![[Grace Kao] Seventeen cinema tour in the US](/_next/image?url=https%3A%2F%2Fwimg.heraldcorp.com%2Fnews%2Fcms%2F2025%2F04%2F07%2Fnews-p.v1.20250407.a9bcb177359f4359841dc7102ff27d02_T1.jpg&w=3840&q=100)
[Grace Kao] Seventeen cinema tour in the US
Seventeen is one of the most popular K-pop groups today. The International Federation of the Phonographic Industry identified Seventeen as the third biggest-selling global artists of 2024, just behind Taylor Swift and Drake. The group's most recent tour began on Oct. 12, 2024 in Goyang, Gyeonggi Province, and concluded on Feb. 16 in Bangkok. For those of us who couldn't make it to the live shows, or if one wanted to relive the experience, Hybe released a concert film in cinemas worldwide on a few select dates in early April. I consider myself a fan — enough that I can sing along to a dozen or so of their songs, but not enough to have ever seen them live or own a Seventeen light stick. I attended one of these screenings.
The 14-screen multiplex theater I went to was in a large mall in Connecticut. The theater had a maximum capacity of 95 people. There were two showings — one on a Wednesday and the other on a Saturday.
I was the first one there, so the theater was silent when I arrived. I was looking forward not only to the concert film, but also because I thought I had a row to myself. When I bought my ticket, there were 17 other seats booked. Eventually people began trickling in, and a group of three young women sat right next to me. I checked the seat map again, and now it showed that 26 tickets had been sold, including the three next to me. They were clearly excited — almost as if they were at an actual concert.
For those who have not watched a K-pop or any other concert film in a movie theater, it is an odd experience. On one hand, it is much cheaper and easier to get to a movie theater. My ticket cost $20, a small fraction of what a concert ticket for Seventeen would cost, and parking was free. I sat in a wide recliner, which was comfortable enough for a nap and certainly cushier than my seat at any concert. On the other hand, it was much less invigorating than any concert I've ever attended. There wasn't a crowd of people handing out banners as is the case at many K-pop concerts. Light sticks were nowhere to be found in the movie theater.
The concert film was shot at Goyang Stadium, which has a capacity of around 50,000 people. I suspect that other attendees had more fun than I did, but I can't say the same for the three 20-something year old women sitting next to me.
In fact, they were as excited as some of the people at the J-Hope concert I recently attended. They took selfies — single and group ones. The theater was pitch-black, so I'm not sure how or why they took photos. They did this throughout the two-hour duration of the movie. They also took photos and videos of the performances as if we were at a concert. While they stayed seated, this did not prevent them from singing and dancing throughout the performance. They even giggled, almost hysterically at times. Under normal circumstances, these behaviors would have annoyed me. However, since we were pretending to be at a concert, I didn't mind.
The concert itself was great. I saw a lot of Mingyu, Wonwoo, The8 and Joshua, but all of the members enjoyed some screen time. As usual, Hoshi was animated. Woozi, S. Coups, and Vernon were all fun to watch. The newest songs had a bit more autotune than I might have liked, but the group could clearly sing well live. In fact, the last song, 'Very Nice,' lasted about 10 minutes and had many live parts that required the audience to participate. DK, Seungwan and Dino nailed the prechorus.
However, of the 13 members of Seventeen — I know it's confusing — only 11 were present. Jeonghan enlisted in the military just before this concert, and due to Korean conscription laws, the other Korean members will have to join by the time they turn 28. Members can also be absent for other reasons — Jun, who is Chinese and not in the military, was also absent due to acting obligations in China. For a group 10 years past its debut date, having 11 of its 13 original members is not bad. I suspect there will be future concerts with fewer members.
I was a bit sad that they didn't perform 'Don't Wanna Cry,' 'Darl+ing,' 'Rock With You,' or 'Hot,' but I did enjoy 'Home,' one of my favorite Seventeen songs. The highlight was the aforementioned 'Very Nice,' primarily because of the fun audience participation.
Was the film a satisfying substitute for their concert? For me, it's a definite no. However, the three women next to me might beg to differ.
Grace Kao is an IBM professor of sociology and professor of ethnicity, race and migration at Yale University. The views expressed here are the writer's own. — Ed.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
3 hours ago
- Korea Herald
Lee meets creators of 'KPop Demon Hunters,' pledges to promote culture as Korea's next growth engine
President Lee Jae Myung has met with a group of creatives behind the smash-hit Netflix animated film "KPop Demon Hunters" and pledged to cultivate South Korea's cultural sector into one of the country's core industries. Appearing on Arirang TV's prerecorded program "K-Pop: The Next Chapter" aired Wednesday, Lee sat down with Maggie Kang, Korean-Canadian co-creator of the global animation phenomenon, alongside a panel of creatives, including TWICE members Jihyo and Jeongyeon, and DJ and music producer who were involved in the project, as well as music critic Kim Young-dae. "The opportunity to show the power of Korean culture is beginning in a full-fledged manner," Lee said. "By building solid foundations, we will make (the cultural sector) a key industry." "I agree with concerns that South Korea's cultural industry may appear glamorous on the surface but is void inside with its roots decaying," he said. "The government will build strong foundations, starting now." The president also noted that the political circle should not attempt to take control of the cultural sector, apparently referring to the creation of blacklists of cultural organizations or artists critical of the government in the past to exclude them from support. "It is the government's duty to create a free environment," Lee added, noting that surveillance and regulation can hurt the cultural sector. The global success of "KPop Demon Hunters," produced by Sony Pictures Animation and distributed by Netflix, has raised calls for broader support for Korean companies in developing original content and intellectual property rights in the cultural sector. Lee added that one of the most impressive characters in the film was Derpy the tiger. "(The film) has transformed the tiger, one of the animals most feared by the Korean people, into something lovable and cute." (Yonhap)


Korea Herald
6 hours ago
- Korea Herald
Hybe continues to rely heavily on BTS for profit despite diversification push
J-Hope's world tour accounted for 40 percent of company's concert revenue in Q2: analyst Despite Hybe's ongoing efforts to diversify its business and reduce dependence on BTS, new data shows the K-pop powerhouse still relies heavily on its flagship group for generating profit. Earlier in August, the company announced a record quarterly revenue of 705.6 billion won ($504.4 million) with 63 percent coming directly from artist-driven activities such as concerts and albums. While overall album sales fell 8.4 percent year-on-year, concert revenue offset the decline. Concerts alone accounted for 26.7 percent of total revenue, jumping 31 percent year-on-year to 188.7 billion won, leading overall growth. Nearly 40 percent of Hybe's concert revenue in the second quarter came from BTS member J-Hope's 'Hope on the Stage' world tour, according to Kim Hyun-yong, an analyst at Hyundai Motor Securities, speaking in a local news show Tuesday. If accurate, it would mean J-Hope generated about 75.5 billion won — roughly 10 percent of Hybe's total quarterly earnings. J-Hope's tour ran from February to June across 16 cities, staging 33 shows and drawing about 500,000 fans, including sold-out stadiums in Los Angeles and Mexico City. The finale took place at Goyang Sports Complex in Gyeonggi Province in June. BTS member Jin's solo tour boosted Hybe's performance, as did Seventeen's fan meetings in Japan and world tours by Tomorrow X Together and Le Sserafim, which together attracted 1.8 million concertgoers worldwide. Indirect revenue streams such as merchandise, licensing, content and fan club memberships accounted for 37 percent, or 257.8 billion won, of Hybe's total revenue. Hybe's Disney-style vision faces limits Since 2022, Hybe Chairman Bang Si-hyuk has promoted Hybe as a '360-degree business,' likening it to Disney in its pursuit of intellectual property-driven growth across music, tech and fandom platforms. He has described Hybe as 'half a tech company,' aiming to be self-sustaining and not reliant on any single artist. However, the latest results suggest otherwise. Most of Hybe's profits still come from direct artist activities, raising questions about the pace of its diversification strategy. Hybe has been investing in new groups and expanding its global fan platform Weverse, but so far no act has been able to match BTS' sales power. NewJeans emerged as a next-generation K-pop star in 2022; however, NewJeans' ongoing legal dispute with Hybe subsidiary Ador has kept the group inactive. Meanwhile, Hybe America's girl group Katseye, launched with Geffen Records under a localized K-pop training system, has yet to make a significant financial impact despite placing two songs — 'Gabriela' and 'Gnarly' — on the Billboard Hot 100 within just over a year since its debut.


Korea Herald
7 hours ago
- Korea Herald
Ador appoints new CEO as legal fight with NewJeans drags on
K-pop agency names third CEO in under four years Ador, a music label under Hybe and home to NewJeans, said Wednesday it has named Lee Do-kyong as its new CEO, replacing Kim Ju-young after just one year. The label said Lee's appointment reflects a pivot toward reinforcing the agency's role in planning and managing artists' music and performances. Lee was previously vice president of Hybe's IPX division, which develops artist IP-based businesses such as merchandising, licensing and fan experiences. The outgoing Kim, a former HR executive, was appointed in August 2024 following the ouster of founding head Min Hee-jin, who remains in a legal dispute with Hybe over stock options following an alleged attempt to seize control of the subsidiary. 'Having deemed the previous restructuring goals achieved, the board is now moving to an operational model focused on quickly supporting artists' activities and driving business expansion,' Ador said in a statement. Lee joined Hybe (then Big Hit Entertainment) in 2019 and helped steer corporate vision, business strategy and new ventures. In 2022, she took charge of IPX to oversee merchandising, including pop-up stores and light stick operations. Lee also spearheaded 'The City,' a large-scale project that extended fan experiences across entire cities where Hybe artist concerts were being held. With Lee at the helm, Ador says it has built a more agile structure to support its roster. The label manages girl group NewJeans — currently in a contractual dispute with Hybe — and in June launched the '2025 Ador Boys Global Audition' to recruit members for a next-generation boy band.