[비즈한국] Analyzing the BTS effect solely based on their concerts is a one-sided approach. In terms of providing the best content services to fans, BTS represents an evolutionary and expanded model of K-pop. The foundation for this dates back to November 2021.
At the time, a unique event during their offline concert in Los Angeles—held for the first time in two years—drew attention. A large screen was set up outside the venue, allowing fans who could not secure tickets to watch a live broadcast of the concert. This allowed those fans to feel the concert atmosphere as well. A spectacular sight unfolded as light sticks waved in unison both inside and outside the venue. Of course, there were principles to this; priority was given to pre-sale ticket holders. Through this event, the fandom experienced the concert indirectly. Even fans without tickets stayed in the vicinity of the venue, enjoying food, shopping, and sightseeing.
The following year, it took a step further. The 'BTS in BUSAN' concert held on October 15, 2022, to support the bid for the 2030 Busan World Expo, was a free concert. Although 50,000 people were invited, about 50,000 more fans who could not get tickets surrounded the concert venue. Fans flocked there to enjoy the atmosphere and the music spilling out from the concert. This format continued with the Gwanghwamun Square concert on March 21, 2026. About 100,000 fans gathered to feel the vibe while watching the live Netflix broadcast.
The expansion of physical space to satisfy fan sentiment became prominent during the 2022 world tour. Through what is known as 'The City Project,' the entire city was linked to the concert, allowing fans to enjoy BTS content and feel satisfied even without entering the concert venue. Ahead of the 'Permission to Dance on Stage - Las Vegas' concert, major landmarks in Las Vegas turned purple. The Bellagio Fountain show, one of the three major shows in the world, featured BTS music like 'Dynamite' and 'Butter'. By offering a diverse range of things to see, eat, and enjoy, they introduced the concept of a 'City Concert Play Park' that expands the fan experience. It was a format that turned the entire city into an amusement park through the medium of a concert.
Eleven hotels offered BTS-themed rooms. The rooms were equipped with welcome message cards written by the members, door hangers, and photocards. A photo exhibition capturing the tour preparation process was also held. Pop-up stores showcasing clothing, accessories, fancy goods, and city-signature items were opened. These were not just spaces for selling products. Theme rooms from their music videos—such as the basketball court from 'Dynamite,' the elevator from 'Butter,' and the laundromat from 'Permission to Dance'—were brought to life. Fans joyfully took and shared souvenir photos. A Korean food pop-up restaurant, featuring dishes enjoyed by BTS, was set up in the hotel. The menu included kimchi fried rice, jajangmyeon, galbi-jjim, Korean fried chicken, bibim-guksu, kimchi pancakes, gimbap, assorted fried foods, bingsu, and bungeoppang ice cream.
In March 2026, BTS returned with their 5th studio album 'Arirang' and expanded the City Project for an entire month. The city-wide project 'BTS The City Arirang Seoul' put the 'scarcity of experience' at the forefront, showcasing things that cannot be experienced outside of specific spaces and times. Along with the album release, a media facade performance took place at Namsan Tower and Sungnyemun Gate at 7 PM on the 20th. A drone show was held in Ttukseom, and outdoor screen advertisements were aired on buildings near Gwanghwamun Square, creating a massive exhibition atmosphere. In Cheonggyecheon, the message 'KEEP SWIMMING' from the title track 'SWIM' appeared as if flowing, and the stairs leading to the Yongsan Station plaza also gave the feeling of walking underwater, providing a sense of liberation in the daily life of the city.
At multiplexes, 'listening parties' were held to appreciate BTS's music, and a 'Love Song Lounge' was set up in the outdoor Yeouido Hangang Park. Through music, they allowed anyone to participate in experiential content, not just busking. A cube-shaped installation was set up in the courtyard of the National Museum of Modern and Contemporary Art, allowing people to experience the title track 'Swim.' The experiential events were unveiled sequentially. An 'ARMY Madang' was installed at the Dongdaemun Design Plaza (DDP), expanding the sentiment of the traditional Korean communal space known as 'Madang.' In 'CUSTOMIZE YOUR Arirang,' fans could make t-shirts and light sticks in their own way, and in the 'FILL YOUR LOVE SONG' zone, fans wrote their favorite songs and lyrics on red balls, which were then collected to complete a giant album logo, creating a real-time exhibition. Booths like 'KEEP YOUR LOVE SONG,' where fans could find lyrics from the B-sides and keep them as postcards, and 'CAPTURE YOUR MOMENT,' where fans could take photos and make photocards with 'The City Seoul' exclusive frames, also attracted attention.
Such a project was possible because concerts were scheduled at Goyang Sports Complex on April 9, 11, and 12, following the Gwanghwamun Square performance. It was a plan that allowed for an 'experiential tour trip.' Even if they don't see the concert, fans can stay in Seoul for a long time because of the diverse offerings. It allowed overseas fans who finally came to Korea to fully enjoy their time for two to three weeks. The 'Enter-tour-ment' tourism effect is something other K-pop groups might want to reference. However, the 'The Seoul City' project seems to have focused only on Seoul, which could be both a strength and a weakness.
This kind of City Project is a collaboration between concerts and cities. Because it uses various facets of a city as content, it creates tourism effects and serves as a win-win strategy that increases fan satisfaction independent of concert viewing. It is an adventurous and innovative model in that it requires close cooperation between the two sides. How it will evolve in the future is important.
The author, Kim Heon-sik, has wandered through and explored the forest of popular culture phenomena since his 20s, with the expectation that there is a way to make the world better through culture. Even in the 21st century, where AI and quantum computers are active, he continues on the same path with the same belief.