K-pop’s global explosion ‘yet to plateau’
K-pop is yet to reach its peak despite its incredible growth on the international stage, according to experts.
ILMC’s How K-pop Conquered the World panel charted the history of the genre and how it broke worldwide, while pondering what is next for the scene.
ICA-Live-Asia president Tommy Jinho Yoon, who moderated the session in London, outlined the growth of the K-pop, saying he would never have imagined that Korean music would be embraced on a global platform.
“It’s about perfection,” said Yoon. “These artists live together and are trained at least two years before they do anything. They’re not allowed to do this and that; they’re not even allowed to date. It’s just total military training – this high, intense level of choreography, vocal and physical training – all these elements are embodied in the performance side of K-pop. And apparently, it is working with this generation.”
“It takes a significant time and also talent development for these artists to debut to the world,” affirmed Humid.TV’s David Choi, a former A&R director/producer for K-pop giant SM Entertainment.
“I don’t think we’re at the stage where it’s going to plateau yet”
California-based Choi credited a ’90s show in Korea by iconic American boyband New Kids on the Block for inspiring SM founder Lee Soo-man to create K-pop pioneers H.O.T. in 1996.
“That’s when [Soo-man] got the idea that, ‘Hey, I should build a boy group like this,'” said Choi. “That group was called H.O.T. And he was right – it was a global success.”
With superstars BTS not expected to regroup until 2025 while the band members fulfil their mandatory military service, there have been suggestions that the genre is starting to wane in popularity. But to Live Nation Australasia’s Wenona Lok, who recently worked on Stray Kids’ record-breaking Australian shows, any concerns on that front are premature.
“I don’t think we’re at the stage where it’s going to plateau yet,” she said. “It’s something that people can really learn from and we’re also starting to see a lot of K-pop acts collaborate with Western artists.”
“A lot of Western artists that I deal with are requesting to be connected with K-pop artists to do collaborations, and vice-versa,” agreed Yoon. “So I foresee a lot of that in the future – there is going to be joint shows and a lot of music produced together.”
“We had more traffic in the AXS waiting room for BTS than for Adele’s comeback shows one or two years before”
The O2’s VP and general manager Steve Sayer reflected on the impact BTS’ two nights at the London venue in 2018, which he said exceeded even the promoter’s expectations.
“I won’t put anyone on the spot, but I don’t think anyone really appreciated quite how big it was going to be,” he said. “We had more traffic in the AXS waiting room for BTS than for Adele’s comeback shows one or two years before. We could have had 20 shows comfortably, but they were holding back shows for Wembley Stadium the following summer.
“On the morning of [the first show], I had to double take because it was about 8.30am and there must have been at least 5,000 fans, if not more, queuing compliantly, and the front doors of The O2 weren’t even open.
“You announce one band, you sell 5,000 tickets. You announce the next band, you sell another 5,000 tickets, and then it adds up to 40,000 at the end”
“Everyone was in the arena bowl 90 minutes before the show’s start time. It smashed our merchandising record, which was broken, subsequently, at Blackpink a few months ago – and when the band came on stage, I’d never seen anything like it – not even at One Direction shows. I will use the word ‘hysteria’ because I can’t I can’t think of a better adjective.”
The O2 will host Europe’s biggest K-pop festival Kpop.Flex from 22-24 September this year, while Frankfurt’s Deutsche Bank Park hosted the inaugural edition of Kpop.Flex in May 2022. The event will return to the German venue for a second edition from 17-18 June this year.
“We announced the line-up band by band,” said the stadium’s MD Patrik Meyer. “You announce one band, you sell 5,000 tickets. You announce the next band, you sell another 5,000 tickets, and then it adds up to 40,000 at the end. You could see that every fan had one specific band [they had come to see], but they like it all, so that’s fantastic for a festival.
“We sold out the first day of the [2022] festival within four to six weeks, so we added the second day. That didn’t sell out completely, but at the end we had almost 70,000 – 40,000, plus 30,000 for a first time event, which was a huge success.”
“It’s become a community and a culture beyond the music”
He added: “Social media is key to K-pop. Without that, it wouldn’t be possible to create that phenomenon. For our festival, no flyer was printed, no poster was put up, it was just starting an Instagram account from zero, so it’s a very active crowd.”
Creative director Amy Bowerman, whose past clients include Blackpink, extolled the strength of the genre’s relationship with its fans.
“One of the things that Kpop does so well is talk in youth language,” she said. “The power of that culture is huge, and one of the beautiful things about it is that it obviously lives online, but there’s also a physical space where you see all these dance groups come together. It’s become a community and a culture beyond the music. And I think that that is incredible, specifically for young people.
“With how tumultuous the world has been over the past four years, looking to these people who stand as beacons for inclusivity and bringing people together… that is one of the reasons I think people are connecting to the artists so deeply and profoundly.”
“I think the reason K-pop is so big is because it’s really accessible,” agreed Lok. “If you go online, there are many fan groups that are happy to help educate you. Having the internet makes a big difference – it’s a right time, right place thing – but a lot of K-pop fans are women in their mid 40s, of all race groups. They come to the shows and bring their daughters because it’s something that is easy to share and get excited about.”
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Inside the busiest stadium in Europe
Germany’s Deutsche Bank Park was the busiest stadium in Europe for concerts this summer – and is set for an even better 2023, according to management.
Home of Bundesliga football club Eintracht Frankfurt, the 51,500-cap venue (44,000 for concerts) drew combined crowds of 800,000 to its 18 gigs – more than any other stadium in Europe – including shows by Coldplay (two), Ed Sheeran (three), Iron Maiden, and Elton John.
It also hosted the inaugural edition of the continent’s largest K-pop festival Kpop.Flex in May, with organisers reporting that more than 70,000 tickets were sold in 84 countries.
“The summer 2022 of course benefited from postponed shows from 2020 and 2021, which finally happened this year,” Eintracht Frankfurt Stadion MD Patrik Meyer tells IQ. “But we were able to add quite a lot of new shows as well and we are very proud that we were part of the development of the first K-pop Festival in a European stadium – something we worked on for years and that could finally happen in May 2022.”
Kpop.Flex will return to the Frankfurt venue for a second edition from 17-18 June next year. It also shows on sale by Depeche Mode (29 June & July 1), German singer Herman Gronemeyer (2 June) and “the biggest club in the world”, BigCityBeats World Club Dome, from 9-11 June.
“The bookings for 2023 are very good and we continue projects like Kpop.Flex, World Club Dome and Monster Jam”
“2023 looks even better than 2022,” says Meyer. “The bookings for 2023 are very good and we continue projects like Kpop.Flex, World Club Dome and Monster Jam. With those events, we already fill six days on a yearly or at least regular basis.
“We are looking forward to work with our promoters and partners next year after our record summer this year. In 2023, we will act as a promoter for three shows and as a major project we will be hosting a NFL game in November – a project we won through a tough tender process and that we are delighted about. It is important is, of course, that we provide a full heavy load pitch cover as well as many ‘promoter-friendly’ facilities in our stadium, making it ‘ready to go’ for shows of any kind.”
The stadium is featured as part of the Germany market report in the latest issue of IQ, out now, and Meyer suggests its ability to diversity has been central to its success.
“Since we started as an operator for the stadium in Frankfurt we were always driven to have as many events as possible,” he explains. “In that sense, we tried to be a good and reliable partner for promoters and agencies. We also did our own event development for things like the Handball World Record or the Orchestra World Record, which allows us to understand the needs and challenges maybe a bit more than other operators.
“Creating ideas for events and approaching partners with those concept is something we do all the time. Sometimes we are laughed at – sometimes we initiate something new – we keep going anyway.”
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