[Homeless K-pop Powerhouse] Surging Demand, But No Venues

① Fierce Competition for Concert Venue Bookings in the Seoul Metropolitan Area
K-Content Surpasses 1 Trillion Won in Global Sales
Stadiums Abroad Dominate the Market
"Concert Infrastructure Must Become a National Strategic Priority"

"It's been such a long time since we've performed in Korea. These days, there just aren't enough venues. We tried to book another concert next month, but in the end, we couldn't secure a place."

This remark made by the group Seventeen on stage at Gocheok Sky Dome in Seoul highlights the reality that even globally renowned K-pop groups struggle to secure concert venues in Korea. Since the end of the pandemic, demand for live performances has surged, but the infrastructure for popular music concerts in Korea remains stagnant.

RISE is holding their first world tour concert at Tokyo Dome in Japan this past September. Photo by SM Entertainment

The shortage of venues leads directly to losses. Agencies responsible for global tours of top international artists have stated, "There is no permanent venue in Seoul with more than 40,000 seats," and are excluding Korea from their tour schedules. Despite Korea being known as the "home of K-pop," even top-tier artists like BTS and Blackpink are unable to secure venues and are thus forced to focus on overseas tours. Some idol groups are able to hold three to four shows in Japan, Hong Kong, and Singapore, but cannot include Seoul in their tours due to venue booking issues.

Lee Jonghyun, president of the Korea Popular Music Performance Industry Association, pointed out, "The lack of large venues leads to 'Korea passing,' where Korea is excluded from global tours, and also reduces the domestic activities of K-pop idols. The fierce competition for bookings also drives up ticket prices and fuels the scalping problem." In fact, American singer Post Malone was unable to secure a large concert venue and had to use the Ilsan KINTEX exhibition hall as a temporary stage, leading to significant audience complaints about obstructed views.

Currently, the only venue in Seoul that can accommodate more than 10,000 people is KSPO Dome, with 15,000 seats. Jamsil Main Stadium (50,000 seats) and Auxiliary Stadium (25,000 seats) are under renovation, and Gocheok Sky Dome (20,000 seats) is almost impossible to book due to the baseball season schedule. Renovation of Jamsil Main Stadium will be completed at the end of 2026, but it is expected to be used as a KBO League stadium until 2031, making concerts virtually impossible. Outside Seoul, there are Incheon Inspire Arena (15,000 seats) and Goyang Sports Complex (40,000 seats), but issues with accessibility and usability prevent them from being viable alternatives.

As a result, concert promoters engage in fierce "queueing competitions" every year. According to a representative from a major agency, "It is common for more than 10 teams, from popular idols to established singers, to bid for the same date. There are far too few venues, but the number of teams wanting to perform keeps increasing." Most major venues have already booked their schedules through the end of next year. New musicians and small agencies find it nearly impossible to secure a stage. Another industry insider lamented, "Even if private companies want to build venues, the permitting process is complicated and it is difficult to recoup investments, so they are reluctant to proceed."

According to the Korea Culture & Tourism Institute, overseas K-pop sales reached a record high of 1.2377 trillion won in 2023. This is a twelvefold increase in just four years from the 100 billion won range in 2019. However, domestic concert infrastructure has not kept pace with this growth. Stray Kids, who drew 2.2 million overseas fans on their world tour, were only able to hold two concerts at Incheon Asiad Main Stadium (30,000 seats) last month, accommodating just 60,000 people. Blackpink also only managed to attract 78,000 people over two days in Seoul, while their two-day concert at LA's SoFi Stadium (100,000 seats) sold out. The situation is similar for Enhypen and Seventeen.

According to the Korea Culture & Tourism Institute's "2024 Foreign Tourist Survey," 38.3% of foreign visitors to Korea said they visited after experiencing K-content. This means that four out of ten foreign tourists come to Korea for a Hallyu experience. However, the lack of venues for large-scale concerts means that revenue from related industries such as consumption, accommodation, and transportation is flowing overseas.

Lee Hoon, professor of tourism at Hanyang University, pointed out, "K-pop concerts are not just about watching a show; they are a 'stay-type industry' that drives the local economy. The lack of concert infrastructure leads directly to reduced tourism spending and tax revenue losses."

Belatedly, the government has begun to respond. The Ministry of Culture, Sports and Tourism launched a research project this year to build a 50,000-seat K-pop arena in the Seoul metropolitan area, with the goal of breaking ground by 2030. Kim Hyunmok, Director of the Popular Culture Industry Division at the Ministry, stated, "We will consider local demand and operational feasibility together to support performances becoming a key tourism content for each region."

However, securing land and funding remains stalled. The head of a mid-sized concert promotion company advised, "It is difficult for private investors alone to make a profit from concert venues. The government should provide the land, and the private sector should operate the facilities in a hybrid model as soon as possible." Although local governments are also inviting proposals, discussions on location are making little progress due to issues such as transportation and noise complaints.

Experts emphasize that concert infrastructure should be viewed not just as "cultural facilities" but as an "industrial strategy." Kimyung-guk, executive director of the Jarasum Jazz Festival, stated, "Concert venues are at the center of the tourism, transportation, and accommodation industries. If the government's K-pop arena is to be more than just a symbolic project, public-private cooperation, long-term operational models, and sustainable revenue structures must be designed together."