K-pop fans trade ticket wars for VR concert rush

Members of K-pop boy band TXT perform during the group's virtual reality (VR) concert, "TOMORROW X TOGETHER VR CONCERT : HEART ATTACK." Courtesy of AMAZE

As K-pop's global fandom continues to expand, one reality has become increasingly clear: Getting a concert ticket has become harder than ever.

For 18-year-old student Lee Se-min, that challenge feels all too familiar. A longtime fan of K-pop boy band SEVENTEEN, she has also been closely following their label junior group TWS since debut. But even with strong interest, attending a live show is not a simple decision.

"Of course I'd want to go in person, if I just had that much money," Lee said. "But I already have a favorite group, and there's no guarantee I'd even manage to get a ticket for TWS."

Instead, she opted for a different kind of concert experience, one that is quickly reshaping how fans engage with their favorite idols.

Virtual reality (VR) concerts, once seen as experimental, are steadily gaining ground as a viable alternative to traditional live shows. Lee recently attended "TWS VR CONCERT : RUSH ROAD," which premiered at Megabox Coex on March 4 and has since extended its run through April due to strong demand.

"I went in expecting lower quality," she said with a laugh. "But the members felt right in front of me. They were dancing, smiling, making eye contact. It felt completely different, almost therapeutic in a way."

Official posters for K-pop boy band TWS' "TWS VR CONCERT : RUSH ROAD," left, and girl group Le Sserafim's "LE SSERAFIM VR CONCERT : INVITATION" / Courtesy of AMAZE

Lee's reaction reflects a broader shift. For many fans, VR concerts are not simply substitutes. They offer a distinct experience built around intimacy and immersion.

According to Pledis Entertainment, "RUSH ROAD" was designed around the theme of "youth in motion," allowing viewers to feel as if they are participating in TWS' performance journey rather than just watching it. At 33,000 won per ticket, the format also presents a more accessible option compared to increasingly competitive and expensive live concerts.

This combination of affordability and accessibility has helped VR concerts position themselves as a new destination for fans who are either priced out of live events or unable to secure tickets. Fans can walk into a theater, put on a headset and instantly enter an ultra-close performance environment tailored to their perspective.

The model is quickly expanding across the industry.

K-pop girl group Le Sserafim is set to launch its first VR concert, "INVITATION," on April 15. Production company AMAZE, one of the leading players in the field, said the project aims to deliver "a heightened sense of presence through detailed direction and expressive performances."

The success of earlier projects suggests that demand is already in place. Boy band ATEEZ's "LIGHT THE WAY" VR concert recorded a 9.9 audience rating on Megabox, and saw its screening period extended due to fan demand. Despite fewer screenings than conventional films, it maintained steady seat occupancy, pointing to sustained interest rather than one-off curiosity.

Audience members wear VR headsets while watching a scene from singer Cha Eun-woo's virtual reality concert, "CHA EUN-WOO VR CONCERT : MEMORIES" at a theater in Seoul, June 2025. Courtesy of AMAZE

Industry data supports this trend. According to the Korean Film Council (KOFIC), performance-based content including VR concerts now accounts for roughly 3.5 to 5 percent of Korea's annual box office revenue. What began as a pandemic-era workaround has evolved into a high-value segment of the movie theater business.

From a business perspective, the model is efficient. While VR concerts have fewer screenings, ticket prices averaging around 30,000 won allow them to generate strong revenue relative to audience size.

Repeat attendance is another factor. According to KOFIC's analysis, viewers attend an average of 2.4 times more than double that of regular filmgoers. Features such as member-focused viewing angles and shifting concepts across songs encourage fans to return.

The format is also expanding beyond Korea.

AMAZE's early project with Megan Thee Stallion, titled "Enter Thee Hottiverse," toured 17 cities in the United States in 2022. Since then, the company has collaborated with SM Entertainment to produce VR content for artists including girl group aespa and EXO's Kai.

K-pop boy band ASTRO member Cha Eun-woo performs during his virtual reality (VR) concert, "CHA EUN-WOO VR CONCERT : MEMORIES." Courtesy of AMAZE

More recent projects have further expanded into global markets. TXT's first VR concert drew around 230,000 viewers across 28 cities, with over 90 percent of revenue coming from overseas. Acts like ENHYPEN and ASTRO's Cha Eun-woo have also toured VR content across dozens of cities and theaters worldwide.

As more artists join the format, VR concerts are moving from novelty to infrastructure. They cannot yet replace live shows, but they expand the ecosystem around them.

In a landscape where access is limited, the ability to step into a performance, even virtually, is becoming part of the K-pop experience itself.