This weekend marks a thrilling moment for Kounain Fathima, known as Kushi, and her friends as they prepare to travel to Bengaluru for a landmark event—her very first K-pop concert at the eagerly awaited K-Wave Festival. “I am really excited to see my favorite musicians perform,” exclaimed the 20-year-old from Chennai, exemplifying the heightened anticipation amongst K-pop enthusiasts across the country.
For devotees of the Korean wave, or Hallyu, with a keen interest in South Korean music, 2024 has evolved into an extraordinary year. The calendar kicked off with memorable performances by South Korean indie rock band The Rose and Korean-American artist Eric Nam at Lollapalooza in Mumbai, creating waves of excitement. Yet, the musical journey doesn’t end there. This weekend, the K-Wave Festival sets the stage in Mumbai on October 18, followed by Bengaluru on October 20, boasting an impressive lineup with EXO’s Suho and Hyolyn promised to surprise the audience—a revelation that thrilled fans since it was unveiled in September. As December approaches, Mumbai will host another monumental event—the K-Town Festival on December 14 which will feature EXO members Chen and Xiumin, alongside B.I (Kim Hanbin) and GOT7’s Bambam. Meanwhile, the Cherry Blossom Festival in Shillong is set to delight audiences with a performance by SuperM’s Lucas.
For staunch K-pop supporters in India, having such prominent figures in the music industry spotlighted this year seems like a long-held dream finally shaping into reality. As Pink Box Entertainment co-founder Nikita Engheepi recalls the initial days of introducing K-pop to Indian fans nearly a decade ago, the scenario was vastly different. “Back then, our primary goal was to ignite conversations about K-pop, showcase a wider range of artists, and demonstrate to organizers that India is indeed a promising market for K-pop concerts. By looking at 2024’s unstoppable momentum, it seems our vision is bearing fruit,” she proudly conveyed.
Being among the early trailblazers dedicated to establishing K-pop concert culture in India, Nikita significantly contributed to bringing artists like Dabit to India as early as 2015, followed by bands like M.O.N.T and K.A.R.D gracing the Hornbill Festival in Nagaland in 2018 and 2019. “In building a market, one cannot immediately introduce the biggest names. However, avenues are slowly opening up now, with major agencies and artists recognizing the thriving K-pop market in India.
. It’s empowering, especially collaborating with giant entities like SM Entertainment to bring artists like Suho here. It’s indeed a testament that major players now have an eye on India,” she pointed out.
Anmol Kukreja, founder and CEO of Skillbox, the entity tasked with organizing the K-Wave Festival across multiple cities, is equally invigorated by the burgeoning space. “The K-Wave Festival is designed not just to highlight music but to deliver an immersive Korean experience with authentic food, desserts, mocktails, workshops, and more,” he explained.
The anticipation is palpable as the festival attracted roughly 2,000 attendees last year in Bengaluru, with expectations doubling this time around, Anmol shared confidently.
The K-pop phenomenon echoes prominently back to 2023 when Jackson Wang, a GOT7 member, made a powerful appearance in Mumbai with his ‘Magic Man’ concert at Lollapalooza India. His arrival had legions of fans eagerly gathering at the airport, while fans queued hours ahead near concert barricades, exchanging cherished photocards and posters. Riddhi Chakraborty, founder and CEO of Bridge Asia, elaborated, “India’s strength is undeniably showcased through substantial streaming numbers on music platforms, but concerts have now highlighted that in-person fan engagement is massive too. Before Jackson Wang’s visit, post-pandemic, this was somewhat uncharted territory.”
Attending such events, Riddhi emphasized, feels communal in essence. “The K-pop fandom harbors unique layers that have fostered friendships built on mutual admiration for these artists. Indian fans partake regardless of the performers’ renown as they’re eternally grateful for their presence here,” she detailed.
Skepticism around hosting major names is dissipating, Riddhi noted, with the current lineup boasting A-listers not surprising her given the solid audience growth, alongside widening demographics and eager participation from both younger individuals and well-informed parents willing to invest in these concerts.
Where traditionally Indian fans would travel abroad for such experiences, this stellar lineup hints at a reverse trend. For the December K-Town 2.0 Festival in Mumbai, enthusiasts have secured tickets from diverse regions like Bangladesh, Thailand, Dubai, and the US, with the first edition in February seeing attendees from Japan—unexpectedly housing around 2,500 participants against an anticipated 1,000.
Shital Sikarwar, founder and CEO of TANI Events, divulged the rapid evolution as they cautiously stepped into larger festival formats following a successful history with workshops and camps around this genre. “Our initial hesitation was met with overwhelming support, and the approaching edition anticipates a threefold increase in attendance. Apart from music, experience zones featuring photo booths and Korean cuisine will enhance festivities,” she revealed.
Reflecting on what the future holds, the thriving landscape is bound to broaden next year, with Shital enthusiastically affirming their expansive plans. “Major acts covering multiple cities are under consideration, and we can’t wait to see what unfolds next,” she concluded.
