via Graphic Plus — The past week has served as a vivid reminder that the Korean Wave is a sophisticated, multi-layered cultural ecosystem that continues to redefine the global music industry.
The week began with a sense of grandeur as EXO officially marked their return on January 19 with their 8th studio album, REVERXE. The title track, “Crown,” a masterclass in the sophisticated R&B-pop, has become the group’s hallmark.
While the release was shadowed by the absence of Chen, Baekhyun, and Xiumin due to ongoing contractual discussions, the remaining members delivered a project that feels both nostalgic and experimental. The global charts immediately reacted, proving that even with a fragmented lineup, the EXO brand remains a foundational pillar of the industry.
Closer to home, the atmosphere was even more electric. On January 24, the SM Mall of Asia Arena transformed into a sea of teal for Day6’s “DECADE” 10th-anniversary tour. It was a night defined by musicality and shared history. The highlight of the evening was a fan-produced “compass” tribute video, which moved the members to reflect on their ten-year journey from “rookie band” to chart-topping stalwarts.
Their promise to continue for another decade wasn’t just a sentimental gesture; it was a commitment to the enduring power of the “K-Band” genre, which has found a particularly passionate home in the Philippines.
The Global Strategy: BTS and Stray Kids
While the veterans were celebrating milestones, the industry’s heavy hitters were busy expanding their global footprint. The past seven days saw the official start of the “ticketing war” for BTS’s Arirang World Tour. Following the announcement of their Goyang opening shows in
April, digital queues reached unprecedented lengths with Filipino fans among the most active participants in securing seats for the South Korean dates.
Simultaneously, Stray Kids reached another milestone in their “global festival icon” era. It was confirmed this week that the group will headline the 2026 Governors Ball in New York: no longer just a “niche” performance, but the main event that drives ticket sales for general music festivals.
Manila: The K-Pop Hub of Southeast Asia
For the local fanbase, the week was a whirlwind of “post-concert blues” and new experiences. The energy from the January 17 shows, RIIZE at the MOA Arena and Red Velvet’s Wendy at the New Frontier Theater, continued to dominate social media trends throughout the week. Fans spent the last seven days dissecting every vocal run and choreography clip, cementing Manila’s reputation as a city that provides some of the most enthusiastic audiences in the world.
Innovation also took center stage at the Gateway Cineplex, which hosted the final days of the ATEEZ “Light The Way” VR concert. This experience allowed fans to engage with the group’s performance through high-fidelity virtual reality, bridging the gap between digital content and live attendance. As the run concluded on January 25, it set a new standard for how international groups can maintain a “physical” presence in foreign markets without the immediate need for a full tour production.
The Power of the Vote
The industry’s competitive spirit was also on full display during the final round of voting for the 33rd Hanteo Music Awards. Throughout the week, fan mobilization on apps like Whosfan and Mubeat reached a fever pitch. This digital activism remains one of the most unique aspects of K-pop culture, where the success of an artist is treated as a collective achievement by the fanbase. Whether it’s securing a “Global Artist” award or funding a birthday billboard, the level of organization seen this past week highlights a fandom that is as much a marketing force as it is a listener base.
Looking Ahead
The momentum shows no signs of slowing down. As we look toward the coming weeks, the focus shifts to IVE’s newly confirmed Manila stop in April and the anticipated ticket sales for Chen’s (EXO) “Arcadia” tour. — Orville Tan
