ATEEZ’s “GOLDEN HOUR : Part.5” Rockets to No. 1 on iTunes in Dozens of Regions

ATEEZ has made a swift, worldwide splash with its latest comeback, “GOLDEN HOUR : Part.5”. Released on June 26 at 1 p.m. KST, the group’s new mini album and title track, “BAD”, surged to the top of iTunes charts across multiple countries almost immediately—reinforcing the momentum of what fans are calling another “GOLDEN” era.

Instant global chart dominance

According to coverage from Soompi, by the morning of June 27 KST, “GOLDEN HOUR : Part.5” had reached No. 1 on iTunes Top Albums charts in at least 26 regions. The list of territories cited by the outlet includes Argentina, Austria, Belarus, Belgium, Bolivia, Brazil, Chile, Costa Rica, Finland, Germany, Guatemala, India, Indonesia, Kazakhstan, Kenya, Malta, Mexico, Panama, Paraguay, the Philippines, Poland, Singapore, Taiwan, Thailand, Turkey, and Vietnam.

That spread underscores the international reach of the group’s latest cycle—covering both large and emerging music markets while demonstrating that the album’s impact is not confined to a single region or fan base.

“BAD” tops iTunes song charts abroad

In addition to dominating the album charts, ATEEZ’s title track “BAD” also performed strongly on iTunes Top Songs charts outside Korea. Soompi reports that the track had already climbed to No. 1 in at least eight regions, alongside topping Bugs’ realtime chart in South Korea.

For K-pop, charting simultaneously on both album and song leaderboards—especially across numerous countries within a short window—often signals a combination of strong streaming behavior, fast fan-driven sales, and broad listener pickup beyond pre-release expectations.

Why this comeback matters

ATEEZ’s performance with “GOLDEN HOUR : Part.5” arrives at a time when global chart visibility is increasingly treated as a barometer of international momentum. While iTunes rankings are influenced by purchase/consumption patterns, the breadth of regions where the album hit No. 1 suggests that the release is landing with listeners across different time zones and music ecosystems.

It also continues a pattern seen in several recent K-pop eras: releases are designed to travel—through concept continuity, high-engagement title tracks, and marketing that sustains attention immediately after release. The fact that “GOLDEN HOUR : Part.5” and “BAD” both show breakout chart results so quickly indicates that the campaign likely benefited from sustained anticipation leading up to the June 26 launch.

Fan and industry reaction

As charts update in real time, groups often see an immediate feedback loop: high rankings drive visibility on platform leaderboards, which in turn can draw additional listeners who discover the music through chart placement. Soompi’s report frames the streak as a continuation of ATEEZ’s “GOLDEN” era—an era-based narrative that fans commonly use to describe distinct creative cycles and their associated commercial peaks.

For industry observers, the key question after an early chart surge is whether the momentum holds beyond the initial release window. Early No. 1s can reflect both strong fan coordination and the cultural “event” effect of a comeback—so longevity becomes the next metric to watch.

What to watch next

With “GOLDEN HOUR : Part.5” already posting No. 1 results across dozens of iTunes regions within roughly a day, the next phase will likely involve tracking whether the rankings remain stable as time passes and chart competition tightens. Fans and analysts will also be looking at performance on other platforms—particularly those that track ongoing streaming rather than purchases—to assess how widely “BAD” continues to spread.

More broadly, the comeback’s success may influence how future releases are timed and packaged, especially as global chart targets become central to K-pop campaign planning. If ATEEZ sustains its lead across subsequent weeks, “GOLDEN HOUR : Part.5” could become one of the defining international releases of the summer.