Asia, delivered a briefing that underscored how Korean pop music has become a global language of its own. Arriving in Seoul the day before for a week‑long tour of industry and government officials, Chatt outlined the decades‑long investment that has turned K‑Pop into a worldwide phenomenon.

Chatt pointed to the IFPI’s 2025 Global Album Sales Chart, where 15 of the top 20 albums are Korean releases, and highlighted 2024’s single “APT.” by Blackpink’s Rosé, which topped the IFPI Global Single Chart as the first non‑English track to do so. She noted that the appetite for local sounds now spreads across Asia, from India to Thailand and Vietnam, and that the region’s music ecosystems are expanding beyond traditional borders.

With roughly 8,000 members that include record labels worldwide, the IFPI publishes data that the industry cites for market analysis. Chatt was appointed to head the organization’s Asian operations in September 2025 after a career that spanned Canadian diplomacy and a role as head of government affairs and public policy for YouTube India.

"Fans aren’t looking for a homogenised, generic experience. They want local authenticity," Chatt said. She added that India’s film‑music heritage is now complemented by a growing independent music scene and international collaborations, while Southeast Asian markets such as Thailand and Vietnam are producing notable pop acts that command global attention.

Turning to technology, Chatt discussed the growing influence of artificial intelligence in music. She explained that licensing is already in motion, with new partnerships and agreements signed between AI companies and music rights holders. The IFPI is working to keep innovation on a level playing field, ensuring that creators and technology firms can grow together.

"We want to make sure that AI innovation for music remains a fair and open field, allowing both sides to thrive," she said. Chatt emphasized that listeners expect transparency about when AI is used and that record‑keeping and copyright frameworks must evolve to keep pace.

In 2025 the IFPI launched the Official Southeast Asia Charts, covering Indonesia, Malaysia, the Philippines, Singapore, Thailand, and Vietnam. These charts, built on data from BMAT, reflect the most streamed songs in each country and illustrate the region’s dynamic listening habits.

Chatt cautioned that prioritising innovation over human creativity could become a crisis for the industry. "If we find ourselves at a moment anywhere in the world where innovation is being prioritised over human creativity, that would be a crisis of conscience for our industry," she warned.

The IFPI’s Asia office is based in Singapore, where Chatt will relocate in 2026. The organisation continues to engage with governments to shape policies that support both technological advancement and the protection of creators’ rights.

In summary, Chatt’s remarks reaffirm that K‑Pop’s worldwide success is part of a broader trend of Asian music gaining global attention, that local sounds are increasingly consumed worldwide, and that AI technology must be integrated with robust copyright frameworks to safeguard human artistry.

The IFPI is monitoring AI licensing agreements and working with industry stakeholders to maintain a balance between innovation and creative rights. No further developments have been announced at this time.