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These artists succeed partly because they transcend the language barriers we identified—either through English dominance or, in K-pop's case, through production styles that work across languages. British, Canadian, and Australian artists benefit from the same English-language algorithmic advantage.

either

streams per region, then ranked by median

Zero—not a s

what

Finally, for every country we calculated the percentage of chart positions occupied by "local" artists (from the home country) versus "foreign" artists (from other countries). By comparing these numbers, we could rank countries by their support for local music. We could also see what kinds of music people prefer from outside their own borders.

zero percent

—not a single local artist in their Top 200—

In fortress markets like India or Italy, local artists thrive with 80%+ dominance. But in smaller markets without linguistic barriers or critical mass, these same global hits completely saturate playlists. Costa Rica's zero percent shows the extreme—not a single local artist in their Top 200. The algorithms don't universally crush local scenes; they amplify whatever pattern already exists, creating winner-take-all dynamics where strong get stronger and weak disappear entirely.

Similarly, legendary artists like The Beatles or Bob Dylan might have lasting cultural impact but don't appear here because they lack consistent streaming presence across all seven global regions today.

Bad Bunny, despite earning the highest total streams globally, doesn't make the top 20 for worldwide consistency.

through

what we listen to"

consumption respectively

But

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But several countries prove this isn't destiny. Notable exceptions: The United States maintains 79% local chart dominance despite 1.5 billion English speakers worldwide (market power). Mexico achieves 58% local share with 560 million Spanish speakers (regional dominance). These exceptions show that market size, cultural identity, and local music infrastructure can override linguistic competition.

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imports

K-pop's calculated global expansion shows in the data. Korean artists command 36% of Taiwan's streaming charts, 29% of Hong Kong's, and appear in the top 5 for 20 countries globally. K-pop has become the second most successful non-English music export after Latin reggaeton.

Despite just 3.2 million residents, this Caribbean island punches astronomically above its weight. Puerto Rican artists claim 38% of El Salvador's charts, 38% of Venezuela's, 35% of Honduras', 33% of Costa Rica's, and even 30% of Spain's—dominating both sides of the Atlantic through reggaeton's unstoppable rise.

The US maintains 79% domestic dominance while conquering the world—a rare double victory.

US

A handful of countries dominate global playlists far beyond their borders. The United States leads this exclusive club, with American artists commanding 20-50% of streaming charts in dozens of countries. But the U.S. isn't alone—South Korea exports K-pop worldwide, Puerto Rico dominates Latin America with reggaeton, and the UK still punches above its weight in English-speaking markets. These nations don't just produce music; they shape global taste.

The data reveals a fascinating global music ecosystem where nations play distinctly different roles. Some countries export their artists worldwide, others import almost everything they listen to, while a select few maintain strong domestic music scenes. This detailed breakdown shows exactly who listens to whom:

Shocking cultural reversals expose national myths: The UK streams more American (55%) than British (29%) music. Pakistan streams more Indian (55%) than Pakistani (26%) despite tensions. Portugal imports more from Brazil (31%) than plays Portuguese (20%).

American music appears in the top 5 of 70 out of 73 countries—achieving unprecedented cultural reach while maintaining 79% domestic chart dominance, the ultimate double victory.

Puerto Rican artists achieve extraordinary reach across Latin America despite the island's small population of 3.2 million—Puerto Rican artists capture 38% of El Salvador, 35% of Honduras, 30% of Spain, while even conquering reggaeton's supposed birthplace, Panama.

The same 20 artists dominate charts across most global markets—from Billie Eilish to Bruno Mars, creating a uniform "global playlist" that sounds remarkably similar whether you're in Seoul, São Paulo, or Stockholm.

The fewer people who speak your language globally, the more you listen to local music. Countries with linguistically "isolated" languages like Finnish, Vietnamese, or Italian see 70-85% local artist dominance on their charts. Meanwhile, English-speaking nations struggle: Irish artists account for only 9% in their home country, in New Zealand it is only 1%, and in Costa Rica there are absolutely no local artists in the top 200.

Costa Rica stands alone as the only country with absolutely zero local artists in its Top 200—not a single Costa Rican artist appears on their own charts, completely erased by Puerto Rican (33%) and Colombian (28%) imports.

In 36 of 73 countries, local artists capture less than 30% of the national charts—and most stream more music from a single foreign nation than from all their own artists combined. This represents nearly half of all countries studied, revealing widespread cultural colonization through streaming.

To answer this question, music education company Skoove and data experts DataPulse Research analyzed Spotify's Top 200 weekly charts across 73 countries for over a year, tracking whether each nation streams its own artists or international acts. This revealed how much each nation's Top 200 features its own artists versus international acts.

Spotify showdown: Which countries stream local artists the most

Music carries the essence of a nation's culture. When local artists gain traction, they become sources of community pride. Yet streaming data reveals a striking divide: while India overwhelmingly supports homegrown talent, other countries flood their charts with international hits. Why do some nations fiercely protect their musical identity while others embrace global sounds?

Our analysis of algorithmic influence shows how these feedback loops can amplify existing dominance patterns.

achieve

analyzed

Of course, some artists from non-English-speaking countries record in English too — but the lack of a language barrier, combined with the sheer global reach of the American music industry, gives US acts a natural advantage in English-speaking markets like the UK.

British artists must compete not just locally, but against the full arsenal of American pop culture — from TikTok algorithms favoring US hits to the nonstop flood of US releases. In non-English speaking countries, language can act as a natural buffer for local talent. In the UK, that protection doesn't exist. Scholars like Robert Phillipson have long argued that the dominance of English reinforces cultural hierarchies — a dynamic clearly reflected in Britain's charts.

Nearly every major European country gives more chart presence to their domestic artists than the UK. Spain, with just 28% for local artists, comes closest to Britain's low levels. However, Spain imports most of its music from Puerto Rico (30%) rather than from the USA (7.5%), unlike Britain. Meanwhile, musical powerhouses like Sweden—home to ABBA and modern pop architects Max Martin—maintain a majority share for their domestic artists despite massive international success.

Czech Republic

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which effectively measures

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Yet the same openness that leaves Britain exposed to American influence also positions it as a global cultural laboratory. The real question is whether the UK music industry can channel that internationalism to reinvigorate its local scene — rather than dilute it.

The so-called British Invasion of the 1960s didn't succeed by mimicking American music, but by offering something unmistakably British that the world hadn't heard before.

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prioritize

single

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centers

favor

ranking in domestic music support globally.

US

between Stormzy and Kendrick Lamar, between Ed Sheeran and Post Malone.

architects

neighbors

Our data paints a stark picture: Britain ranks 39th out of 73 countries in support for domestic artists, while simultaneously ranking 5th globally in its preference for American music. To put this in perspective, UK artists capture a smaller share of their home country's charts than local artists do in Hungary, Czech Republic, or even tiny Iceland. It's a remarkable fall from grace for a nation whose musical exports once sparked a cultural revolution worldwide.

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behavior

Genre preferences trump geographic loyalty. Artists find their biggest audiences not necessarily where they're from, but where their sound resonates culturally. Country music thrives in country markets, hip-hop in hip-hop cities — regardless of the artist's hometown. California's dominance isn't just about having great artists; it's about having artists whose genres align with local tastes.

Even Texas — with its vibrant music scene — shows only modest hometown support (4-6% for local artists). Despite having acts like Beyoncé, Travis Scott, and Megan Thee Stallion, Texas cities stream California artists at far higher rates than their own.

Here's where the story gets surprising: While American artists capture 78.8% of national charts, most U.S. cities barely listen to their own state's artists at all. Chicago—home of Kanye, Chance the Rapper, and house music—gives just 0.2% of chart positions to Illinois artists. Detroit, which gave the world Motown and Eminem, matches that with 0.2% for Michigan artists. Even New Orleans, the birthplace of jazz, devotes only 0.4% to Louisiana talent. The stunning exception? California. Every single California city analyzed lands in the top 5 nationally, with Los Angeles streaming 28% California artists—that's 138 times more hometown loyalty than Chicago. The reason is simple: California doesn't just produce artists, it produces global megastars like Kendrick Lamar, Billie Eilish, and Tyler, The Creator who dominate both worldwide and at home. The chart below reveals which cities actually support their home-state artists—and which musical capitals have surprisingly abandoned their own:

Meanwhile, Chicago gives just 0.2% to Illinois artists, Detroit 0.2% to Michigan artists, and even New Orleans—birthplace of jazz—manages only 0.4% for Louisiana artists. That's a 138-fold difference between LA and Chicago.

see what percentage

By comparing these numbers, we could rank countries by their support for local music. We could also see what kinds of music people prefer from outside their own borders.

which effectively measures

Canada dedicates 76% of its charts to U.S. music—almost as much as America itself. Australia and New Zealand hover near 70%, while the UK, despite its massive music industry, still gives 55% to American artists. These countries don't just share a language; they share a musical universe.

The reverse is equally telling. Missouri native Chappell Roan and St. Louis-born (but New Jersey-raised) SZA are actually more popular in Northeast and West Coast cities than in Missouri. In St. Louis, these two artists capture just 8% of chart presence combined — barely beating Tennessee's Morgan Wallen at 7%. A country superstar from another state nearly matches them in Missouri's biggest city.

This divide has everything to do with regional music tastes. Take Kendrick Lamar: The California rapper commands roughly 10% of streaming activity in his home state's cities. But he also dominates in places like Detroit, Portland, and Phoenix — cities far from California but culturally receptive to his West Coast sound. Meanwhile, he gets minimal play in Southern strongholds like Memphis and Nashville, where country music reigns.

understand

Kendrick Lamar commands 10% of streaming (nearly equal to #1), with Travis Scott, Eminem, and Future all in the top 15

79% of U.S. charts feature American artists (#6 globally for local loyalty) California owns hometown pride: LA dedicates 28% to local artists vs Chicago's 0.2% Genre beats geography: Tennessee's Morgan Wallen (7%) nearly matches St. Louis natives Chappell Roan and SZA combined (8%) — in their own city American music conquers the Anglosphere: Canada gives 76% of chart positions to U.S. music, but India resists at just 2%

all five

American listeners are fiercely loyal to their own talent. Based on our analysis of Spotify's weekly charts, U.S.-based artists captured 79% of chart positions within the country, placing the U.S. 6th out of 73 countries in local artist loyalty. The U.S. trails only countries like India, Italy, and Vietnam when it comes to favoring local artists, but dominates European markets where local artists capture just 29% in the UK, 48% in Germany, and 60% in France.