Country music may seem more popular than ever in the U.S. thanks to the record-breaking run Ella Langley has enjoyed in 2026 atop the Billboard Hot 100 with “Choosin’ Texas.” But the genre’s hits have been demonstrating their crossover potential for years, from “A Bar Song (Tipsy)” by Shaboozey to Beyoncé’s Cowboy Carter album, not to mention the pivot power of Hip-Hop artists including Post Malone, BigXthaPlug and Jelly Roll. Even western fashion staple Boot Barn reported 2026 as its most profitable fiscal year yet.
But Luminate data shows Country music isn’t just a U.S. phenomenon. In the past few years, it has gained substantial traction in global markets in a similar fashion to other formerly localized genres.
On a global level, total On-Demand streams for Country (including Folk and Bluegrass) have hit 185 billion in 2026 to date (weeks 1-41), up 54% from the same period in 2021. Though the U.S. remains Country’s biggest market, the genre has experienced higher YoY growth in On-Demand listenership across Canada, Europe and Australia over the past several years.
Canada, which saw a notable 35% YoY increase in premium Country streams in 2023 alone, is currently the genre’s second-biggest market. The U.K., in particular, has seen a multiyear surge in Country listenership, reaching over 40% YoY increases in both 2023 and 2024. And several markets, such as Sweden, Norway and Australia, have seen double-digit growth in On-Demand Country streams since 2022.
A key factor behind Country’s growing international presence is similar to what propelled non-English-speaking genres including K-pop and Latin to global breakthroughs. As the pandemic forced retail stores to shutter, U.S. Country fans, a historically streaming-averse demographic, turned to streaming services to adapt to being unable to buy physical music.
This sudden jump in streaming listenership was the first domino of the “glocalization” effect: Local Country artists were streamed at higher rates, making them more visible and accessible to international streaming audiences, which started listening as well. Yearly growth has been leveling off since 2025, likely due to the pandemic-fueled spike in streaming settling in general. But the fact that there haven’t been any meaningful decreases in streaming volume means global Country fans are sticking around.
Another aspect is that as Country gained fans in international markets, artists from these areas inspired by U.S. Country found strong followings. Canadian Country artist Cameron Whitcomb is a top Country artist by streams in Canada, Australia and the U.K. Additionally, Norwegian artist Tobias Sten, whose music is rooted in classic Nashville-style Country, is currently the most-streamed Country artist in Norway.
As local music scenes continue to reach new audiences and in turn inspire new artists, it will be interesting to see where global Country music fans will emerge next.
