actually BlackPink is trying to break the mold.
But, in Korea, men do not spend too much money which might be a cause that ggs do not have bigger events there
actually BlackPink is trying to break the mold.
But, in Korea, men do not spend too much money which might be a cause that ggs do not have bigger events there
OK I will add. My source did not have it
What about 23? What about her early days? Good day? You &I? The red shoes? Jam Jam?
Solo artists like Ailee still count as K-Pop even though they do not sound like K-Pop groups.
None of them really popular among foreign fans
Ailee is an American singing R&B so her style was always different and she always had one foot in USA
Maybe, although I would probably go crazy seeing all these Uaenas.
Japan has a bigger concert culture and casuals spend a good amount of money to see live shows as an entertainment opportunity
In SK only fans attend to these shows
No idea about the average price of tickets in those countries
The prices are roughly the same, around $120 for average seats and increasing as they get closer to their artist.
There are a few concerts where casual fans do attend, for example the concert held by whyknock's favorite subject.
arashi already had a concert in the new kokuritsu, arafes 2020
With no audience
https://aramajapan.com/news/gr…um-online-concert/109383/
Arashi played their event with no audience and 70,000 unmoving lights.
IU has played her ambiguous status for quite a long time. She styles herself as an artist although she has topped the Idol ranking on 2015 and 2017, and her song is not KPop at all.
That aside, she has not given up her attempts to capitalize on the kpop craze as well which is why she has sung BbiBbi and now Celebrity.
IU is probably the only major singer in the KPop era to do bigger concerts in Korea than elsewhere (and she can't even hold a fan meeting in Japan anymore).
She has sung a grand total of two Kpop songs in her entire career (Bbibbi, her first Kpop song, and now Celebrity) geared towards international popularity
because Korea has no concert culture
I have also noticed that kpop fans idealize the Nissan Stadium too much, in Japan the three most prestigious venues for concerts are Nippon Budokan, Tokyo Dome and Kokuritsu, Nissan is only big, for examplo Arashi never played in Nissan, but they are practically the owners of Kokuritsu, which is much more important
Kokuritsu has been torn down to make the new stadium for the olympics, which is in doubt now (no preliminary events have been played).
Nippon Budokan is important for Japanese artists since performing there is kind of a confirmation that they have made it into the mainstream, but in Korea, the Gymnastic Arena serves that purpose so it is not really necessary for them to perform there if they could get bigger audiences elsewhere
The same reason why many western artist skip over Korea and do multiple shows in Japan.
YEs, Korea has less venues and there are less people attending regularly
Japan has a few big places to perform, but the Nissan Stadium in Yokohama can field the most number of attendees.
The Nissan Stadium can house 70,000 concert viewers, but in practice it is never held for one day so one has to draw at least 140,000 in order to do a concert.
Only DBSK (not TVXQ!) had concerts at there among Kpop acts (five times). Even BTS did not get to perform there; its 2020 schedule had Saitama and Osaka , I believe, but not the Nissan Stadium.
No female soloist has ever held a concert there, and only Momoiro Clover Z (five times ) ad AKB48 (at its height) held a concert there.
Tokyo Dome had a less tall barrier; with a capacities of around 50,000 (sometimes a little bit less), the following KPop figures had performed concerts there;
Rain
Ryu Shiwon (an actor famous during 2000s and popular in Japan at that time)
TVXQ
JYJ
DBSK
SNSD
G-Dragon (by himself)
BTS
Twice
Excluding Rain and Ryu Shiwon, and counting TVXQ/JYJ/DBSK and Big Bang/G-Dragon as one act,
Ten acts played at Tokyo Dome (plus Music Bank 2011 Tokyo, which was an event and not counted above.)
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In Korea, the Gochuk, and the CJ Mnet Arena which has not even built (who knows when it will be completed), house just 20,000 or so so I am not including them.
Only these Kpop acts performed at either the Chamshil Olympic Main Stadium, or the Sang'am Main Soccer Stadium.
JYJ
Big Bang (Sang'am Soccer Stadium)
EXO
BTS
In Japan,
One in the Nissan Stadium (plus BTS if the country opens up)
Nine in the Tokyo Dome
In Korea,
One in the Sang'am Soccer stadium (for one day)
Three in the Olympic Main Stadium.
It was easier to fill the Japanese stadium and dome than Korean stadiums!
Plus it is noted that no female soloist in Japanese history tried a concert at the Nissan Stadium.
In Korea, a certain soloist tried to hold a concert at the Olympic Stadium. She is not included above because she is NOT a KPop singer (although her recent song might finally qualify her as one), but considering no Japanese female soloist ever held a concert at its largest venue, the nerve of the certain soloist to hold a concert at there would have put her ahead of all Japanese female soloists and in the same league with BigBang, EXO and BTS.
IU international popularity is rising whereas Taeyeon is promoting less and less. She also had a complicated year in 2020. Her releases were also a bit underwhelming last year. Yes, her songs were good but not to the level of Purpose or My voice for example. Happy is not on Four seasons level either.
Taeyeon seems to be too dependent upon SM to map her journey. Also her father had passed away so it might have affected her.
she's not only on melon tho.
But only Korean sites and Melon is the largest so it gets the priority
While IU's role in OP's post is overblown, there's some truth to it to gist of it; if spotify can't manage to secure a deal with kakao they will probably go the way of apple music, who even tho they got licenses for yg, sm and jyp etc went nowhere in four years.
Kakao's own artists is not the biggest problem, it is the fact that they are the largest distributor of korean music that is the main headache for spotify...
The reason for all of this is of course because of Melon, the biggest domestic music service is owned by Kakao. They have nothing to gain by helping the #1 music service in world get a foothold in their home turf.
The main reason people still stick with Melon is her.
KakaoM's power is significantly derived from her, and it helps Melon to maintain its stranglehold, its condoning of the cheaters whose low quality ballads plague KPop to this day, and its provincialism.
Display MoreHow come her fame was dying at that moment? You wrote your post on 29th August, 7 days before, IU released Leon that broke the two most relevant digital records in SK:
-the highest number of Melon ULs (1.4M)
-the highest number of Perfect All Kills (136)
My Mister wasn't that popular internationally...
IU became relevant overseas after Scarlet Heart in 2016.
You are WhyKnock, you should know that better than anyone else! Are you OK?
It was her last hurrah before the Zeze fiasco sank her, which is why she did not release any new songs on 2016
Spotify Korea was launched, but singers under KakaoM did NOT sign with it.
So Spotify Korea canNOT play songs from such artists.
I am sure KakaoM has a lot of fine artists, but it all comes down to a certain J. Lee.
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Although a certain J. Lee does NOT really promote outside of Korea, because of her control of Korean d-o-m-e-s-t-i-c market, she wields an inordinate amount of power compared to her nonexistence of influence outside of there, and her having sung only two Kpop songs in her entire career (and she did not sing the second one until last week).
This is a philosophical question -
Even an Emperor which rules the entire world is powerless against a local powerful, who might be powerless outsideof his (or, in this case, her) turf but is supreme within her sphere of influence. Only a massive intervention involving lots of resources might extract the local notable's power, and even after that the notable still has lots of ties in the turf and usually he (or, in this case, she) returns.
Because of her stranglehold in Korea, she is often seen in the same league with BTS, even though her international reach is significantly shorter.
And now Spotify Korea and Apple Music Korea are feeling her power.
It would be wiser for Spotify and Apple Music to NOT deal with her songs since KakaoM (read: J.Lee) is NOT giving its songs to Spotify Korea and Apple Music Korea, but the management of these companies still allow her songs to be played through their main server in USA.
So that will only embolden KakaoM and a certain J. Lee even further, which is unfortunate since they contribute significantly to Kpop still remaining domestic.
exactly, that's one of the things i love of her
Lee Jieun is her own boss, and she gets to claim all the income she makes, unlike even the most successful acts from major companies whose owners claim a lion's share of their income. (For example, SM as a company is not doing great because all the income flows into a bunch of entities Mr. Sooman Lee set up for himself and his family members.)