Why K-pop’s rise in London is about more than just music

LONDON — It’s a Sunday afternoon near Covent Garden. A crowd begins to form as dancers glide through the sharp, synchronized moves of TWICE’s “I Can’t Stop Me.” The performers — members of iKloud, one of London’s grassroots K-pop cover crews — channel the song’s sleek energy with striking precision. Diverse in race, gender and background, they move as one, drawing out phones and smiles from curious onlookers.

Scenes like this — whether K-pop cover shoots, TikTok challenges or random play dances — are now a regular sight at London’s landmarks. From the Southbank to King’s Cross, K-pop’s influence in London runs deeper than dance moves or catchy tunes, reshaping how young Londoners express themselves, build community and foster cultural connection.

Community built from ground up

London's K-pop fan community flourished in unexpected ways during the COVID-19 pandemic. For Bee and Katie, co-founders of BKT K-pop Events, it started online — watching music videos, discovering new groups and admiring the fashion and choreography. What began as casual fandom soon grew into a full-fledged passion.

“K-pop music videos are just better,” said Katie, 21, a film student. “The outfits, the way it’s filmed — it’s so much more powerful than (the Western ones), where someone’s just walking down the street. I also love that it brings people together, like a community.”

To bring their passion into the real world, they began organizing fan meetups — from photo card trading sessions and random play dances to themed karaoke nights — drawing K-pop fans from across London.

“We started with photo cards because it was a huge craze,” Bee, 19, a fashion student, explained. “We collect certain members, so we’d meet up to trade. Then we realized other people wanted to do the same. So we started inviting more people and it just grew from there.”

Unlike fans in Korea, London’s K-pop enthusiasts rarely have chances to meet idols or attend large-scale fan events. Instead, they create opportunities themselves.

“If we were in Korea, there’d be more chances to meet idols or go to fan signings,” Bee said. “Here, it’s much more community-based. So we have to do things for ourselves.”

Katie recalled how that shared culture sparks spontaneous connection. “There’s this moment when you spot someone with a photo card on their bag. I've gone up to someone who had a K-pop photo card on their bag and said, 'Oh, hey, is that Stray Kids?' And then we just had a conversation."

That communal spirit also drives iKloud, a grassroots K-pop dance collective welcoming anyone who shares their passion.

“We’ve actually never counted how many people are officially ‘in’ iKloud, because we’ve never seen ourselves as a formal dance crew with fixed members,” said Lulanda, 24, project leader and frequent performer with the group. “We always say, ‘You can be on iKloud, but not in iKloud.’”

While around 15 dancers appear regularly on iKloud’s YouTube channel, more than 50 individuals have participated over time and the number continues to grow.

K-pop empowers fans

For many young Londoners, K-pop didn’t just provide music or community, but a way to grow as individuals coming out of their shell.

“I used to be quiet, very reserved ... Since getting into K-pop, I’ve become so much more free and confident. I do dance covers in public and make a lot more friends. It’s helped me overall, with confidence,” Bee said.

Katie nodded, saying, “I was never confident. Four years ago, I’d never have imagined speaking in front of a crowd or helping build a community. K-pop gave me the push I needed. It also changed the way I dress. I used to live in only band T-shirts and leggings. Now I try more.”

For iKloud, their YouTube channel was initially just a place to free up phone storage. But when their cover of TWICE’s "Talk That Talk" unexpectedly gained some 20,000 views in just a few days, the group realized their hobby has a much wider appeal.

"That was a turning point for us — we began paying more attention to details like dance synchronization, formations, filming quality and even styling."

Each cover video requires meticulous coordination. A designated project leader chooses the song, schedules rehearsals and manages filming details. Typically, the dancers hold two or three rehearsals to refine choreography and synchronization.

“On the filming day, we do a marking take so the videographer and dancers can get used to the location, then film around three to five takes until we get one we’re happy with,” Lulanda said.

According to iKloud, the K-pop dance scene in London has become increasingly “active and dynamic.”

“Public covers are especially popular, with a strong audience preference for one-take videos in busy locations — it adds a kind of spontaneity and energy that people enjoy," she explained.

Cultural gateway

In recent years, K-pop’s visibility has shifted in London, from niche subculture to something increasingly normalized.

“We’ve seen a growing interest in Korean food and culture and a lot of fans want to visit Korea,” Lulanda said. “K-pop has opened a door for many young people to explore new cultures and trends.”

And that door keeps widening, not just culturally, but also on a personal and social level.

“I used to not like K-pop at all. But now I love it, and I think the world has grown with it. You hear it more. It’s talked about. It’s on the radio. And with so many concerts happening, even people who don’t listen to it recognize the name now," Katie said.

Younger fans are also joining in the K-pop culture earlier and more openly.

“At our random play dances, we see primary school kids coming with their parents. In college, a lot more people are into K-pop now. They wear keyrings, bag charms. People are more open about it,” Bee added.

While dance crews and fan-run events drive much of K-pop’s grassroots energy in London, others are working to expand Korea’s cultural reach. Among them are Lashai Ben Salmi and Nilza Anibal, co-founders of Hallyu Con, a platform engaging over 7.5 million K-pop and Korean culture fans across Europe.

Both noticed early on that Korean culture had potential in the U.K., even if audiences didn’t fully realize it yet.

“Although there weren’t always publicly big fandoms, many people had touch points with Korean culture without realizing it — grandmothers liking Korean dramas or people enjoying ‘Gangnam Style’ without knowing it was K-pop," Ben Salmi said.

London’s cultural diversity has made it a natural fit for K-pop’s rise.

“The U.K., particularly London, is such a melting pot. People are open to learning about other cultures ... People might have previously thought all Asian culture was Chinese, so we aim to educate and raise awareness," Anibal said.

That exchange comes to life through Hallyu Con’s convention-style events, featuring panels, music, performances and Korean food.

“Korea and the U.K. are far apart, but our events bring a piece of that culture closer to people here," Ben Salmi said.

One key initiative is their involvement with the K-Pop Academy at the Korean Cultural Centre UK. Despite the name, the program is comprehensive, covering topics from Korean history lessons to talchum (mask dance) and Korean calligraphy.

“We’ve had complete newcomers alongside longtime fans, and even a war veteran who once served in Korea. It brings together a wide range of people. Our youngest student was 10. The oldest was 73,” Ben Salmi said.

Challenges and potentials

While K-pop’s presence in the U.K. continues to grow, its expansion across Europe faces persistent challenges from pricing to inconsistent marketing strategies.

“Often they target specific markets but don’t release the right songs for those markets, missing opportunities that fans themselves clearly identify,” Anibal said.

Logistical and financial barriers also hinder K-pop’s full entry into the European market as concert ticket and merchandise prices remain a sore point.

“After COVID, more K-pop groups started touring, but the experiences don’t always match the price. Fans in the U.K. end up paying the same as or more expensive than other countries, but often get less. Sometimes, it’s cheaper to fly to Korea for a fuller experience," Anibal said.

Despite obstacles, optimism for K-pop’s future in Europe remains high.

This weekend, "SMTOWN LIVE 2025 [THE CULTURE, THE FUTURE]" will take over London’s O2 Arena, bringing together SM Entertainment’s biggest names from TVXQ! and Red Velvet to NCT 127, NCT DREAM, aespa, RIIZE and dearALICE, the British boy band trained in K-pop style under the label.

Part of the company’s 30th-anniversary world tour and its first major European stop in 14 years, the concert highlights London’s emerging status in the global K-pop landscape, bridging dedicated fandom with increasing industry recognition.

“I don’t think it will ever be mainstream like in Korea. Even in Korea, many people don’t listen to K-pop. But awareness is growing,” Anibal said. “What’s important is creating space on mainstream platforms like the BBC, integrating it into regular pop categories, rather than separating it.”

That’s where platforms like Hallyu Con aim to make a difference, by bridging fans, companies and culture.

“It’s just creating that bridge and a seamless experience — this is what fans want, this is how companies work and this is how the market functions,” Ben Salmi said.

In a city as diverse and multicultural as London, K-pop has fertile ground to evolve — not just as a genre, but as a cultural bridge and creative outlet.

“One of the most rewarding parts of running this channel has been meeting people from all walks of life who share a love for K-pop and dance … We’ve connected with people of different ages, cultures and experiences — some of whom we probably wouldn’t have crossed paths with otherwise,” Lulanda of iKloud said.