[theqoo] IVE STRUGGLES TO BREAK THROUGH OUTSIDE ASIA, STARSHIP HAVE A SOLUTION

Idols under Starship Entertainment, including IVE, have struggled to gain traction in Western markets. At a time when expanding beyond the domestic scene into the global market has become a standard formula for K-pop acts, relying on success concentrated in only a few specific regions presents clear limitations.

IVE is set to make a comeback on the 26th with their fifth mini-album, 'Looks Can Kill'. Ahead of the release, the title track of the same name was unveiled on the 19th; as of 9:00 a.m. on the 21st, the new song had reached No. 18 on the "Hot 100" (real-time) chart and No. 22 on the "Top 100" chart on Melon, the largest music streaming platform in South Korea.

While these initial results may not be exceptionally striking, the fact that the song has secured a spot near the top of the charts confirms that it has managed to capture a notable level of interest from the domestic public.

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However, the picture changes when looking abroad. In the United States, the epicenter of the global popular music market, the group has yet to enter either the Billboard Hot 100 or the Billboard 200, the two primary Billboard charts.

There is also a notable disparity in the scale of their performances across different regions. During their recent second world tour, IVE visited eight cities in North America, an increase from the six cities included in their first tour. Nevertheless, the venues they played, such as the Scotiabank Arena in Toronto and the Kia Forum in Los Angeles, were all arena-class venues. In contrast, their performances at the Tokyo Dome and Kyocera Dome in Japan drew a combined total of 127,000 attendees, whereas their North American shows have so far attracted audiences in the range of only 10,000 to 20,000 people.

Europe was even excluded from the second tour. Although the first world tour included stops in France, Spain, and the United Kingdom, marking an expansion into the European market, the list of destinations has actually shrunk this time around. While the number of North American cities has increased, the omission of European dates has resulted in a narrower overall scope of activity. It is worth noting that the tour failed to scale up in terms of venue size, nor did it show any progress in broadening the geographical reach of the group’s activities.

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Of course, the foothold established in the Asian market should not be underestimated. Japan represents one of the world’s largest music markets, and IVE’s success in selling out both the Tokyo Dome and Kyocera Dome is a significant achievement. The challenge lies in the next phase of global expansion: extending a fan base secured in one region to other markets, scaling up concert venues from arenas to domes and stadiums, and translating this into tangible growth in overseas revenue. Western markets, particularly in the United States and Europe, are considered key benchmarks for the global scalability of K-pop; building a local fan base there is essential for achieving a structural expansion of international earnings.

Ultimately, Starship Entertainment requires a new growth engine that extends beyond its success in Asia. A critical task is determining how effectively the group can translate its domestic mass appeal and the ticket-selling power demonstrated in Japan into the Western markets of the U.S. and Europe. Without securing concrete results on the global stage, relying solely on achievements within South Korea and select Asian markets will inevitably limit the company’s potential for further large-scale growth.

This is not a challenge unique to IVE alone. With the exception of MONSTA X, who successfully entered the Billboard 200, none of Starship’s other rookie groups have yet achieved success on Billboard’s main charts. As a succession of new acts, such as KiiiKiii, IDID, and AEN, make their debuts, the key factor determining the next phase of Starship’s growth will be the company’s ability to secure intellectual property (IP) capable of generating tangible consumption and revenue abroad, extending well beyond mere brand recognition within the domestic market.

original post: here

1. IVE, fighting!

2. This article smells like it was orchestrated by some internal document...

3. I was wondering why an article like this would suddenly pop up, but after reading the comments, I see it's because of the Grammy submission... Seriously, what is this...

4. Seriously? Coming for IVE of all groups?ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ Is there any other girl group from a mid-sized agency that’s already touring so successfully, even beyond Asia? It's like they think it's still 2022

5. Given that they submitted to the "Asian Pop" category at the Grammys, an event currently being boycotted by many due to r*c*sm, it seems Starship is desperate for validation from the U.S.

6. Instead of worrying about a group that's already raking in money, why don't they write an article about those domestic concerts that were practically empty, where they didn't even cancel the shows, but instead handed out free tickets to random couples passing by?

7. So what? IVE fighting! ^^

8. This was part of some company's internal document

9. That's so good~ Let's keep IVE for us then!!!! It's so annoying how K-pop only seems to care about the overseas market

10. If a Korean singer is popular here in Korea, isn't that enough? Why do they necessarily have to be popular in the U.S., too? Reminds me of a certain company that’s always putting out PR about their artists' overseas popularity

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