KCON LA, presented by Samsung Galaxy, is one leg of the largest worldwide K-pop and culture festival, first established in 2012. K-pop has become such a global phenomenon since 2012, and so I asked myself: with so many K-pop artists embarking on their own tours, and so many other music festivals now featuring K-pop groups, what relevance does KCON LA still have? The Mnet Countdown concerts at LA’s Crypto.com arena feature a diverse lineup of artists, but run briskly through sets of two to five songs per act. One could argue that it would be more worthwhile to see one’s favorite artists on individual tours.
What is special about KCON, however, is not the concert alone, but the combined full-day experience of the concerts and festival grounds. The 3-day event strives to offer what other festivals cannot: a wide array of performances, showcases, meet and greets, panels, workshops, and opportunities for fan-artist interactions. I had packed itineraries for the entire weekend and still could not see all that I wanted to see!
Mnet Countdown Concert Highlights
Some fans who expected the same amount of 4th generation heavy hitters as last year (Stray Kids, Ateez, Ive, (G)I-dle, Itzy) may have felt underwhelmed by this year’s lineup. However, the Mnet Countdown concerts still featured a few impressive headliners who could fill arenas on their own, such as Enhypen and NCT 127. Both groups performed with precision and confidence, and it was easy to understand their star power.
With less emphasis on 3rd and 4th gen powerhouses, the lineup was able to highlight some 1st and 2nd gen idols with impressive longevity. Taemin returned to KCON LA for the second consecutive year, presenting “Guilty” to U.S. audiences for the first time, as well as a captivating rock remix of “Criminal”. There may not have been the thunderous reception like there was last year, but he did still generate considerable excitement as the first night’s headliner.
Among the veteran artists who performed, g.o.d was a definite highlight. Their commanding vocals and undeniable charisma won over the crowd, many of whom were Enhypen fans. One of the artists to interact with the audience the most, g.o.d leader Joon called upon spectators to stand up, clap, sing along, and wave their phone lights during the final performance.
On the other end of the age and experience spectrum, there were many rookie groups with stages in the U.S. for the first time – one of the best aspects of attending KCon as a fan. Specifically, Boynextdoor and TWS both brought exuberant energy to their sets. Performing on multiple nights, TWS also exhibited a more mature side when three members covered Jungkook’s “3D.”
Some acts from last year’s lineup returned, participating in memorable special stages. Kep1er, performing as a group of 7, unexpectedly covered Stray Kids’ “Back Door,” and owned its complex choreography as though it were their own. Meanwhile, Zerobaseone delighted with a sing-along to Red Velvet’s “Psycho.” StayC, who performed at 2022’s KCON LA, also capably covered (G)-Idle’s “Queencard.”
KCON LA Puts the “Festival” in Festival Grounds
KCON LA rebranded its convention as the “Festival Grounds” this year, and true to its name, offered many stages throughout the LA Convention Center. KCON Stage was set up like a general admission club, and a few artists like A.C.E performed there exclusively. A.C.E played a powerful set with hard-hitting tracks like “Goblin” and “Savage”, and would have been a welcome addition to the MNet Countdown concert.
The artists who had the opportunity to perform at both MNet Countdown and KCON stage could play longer, more varied sets at the latter – and with more surprises. Jo Yuri, for instance, added a shimmery cover of Frankie Valli’s “Can’t Take My Eyes Off of You,” while P1Harmony dynamically performed B-sides “Emergency” and “Follow Me.” Bibi brought out Tiger JK at the end of her stage, Hyolyn even previewed her forthcoming single “Wait”.
Less established acts had showcases in the Meet and Greet area of the convention hall. With the large screens and prominent location, the Meet and Greet stage provided perfect exposure for newer groups. Dxmon showed off their live vocals with no back tracks, while POW displayed various dimensions of their fresh sound with tracks like “Dazzling” and “Valentine.”
The panels and workshops are an under-publicized aspect of the convention that I’ve consistently found to be engaging and insightful. In one panel, various idols-turned-soloists (Kevin Woo of U-Kiss, Denise Kim of Secret Number, From20, and Hello Gloom) shared the differences between their idol careers and current endeavors. In another panel, various producers discussed their approaches to their work, gave advice to aspiring producers, and even shared how they are utilizing AI in their creative process. At both events, I found the panelists to be down-to-earth and approachable, willing to chat with fans and take selfies.
In general, the festival grounds of KCON provide both formal and informal opportunities for fans to interact with artists and other convention participants. There are paid hi-wave Meet and Greet sessions, as well as the Dream Stage, where fans audition to dance with artists at the Mnet Countdown concert (this year, with Taemin, Enhypen, and Zico). Most activities took place in the large South Hall, including the Connecting Stage, where idols played games and participated in dance challenges. As a result, one could see idols walking through the hall, or making appearances at some of the booths. For many attendees, these sightings and interactions can form lasting memories.
KCON Reaches for New Audiences
Further differentiating itself from other festivals, KCON hosted fan meetings with K-drama actors Kim Soo-hyun and Park Min-young. I attended Park Min-young’s event, which involved her sharing behind-the-scenes commentary about memorable scenes from Marry My Husband. The meeting felt more like an interview than a fan meeting, but I see the potential for the format to include more interaction in the future.
On the music side of things, KCON has long invited J-Pop acts to perform, but this year also included global groups like Katseye and, for the first time, a P-pop group, BINI. There was palpable excitement at the packed Rising Stars panel for BINI, as they performed an acapella version of their single “Cherry on Top” and explained the empowerment they want to instill through their music. I doubt that any other country’s pop music would supplant the emphasis on K-pop at the festival, but it is worthy to note how KCON is attempting to embrace global artists and audiences.
KCON also aspired for a wide reach this year, streaming much of the festival live on YouTube and broadcasting Sunday night’s concert on the CW network — noteworthy as the first primetime broadcast of a K-pop concert in the United States. In various ways, KCON delivered on its ambition to spread Hallyu to a broader audience.
(Images via CJ ENM).
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