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BTS Concert Prices Doubled In A Decade, Worrying Fans & Experts

A decade of K-pop: How ticket prices have nearly doubled due to premium bundling

As agencies commercialize access and scale worldwide shows, fans and critics both wonder if K-pop's live growth is getting out of reach.

BYDiya Mukherjee

27 JAN 2026, 07:32 PM

• K-pop concert ticket prices in South Korea have almost doubled in the last decade.
• Premium bundles, which lock good seats behind costly add-ons, are the primary cause of the surge.
• Fan criticism is increasing, but significant industry-wide reform is yet to take place.

K-pop concert ticket prices have increased dramatically over the last decade, nearly doubling in South Korea. Agencies are increasingly banking on premium bundles that include exclusive access at high markups, sparking renewed fan dissent and a broader debate over affordability and accessibility in one of the world's most profitable live music industries.

K-pop concert tickets, a decade ago, saw top-tier seats at major idol events cost around 100,000 won (~ $90 USD). Even baseline tickets for high-demand bands are now priced between 150,000 won (~ $103.80) and 250,000 won (~ $172.99), with headliner K-pop events frequently topping those prices.

The pattern is evident throughout generations of artists. The most expensive ticket for BTS' 2017 THE WINGS TOUR in Seoul was 110,000 won (~ $76.10), while prime seats for upcoming Korean gigs in April are priced at 264,000 won (~ $182.64) each. Super Junior's 2016 SUPER SHOW 6 peaked at around 110,000 won (~ $76.10), whereas SUPER SHOW 10 had front-row standing seats priced at 198,000 won (~ $136.98). APINK's 2016 standing tickets were 99,000 (~ $68.49) won, whereas VIP seats for The Origin: APINK show in February 2026 cost 187,000 won (~ $129.37). 

K-pop’s Move to High-End Ticket Bundles

According to industry analysts and fan groups, the rise of premium tickets, which bundle live performance with extras such as preshow sound checks or post-show meet-and-greets, is a major driver of inflation. These amenities can cost more, and in many cases are actually necessary for the best seats, leaving fans who simply want a nice view with little choice but to bear the additional expense.

Supporters of the premium model claim that the additions provide distinct value. "You can talk briefly with the singer during the sound check, and they sometimes perform songs that are not on the setlist," one fan told The Korea Times, expressing satisfaction with the event despite the cost. Critics argue that the system has evolved from providing optional add-ons to acting as a "hard sell," artificially combining access and seat quality. Notably, another fan commented, “I want to see the concert, not be forced into a 'hi-touch' (a brief high-five session with the artist). Bundling these events with specific seats is merely a marketing ploy.”

The financial impact on fans is real. Attending two shows at current prices can approach 400,000 won (~ $276.41), which is close to a month’s rent for many in Korea, according to fan testimony. Backlash has surfaced around groups such as ENHYPEN and Le Sserafim, which sold standing tickets with mandatory sound check access at 220,000 won (~ $151.95) and VIP packages at 198,000 won (~ $136.76), respectively.

Following a fan outcry, boy band ONEWE's agency RBW turned VIP seats into normal floor seating, lowering ticket costs from 189,000 won (~ $130.53) to 143,000 won (~ $98.76) for a January concert, indicating resistance against such practices.

Fans worldwide also complain about opaque pricing and dynamic models employed by ticketing platforms, which hide expenses until the moment of purchase, a frustration shared by foreign fans of global acts such as BTS. As K-pop festivals and tours expand in production scale and worldwide reach, ticket price discussions highlight a fundamental tension of balancing extravaganza and profitability with fan accessibility in an industry where loyalty is strong, but finances are seemingly limited.

Diya Mukherjee

Author

Diya Mukherjee is a Content Writer at Outlook Respawn with a postgraduate background in media. She has a passion for writing content and is enthusiastic about exploring cultures, literature, global affairs, and pop culture.

NOT SO HIP CAPITALI$M

Gen Z shift, high costs force UK nightclubs to reinvent

London (AFP) – Is the party over? UK nightclubs are famed around the world, but Covid and inflation have hit the sector hard, forcing businesses to reinvent themselves to attract new generations to the dance floor.


Issued on: 05/08/2025 -

A man walks past the boarded up entrance to the closed-down PRYZM club in Kingston, west London © JUSTIN TALLIS / AFP

Pryzm Kingston is a well-known club in southwest London popular with students, where artists like Billie Eilish, Rod Stewart, and Stormzy have performed.

But the converted cinema closed its doors for renovation last month, with its owners saying it was time to "look to the future and reimagine this venue for the next generation of partygoers."

It will be transformed into a smaller club and a dance bar -- "creating venues that reflect what people are looking for now," they added.

Many other British clubs are also trying to re-adjust after around a third of them, about 400 venues, have shut down since 2020, according to the Night Time Industries Association (NTIA).

"Whilst nightclubs were in gentle decline prior to Covid, the pandemic profoundly accelerated things," Tony Rigg, a music industry consultant, told AFP, noting that the cost-of-living crisis had sent bills and rents soaring.

As the first pints of the evening were poured in central London, 26-year-old account manager Conor Nugent told AFP he only goes clubbing for "special occasions," after asking himself "if it's really worth it."

Like 68 percent of 18-to-30-year-olds, the Londoner has cut back on nights out for financial reasons and prefers to save up for concerts and events.

Rigg pointed out that Covid-19 caused a "cultural shift" among Gen Z — those born between 1997 and 2012 — who generally drink less alcohol and largely miss out on the "rite of passage of going out, experiencing clubs and learning some social behaviours."
Lure of Paris, Berlin

Rekom UK, the company behind iconic clubs like Pryzm and Atik, filed for bankruptcy in 2024, shutting down 17 venues across the country, citing multiple pressures.

A sign advertises the final night at the closed-down PRYZM Kingston club in Kingston, west of London, on July 31, 2025 © JUSTIN TALLIS / AFP


About 20 others, including Kingston, were acquired by Neos Hospitality, which decided to convert some into dance bars or host alcohol-free events.

"The sector has to evolve otherwise it will become obsolete," Rigg acknowledged.

To stop hemorrhaging party-seekers lured by Berlin or Paris, London Mayor Sadiq Khan launched an independent working group called the "Nightlife Taskforce," which is set to publish a report later this year.

"One of the reasons why people love London is our nightlife, our culture," Khan told AFP.

"When I speak to mayors in Paris, in New York and Tokyo, I'm jealous of the powers they have" especially on licensing issues, he said, adding he was looking at other cities like Paris "with envy" as it enjoys a nighttime boom.

He was granted approval in March to overrule certain local authorities who had forced pubs, restaurants, concert halls, and nightclubs to close early.

UK nightclubs are trying to reinvent themselves after some 400 venues have closed their doors since 2020 © OLI SCARFF / AFP/File

The government has also announced plans to change regulations to support nightlife venues in certain areas.

"Sadly, in the UK, we struggle with reputational issues and a narrative that makes (clubbing) more of a counterculture element rather than a real economic and cultural driver," NTIA head Michael Kill, who advocates for greater recognition of electronic music and club culture, told AFP.

The night-time sector contributes a vital £153 billion ($203 billion) a year to the UK economy, employing around two million people, according to NTIA.

And with London still enjoying a long, well-established reputation, all is not lost.

The capital remains an "exciting" city, 25-year-old Carys Bromley who recently moved to London from the island of Guernsey, told AFP.

"There's a lot of parties, clubs, and a big nightlife. The places stay open longer, it's busier, a bit more wild," she said.

© 2025 AFP

HIP CAPITALI$M

A flurry of music acts are pulling their music from Spotify – here’s the full list

Chris Jarvis 

1 August, 2025

 Left Foot Forward

Is this a growing movement?

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A growing number of bands and musicians have begun to pull their music from Spotify. Most of them have done so following the news that the streaming giant’s co-founder and CEO Daniel Ek’s investment firm has made major investments in the defence company Helsing. Helsing is a defence firm involved in producing military drones and artificial intelligence for battle scenarios.

One of the first to make headlines for withdrawing from Spotify was the influential indie band Deerhoof, who released a statement at the time which said: ”Daniel Ek uses $700 million of his Spotify fortune to become chairman of AI battle tech company” was not a headline we enjoyed reading this week. We don’t want our music killing people. We don’t want our successes being tied to AI battle tech.”

Since then, many more have followed suit. Here are the other acts who have made public their decision to pull their music from the platform:David Bridie. Writing for the Guardian, Bridie said: “In recent years, we’ve witnessed the horror of AI drone wars in Ukraine and Gaza – children killed and hospitals destroyed with the press of the space bar. Ek is investing in technology that can cause suffering and death. Spotify used to seem like a necessary evil. By association, it now just seems evil.”

King Gizzard and the Lizard Wizard. In a statement, the band said: “A PSA to those unaware: Spotify CEO Daniel Ek invests millions in AI military drone technology. We just removed our music from the platform. Can we put pressure on these Dr. Evil tech bros to do better? Join us on another platform.”

Leah Senior. In a post on Instagram, Senior said: “[Spotify] have always been dogs but this is the final straw. Stop funding the war machine. Support the artists you love! Hopefully music will be down asap. I encourage other artists to do the same.”
Muddy Summers and the DFWs. In a post on Instagram, the band said: “You won’t find our albums on there anymore as we took them off due to their funding of #AImilitary Disappointing to see so many acts claiming to be #antiwar and #antigenocide still peddling on there.”

Xiu Xiu. In an Instagram post, the band said: “We are currently working to take all of our music off of garbage hole violent armageddon portal Spotify. It is taking longer than we had hoped due to procedurally [sic] complications but will be compeleted soon. Thanks for all the support and patience. 

For all the reasons you already know – PLEASE CANCEL YOUR SUBSCRIPTION WITH SPOTIFY.

Chris Jarvis is head of strategy and development at Left Foot Forward

Image credit: Ronaindras – Creative Commons

HIP CAPITALI$M

Music catalog fund Hipgnosis sold to Blackstone

New York (AFP) – Shareholders of Hipgnosis Songs Fund, which in recent years made waves by helping popularize music rights as an asset class, have voted to accept a $1.6 billion takeover from US private equity firm Blackstone, filings showed Tuesday.


Issued on: 10/07/2024 

Hipgnosis executive Merck Mercuriadis (L) and co-founder Nile Rodgers attend the Songwriters Hall of Fame 2024 induction and awards gala in New York on June 13, 2024 © ANGELA WEISS / AFP/File


A regulatory filing showed shareholders overwhelmingly voted to approve the deal, which caps a tumultuous year for the British firm, including a bidding war that followed investor concerns over the fund's tumbling share price.

Its outspoken chief, Merck Mercuriadis, last week had announced he would leave as chairman of Hipgnosis Song Management once the Blackstone acquisition of the fund was final.

Hipgnosis Songs Fund is listed as an investment trust on the London Stock Exchange, where it went public six years ago. Its portfolio includes tens of thousands of tracks.

Mercuriadis had been running the separate management company, which in 2021 Blackstone invested $1 billion to partner with.

Hipgnosis played a large role in hyping the spike in sales of lucrative music portfolios, dropping staggering sums on catalogs including those of Neil Young, Justin Bieber and Shakira.

Mercuriadis, a longtime industry executive who at times managed careers of stars like Elton John and Beyonce, pitched that music was an asset whose revenues would operate outside of regular market swings.

He co-founded Hipgnosis with guitarist and producer Nile Rodgers.

But as a music catalog buying frenzy saw several years of blockbuster sales, some in the industry grumbled that Hipgnosis was overpaying and driving prices up.

Concerns last year over the company's share price as well as asset valuations prompted demands for structural change and a search for an outside buyer.

American independent music company Concord had reached a tentative deal to acquire the fund for $1.4 billion, but Blackstone's higher offer won out in the end.

In announcing his decision to step down last week, Mercuriadis said "this is a timely opportunity for me to undertake a strategic shift of focus, and to spend more time advocating on behalf of songwriters to ensure that they are properly compensated for their work."

© 2024 AFP

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Blackstone Makes New $1.5 Billion Proposal to Buy Hipgnosis

Michael Msika
Sun, April 21, 2024 


(Bloomberg) -- Private equity firm Blackstone Inc. made a new proposal worth about $1.5 billion to purchase Hipgnosis Songs Fund Ltd., topping a bid made last week by music rights investor Concord.

The company made an improved, fourth proposal on Saturday to acquire the entire issued and to-be-issued share capital of Hipgnosis at a price of $1.24 per share in cash, the company said in a statement. The improved offer is about 7% higher than Concord’s bid.

“Blackstone strongly encourages the board of Hipgnosis to recognise the significant increase in value available to all shareholders under the terms of its fourth proposal, over the $1.16 as set out in the Concord offer, and to work with Blackstone to reach agreement on a unanimously recommended firm offer in an expeditious manner,” Blackstone said.

Hipgnosis said Sunday that its board intends to recommend Blackstone’s proposal, should the private equity company announce a firm intention to make an offer, and that it is providing Blackstone access to conduct due diligence.

Sky News reported earlier that Blackstone had made prior offers for Hipgnosis, a London-listed music rights investment company which owns song catalogs from Blondie, the Red Hot Chili Peppers and Neil Young, among others.

Previous offers from Blackstone included bids at 82 and 88 pence per share, Sky said, less than the 93.2 pence-per-share bid unveiled on Thursday from Concord, a music rights investment company backed by rival Apollo Global Management. The improved offer from Blackstone, which is being advised by investment bank Jefferies, is equivalent to about 100 pence per share.

Shares of Hipgnosis have surged about 30% since the Concord offer and closed at 91.9 pence on Friday, slightly below its offer price.

“Blackstone strongly encourages the Board of Hipgnosis to recognise the significant increase in value available to all shareholders under the terms of its Fourth Proposal, over the $1.16 as set out in the Concord Offer, and to work with Blackstone to reach agreement on a unanimously recommended Firm Offer in an expeditious manner,” Blackstone said.

Hipgnosis’ board on Thursday unanimously agreed to a deal with Concord, stating it’s unlikely that the share price will increase to reflect the company’s performance because of “numerous company-specific and certain market issues.”

Given there is no certainty Blackstone will make a firm offer, the board continues to currently back Concord’s offer, the firm said Sunday.

Read more: Hipgnosis Songs Fund Cuts Asset Value on Accounting Error

The deal capped a period of turmoil for the troubled fund, after a strategic review concluded in March that its assets were worth significantly less than Hipgnosis Song Management, its investment adviser, had reported last September. Blackstone owns a stake in HSM, which has a contract to manage the fund’s assets.

--With assistance from Simon Lee.


Record Store Day celebrates indie retail music sellers as they ride vinyl's popularity wave


Sat, April 20, 2024



PHOENIX (AP) — Special LP releases, live performances and at least one giant block party are scheduled around the U.S. Saturday as hundreds of shops celebrate Record Store Day during a surge of interest in vinyl and the day after the release of Taylor Swift's latest album.

There were no announced Record Store Day specials for the arrival of Swift's “The Tortured Poets Department” on Friday, but her fans always anxiously look forward to the new albums and accompanying collectible LPs.

In suburban strip malls and big city downtowns, indie record stores are often the first to recognize and promote emerging artists. Years before Swift was setting Grammy records and selling out concerts in Japan, Bull Moose Music in Portland, Maine, was giving away one of her autographed guitars in an enter-to-win contest.

“We were carrying her music before all the big stores. We always knew she would be a star,” said Chris Brown of employee-owned Bull Moose and a co-founder of Record Store Day.

A wave of interest in physical records, especially LPs, has helped keep the independent stores going, Brown said. And LPs have gotten a huge boost from Swift, who has been dubbed the “Vinyl Queen” for releases of her work in limited physical record offerings with specialized content and striking covers.

The Recording Industry Association of American said in its 2023 year end report that revenues from vinyl records grew 10% to $1.4 billion last year. That was the 17th consecutive year of growth and accounted for 71% of physical format revenues.

WHAT IS RECORD STORE DAY?

Record Store Day is a celebration of the estimated 1,400 independent record stores in the U.S. and thousands more worldwide that endure long after the demise of megastores like Tower Records.

While most people stream their music on services such as Spotify and Apple Music, old-school LPs remain popular for collectors who prefer the packaging and the listening experience of records.

“For me, records sound better than any CD,” said Michael Iffland, a 70-year-old retiree who was considering some Beatles singles at the Tracks in Wax record store in Phoenix. “It's just cool having a record in your hand, looking at the cover graphics and listening to that wonderful sound.”

HOW DID RECORD STORE DAY START?

Owners and employees of the independent stores came up with the idea at a gathering in 2007 as a way to draw attention to their unique culture on the third Saturday of April.

The first Record Store Day was on April 19, 2008, and cities around the U.S. later declared the celebration an official holiday, including New York City, Los Angeles and Las Vegas.

“For us, records have never gone out of style,” said Waric Cameron, co-owner of Josey Records in Dallas.

“It's the biggest day of the year for us,” added his business partner, Luke Sardello. “It's like the Super Bowl of record stores.”

Jamal Alnasr, owner of Village Revival Records in New York’s Greenwich Village, called Record Store Day “one of my biggest money growers of the year. People even camp outside the night before.”

WHAT'S BEING PLANNED THIS YEAR?

Record Store Day is typically marked by special vinyl and CD releases and various promotional products and events featuring artists and labels. Metallica spent hours on the first Record Store Day meeting fans at Rasputin Music in the San Francisco Bay area.

Jesse “Boots Electric” Hughes of Eagles of Death Metal was declared a Record Store Day ambassador in 2009 and a string of other artists followed in subsequent years, including Ozzy Osbourne, Iggy Pop, Jack White, Fred Armisen, as well as Swift in 2022.

There were 387 planned releases announced for this year's Record Store Day.

Paramore, the event's 2024 ambassador, will have a pair of physical releases of the digital album that featured celebrity remixes from songs on its 2023 “This is Why” album.

Rock band Pearl Jam will release 15,000 copies of a “Dark Matter” LP, with a ghostly black and yellow cover. Icelandic-American traditional pop singer Laufey will offer up 4,200 copies of “A Night at the Symphony,” a live album recorded in Reykjavík with the Iceland Symphony Orchestra.

In some cases, the record itself will serve as a canvas. Death Cab for Cutie will release 2,500 copies of its “Live at the Showbox” on pink marble vinyl. Fleetwood Mac will have a limited edition of its hugely popular “Rumours,” still a top seller since its 1977 release, with a photograph of the album cover featuring Stevie Nicks and Mick Fleetwood stamped on the vinyl.

“People get really excited and look forward to the releases,” said Tracks in Wax owner Tim Stamper, who always orders a few. “It's more important for us than Christmas.”

Jeff Maimon, 38, who was in the store on a visit from Chicago, said Record Store Day “was always a very special day. It's all about the excitement of standing outside and waiting in line to see what kind of specials you can get.”

A giant block party with 14 live performances is planned Saturday at Vinyl Tap in Nashville, Tennessee, owner Todd Hedrick said. The performers will include Lzzy and Joe of Halestorm and The Watson Twins.

“We'll shut down the street, bring in five or six food trucks,” along with about 25 vendors, Hedrick said.

“And it coincides with our other favorite holiday, 4/20,” Hedrick added, referring to marijuana-oriented celebrations held annually on April 20.

WHAT ABOUT THE QUEEN OF VINYL?

Swift, who is credited by fans and record stores alike with igniting new interest in vinyl LPs, has not announced any special releases for this Record Store Day.

The hugely popular Swift set a new record this year when she won a fourth album of the year award at the Grammy Awards for “Midnights.” She previously had been tied with Frank Sinatra, Stevie Wonder and Paul Simon with three albums.

Swift’s re-recorded “1989 (Taylor's Version)” last year became the first album to sell more than 1 million vinyl LPs within a calendar year in the U.S. Her “Midnights” album in 2022 became the first major album release to have its vinyl sales outpace CDs since 1987.

___

AP video journalist Kendria LaFleur in Dallas contributed reporting.

Anita Snow, The Associated Press

HIP CAPITALI$M

Hipgnosis sees value of portfolio cut after new due diligence work

Rupert Hargreaves
Mon, 4 March 2024 

The board appointed the third-party advisor following disagreements between the company and its investment advisor Hipgnosis Song Management Limited, over the value of its assets.

The Hipgnosis Songs Fund has today reported an updated net asset value following the preliminary valuation report prepared by Shot Tower Capital.

The investment trust’s stock price is down over 10 per cent on the news.

Shot Tower was appointed by the company as part of its strategic review of the value of its portfolio of music streaming rights.

The board appointed the third-party advisor following disagreements between the company and its investment advisor Hipgnosis Song Management Limited, over the value of its assets.

Shot Tower has performed a detailed review of the company’s portfolio, using a “variety of factors and assumptions,” about royalty streams, rights and cash revenue generated from the value of assets.

Following the detailed analysis, the advisor has returned a “preliminary valuation report,” which pegged the fair value of the company’s portfolio at between $1.8bn (£1.4bn) and $2.1bn (£1.7bn) and $1.7bn (£1.3bn) and $2bn (£1.6bn) after “deducting contingent catalogue bonuses of $59.9m (£47.3). “

The Shot Tower valuation compared to the 30 September 2023 valuation of $2.6bn (£2.1bn).

Hipgnosis said: “The Shot Tower valuation midpoint of $1.9bn (£1.5bn) therefore reflects a multiple of 15.9x net royalty income prior to deducting contingent catalogue bonuses and a reduction in valuation of 26.3% to the valuation as at 30 September 2023.”

Adjusted solely for the Shot Tower Valuation, the company’s operative net asset value would be approximately $1.17 (92p) per share, compared to the last reported net asset value of $1.7392 (137p) per share at the end of September.

Robert Naylor, Chairman of Hipgnosis Songs Fund, said: “The newly constituted board is making good progress with the due diligence work that will underpin its strategic review. We are disclosing the valuation at this time given its material difference to valuations previously disclosed. The board will provide further detail on this when the due diligence is complete. The board remains focused on identifying all options to deliver shareholder value.”

 HIP CAPITALI$M

Shares of cannabis company Canopy Growth to be consolidated on a one-for-10 basis

The Canadian Press

CANOPY GROWTH CORP (WEED:CT)

0.66 0.03 (4.35%)

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Canopy Growth Corp. says a consolidation of its shares on a one-for-10 basis is expected to become effective on Friday.

The post-consolidation shares are expected to start trading on the Toronto Stock Exchange and the Nasdaq at market open on Dec. 20, subject to final confirmation from the Toronto Stock Exchange and the Nasdaq.

The cannabis company says the consolidation was approved by shareholders at a meeting on Sept. 25.

It says the move is being implemented to ensure the company continues to comply with the listing requirements of the Nasdaq Global Select Market.

Shares in Canopy once traded for more than $60 per share, but have fallen significantly.

Canopy shares closed down eight cents at 93 cents on the Toronto Stock Exchange on Tuesday.

This report by The Canadian Press was first published Dec. 13, 2023.