
A decade of K-pop: How ticket prices have nearly doubled due to premium bundling
BTS Concert Prices Doubled In A Decade, Worrying Fans & Experts
As agencies commercialize access and scale worldwide shows, fans and critics both wonder if K-pop's live growth is getting out of reach.
- 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.

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.
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