logo
BTS surpasses 30 million Weverse subscribers ahead of 2026 comeback

BTS surpasses 30 million Weverse subscribers ahead of 2026 comeback

Korea Herald6 days ago
Group sets new global record on fan platform as members prepare return from military service
K-pop phenomenon BTS has become the first artist to surpass 30 million subscribers on Weverse, setting a new benchmark for global fan engagement ahead of their highly anticipated comeback in spring 2026.
Hybe announced Saturday that more than 30 million fans have now joined the boy band's community on Weverse, a platform designed to facilitate direct interaction between artists and their followers. Through the service, fans can watch live broadcasts, chat with BTS members in real time and purchase concert tickets and official merchandise.
Weverse recorded 10 million monthly active users in the first quarter of this year. Since its launch in June 2019, no artist other than BTS has reached this scale of following.
The platform hosts not only Hybe-affiliated acts but also artists from other K-pop agencies, along with actors, musical theater performers and international pop stars including Ariana Grande and Dua Lipa.
To mark the milestone, BTS member Jin left a brief message on the platform, writing, 'I was told to post something brag-worthy, so here it is.'
The group is currently preparing to release a new album in spring 2025, following the recent completion of mandatory military service by all members.
BTS also released its first live album, 'Permission to Dance on Stage – Live,' Friday, which captures the band's 2021–2022 concert series held in Seoul, Los Angeles and Las Vegas.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

K-pop meets local lore: Hidden gems in 'KPop Demon Hunters'
K-pop meets local lore: Hidden gems in 'KPop Demon Hunters'

Korea Herald

time13 hours ago

  • Korea Herald

K-pop meets local lore: Hidden gems in 'KPop Demon Hunters'

Behind the animation's K-pop flair, the film is a rich blend of Korean culture and traditions woven into the story and characters "Listen 'cause I'm preachin' to the choir. Can I get the mic a little higher? Gimme your desire, I can be the star you can rely on." Yes, what is easier than stealing the souls of K-pop fans already under a spell? Many of you might have fallen head over heels for the Saja Boys — the Korean grim reapers who also top charts — like Abby, whose muscles pop shirt buttons, and Jinu with his charming smile. The group is a five-member fictional boy group created for the Netflix animated film "KPop Demon Hunters," and they're not just taking the fictional world by storm — they're stealing the hearts of real-life K-pop fans, too. But behind the animation's glittering visuals and K-pop flair, the film packs something even more powerful: a rich blend of Korean culture, age-old traditions and shamanistic elements woven into the story and characters. It is not just eye candy; it's a cultural deep dive wrapped in pop perfection. The term "Saja" translates to "lion," so people might assume the boy band chose the name to symbolize strength and power, like the lion itself. But there's a twist: The boys aren't just charming idols. "Jeoseung-saja" also refers to a grim reaper-like mythical figure who guides souls to the afterlife. In this case, the boys are demons sent to the human world to steal their fans' souls. The blending of spiritual tradition with pop spectacle is also reflected in the trio girl group Huntrix, comprising Rumi, Mira and Zoey, who are demon hunters sworn to protect their fans from supernatural threats. Huntrix's performances help to seal the "Honmoon," a mystical gate or barrier that separates the human world from the demon realm. The word is a combination of "hon," meaning soul, and "moon," meaning door, which is a traditional Korean shamanic "gut" ritual reinterpreted in a flashy way. In real life, such Korean rituals are performed by shamans, or "mudang," to drive away evil spirits, bring good fortune, resolve misfortune and foster harmony between the human and spirit worlds. The rituals combine music, dance, costume and spoken incantations. So when Huntrix begins using its music to seal off the demon realm, its ruler Gwi-ma strikes back by sending the Saja Boys to weaken the Honmoon by dominating music charts. Although produced overseas, these hidden cultural elements reflect director Maggie Kang's desire for the film to be "as Korean as possible," as she said in a Q&A video released to the press on June 26 — a vision that comes to life in every frame. Also, each Huntrix member carries a weapon with deep cultural roots, as each blade is inspired by traditional Korean weaponry and shamanic instruments. Rumi's sword, known as the "Quadruple Tiger's Evil Slayer," or the Four Tiger Sword, is a ritual blade dating back to the Joseon era (1392–1910). In Korean cosmology, each of the four cardinal directions is guarded by a mythical tiger, believed to protect the world from harm. Similarly, Rumi uses the sword to shield human souls from the demons, embodying the same protective spirit. Initially mistaken for a Chinese guandao — a type of Chinese pole arm — Mira's sword, known as "gokdo," is also inspired by the Cheolyeomchu, a curved pole arm from Goguryeo Kingdom (37 BC-668 AD), which gives the weapon a distinctly Korean identity. The spirit knife wielded by Zoey is the "shinkal," which is used during the gut ritual to fight evil spirits. Her blade is adorned with a "norigae," a traditional Korean pendant accessory worn by women, rich in both aesthetic beauty and emotional symbolism, reflecting the grace and spirit of women from the Joseon era. But the animation is not only about mythical themes and traditional Korean elements. The film also does an excellent job of portraying modern-day Korea. For example, in a scene where the members of Huntrix eat gukbap — a bowl of rice and boiling soup — tissues are placed under their spoons, reflecting Korea's dining etiquette. As the film and its spotlight on Korean culture continue to captivate audiences worldwide, pop culture critic Jung Duk-hyun noted that Korean culture is now seen as "hip" on the global stage, adding that it is one of the key reasons it resonates so strongly with international viewers. "The success of 'KPop Demon Hunters' serves as clear evidence that stories rooted in Korean traditions, music and lifestyle can capture global attention and serve as the core of a compelling film. It highlights the strong potential of Korean culture to inspire and shape not only movies but a wide range of creative content in the future," Jung told The Korea Herald on July 15. Yoo Seung-chul, a professor of media convergence at Ewha Womans University, echoed the sentiment, saying that the incorporation of Korean elements adds depth and richness to the film's details. "The film takes elements audiences already recognize from K-pop, along with familiar storytelling techniques, and creatively blends them," he explained.

Spooky songs to cool down summer heat
Spooky songs to cool down summer heat

Korea Herald

time13 hours ago

  • Korea Herald

Spooky songs to cool down summer heat

Horror-themed songs and music videos might help you overcome Korea's steaming summer 'My Sweet Home' by Ahn Ye-eun Singer-songwriter Ahn Ye-eun has showcased horror-themed series since 2020, drawing inspiration from Korea's traditional ghost stories to release fresh and unprecedented tracks. The series includes 'Trumpet Creeper,' adapting the tale of a court lady who died waiting for her king; 'Ratvolution,' a horror tale about a rat that eats a human fingernail and transforms into a doppelganger to take their place; and 'Changgwi,' which draws on the vengeful spirit of someone killed by a tiger. Ahn dropped the sixth song of her unique series, 'My Sweet Home,' on July 17. Based on the story of a ghost bound to a single location, the track is written and composed by Ahn. Her distinct vocal style — reminiscent of traditional Korean pansori — adds to the eerie atmosphere. The music video heightens the chilling mood with striking contrast of deep red and black animation, evoking the feel of a short horror animation. 'Voodoo Doll' by VIXX Known for its bold and distinctive concepts — ranging from cyborgs, Greek and Roman mythology to vampires — boy group VIXX captivated K-pop fans in 2013 with its first full-length album 'Voodoo,' whose main track 'Voodoo Doll' was inspired by the theme of a curse. Conveying a chilling yet heartbreaking story about a man who became a voodoo doll willing to do anything for a loved one, the song brought fresh images to the K-pop scene. In the music video, which shocked many teenage fans with its graphic visuals, the members, portrayed as pale voodoo dolls, endure torturous pain to grant the wishes of the one they love and remain unable to escape their fate. On stage, the group wielded a skull-topped cane that enhanced the eerie atmosphere. Used like microphones and pendulum on stage, the cane was even used for illusionary choreography that looked like it pierced the member's body. With a striking concept, VIXX won its first music show trophy. 'Zombie" by Everglow Everglow's 'Zombie,' released in October 2024, is another track that blends spooky visuals, chilling choreography and a haunting concept. The song portrays the emotional scars left by a betrayal of one's lover, with a moody yet addictive sound and a catchy hook. The choreography amplifies the unsettling tone, mimicking the jerky, unnatural movements of a zombie. Set in a hospital, which evokes the creepy mood of a classic horror film, the music video is drenched in blood-red images. Scenes of members transforming into zombies or trying to escape from something reinforce the horror theme. Dressed in ethereal white outfits with platinum-blonde hair, six members pull off a surreal visual concept.

When K-pop stays abroad: The rise of export-oriented idol groups
When K-pop stays abroad: The rise of export-oriented idol groups

Korea Herald

timea day ago

  • Korea Herald

When K-pop stays abroad: The rise of export-oriented idol groups

Idol groups turn to overseas markets as saturation in Korea makes domestic success harder to achieve, say critics In the age of global K-pop, not all idol groups shine equally at home and abroad. Fans and insiders are describing a growing number of acts as 'export-oriented idols' — groups who debut in Korea but quickly shift focus to international activities due to lackluster local reception. While some idols still enjoy popularity across the board — such as BTS and Blackpink, who command massive fan bases both in Korea and worldwide — others are far more prominent overseas than they are domestically. Groups like Dreamcatcher, ARTMS, Kep1er and Enhypen have built their careers largely through global tours and overseas fandoms, with limited exposure or fanfare within Korea. Even Stray Kids and Ateez — among the most visible K-pop groups in the US and Europe — perform primarily in overseas stadiums while maintaining a relatively smaller presence locally. The disconnect has sparked questions about why some idol groups appear to "skip" Korea entirely, despite being products of its music system. According to music critic Lim Hee-yun, the divide is rooted in how the industry has evolved. 'The overseas K-pop market has grown dramatically, while the domestic one is shrinking,' Lim said, Friday. 'In Korea, competition is too fierce. New idol groups debut constantly and general interest in idols has declined.' Lim points to shifts in listening habits as part of the problem. 'Unless you're in the top five, it's hard to chart or create buzz. Fans are more likely to stick with artists they already follow or stream songs recommended by algorithms. The days when a new idol group could instantly become a public sensation are gone.' This saturation has made the Korean market harder to penetrate, particularly for mid-tier or rookie groups. 'Some major agencies have idols whose overseas revenue accounts for 70 percent of their total,' Lim said. 'Naturally, those groups prioritize international tours and promotions.' An executive at an indie K-pop agency who spoke on condition of anonymity echoed this view, adding that the marketing strategy varies by company size. 'For major K-pop agencies (like SM, JYP and YG Entertainment), the model is to build a strong local fan base, then expand to Asia and beyond,' he said. 'But for smaller agencies, it's often more effective to aim directly at overseas audiences.' The executive cited Ateez of KQ Entertainment as a clear example. 'They're not from a major company, but by targeting global fans from the start, they built a sustainable fandom abroad. Now they're doing world tours with far more impact than their domestic engagements.' Girl group Fifty Fifty's breakout hit 'Cupid' wasn't initially designed for the Korean market, the insider said. 'We saw that overseas fans responded well to a track from its first EP ... So we used that as a reference and deliberately created a song targeting American teens. That's how 'Cupid' came about — with support from Warner Music to push it globally.' Still, the divide between domestic and overseas success raises questions about the long-term sustainability of this model. 'The K-pop industry is in an oversupply crisis,' Lim said. 'Too many acts, too few consumers. If the bubble bursts, and it might, only groups with solid backing or loyal fan bases will endure.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store