Developing the Live Music Industry: Infrastructure Boom or Policy Bust?
The global rise of K-pop has sparked a boom in the South Korean live music industry. Massive concerts by global stars like BTS and BLACKPINK have proven that K-pop isn't just a genre—it's a thriving export. But behind the scenes, real challenges persist. Chief among them is infrastructure—the lack of properly equipped venues capable of handling demand. To address this, the new South Korean government announced policies aimed at expanding concert venue infrastructure by 2025, including the construction of a 50,000-seat mega arena.
In response, the Korea Popular Music Performance Industry Association hosted a seminar exploring the future of live music. Industry experts, artists, and policymakers gathered to discuss how improved infrastructure and strategic planning could bolster K-pop’s competitiveness globally.
Pros: Growth, Opportunity, and Global Expansion
Supporters of the new policy argue that expanding concert infrastructure isn't just about more shows—it's about building a sustainable ecosystem. High-quality venues mean better sound, safety, and comfort for fans and performers. They also mean better logistics for tour organizers and talent agencies.
Take Los Angeles’ Staples Center (now Crypto.com Arena), for example—its role in hosting concerts, sporting events, and award shows has helped revitalize the surrounding economy, creating thousands of jobs. Seoul or Busan could see similar effects, especially with international fans returning post-COVID.
Expanding venues also creates ripple effects: more jobs in stage production, logistics, security, and marketing. For younger generations dreaming of a career in music or event planning, it opens doors beyond becoming a performer.
Cons: Overspending, Market Saturation, and Fairness
However, not everyone is convinced. Critics worry that too much government involvement could stifle private sector creativity and competition. If the state builds massive venues, smaller private venues might be pushed out or remain underutilized.
There’s also the matter of profitability. What if these new mega-arenas can’t fill seats on a regular basis? Tokyo Dome, a similar large-scale venue in Japan, operated at a loss in its early years due to poor demand forecasting. The same risk looms for South Korea.
Regional equity is another issue. If these projects are all built in Seoul or Busan, what happens to rural communities, where cultural access is already limited? A national approach must consider fair distribution; otherwise, the “cultural gap” between cities and provinces will only widen.
Oversupply Risk and Neglect of Indie Artists
Building too many large concert venues risks flooding the market. Audience demand isn’t infinite—if too many shows compete for attention, even successful artists might struggle to fill seats.
There’s also the question of who benefits. Will these shiny mega-venues be accessible to rookie bands or independent artists? Probably not. Many in the music community worry that smaller clubs and indie stages—where creativity often starts—will be overshadowed or pushed out of budgets and policy support.
Ironically, it’s these grassroots venues that helped incubate K-pop in the first place. Without strategic support for smaller acts, policy may inadvertently favor only the top 1% of performers.
Balancing Public Support and Market Reality
Ultimately, the debate comes down to balance. Infrastructure is essential—but so is caution. If public funding overextends or misfires, we risk a future of half-empty arenas and wasted tax dollars. Moreover, if policies change with each election, the industry could suffer from inconsistency and instability.
What’s needed is a dual-track approach: invest in world-class arenas while simultaneously strengthening policies that support smaller venues, regional diversity, and independent musicians. With government and private sectors co-working, sustainable growth becomes possible.
For K-pop—to remain a global cultural powerhouse—the live music industry must grow smart, not just big.
