Have you heard about the biggest global K-Pop event, KCON LA 2025? Did you know that this year’s event in Los Angeles not only thrilled fans but also stirred up a major controversy within the industry? And are you aware of just how much some agencies had to spend just for the chance to put their artists on stage?
Held from August 1–3, 2025, at the Crypto.com Arena and LA Convention Center, KCON LA 2025 was the grand occasion with fabulous performances from 34 artist teams. It was lights and music and loud cheers from fans that made any K-Pop lover feel like it was a dream. But behind such a glamorous show lay a far less glamorous story, which turned the dream of executing into an expensive burden for many rookie artists and their trades.
KCON LA 2025: A Grand Showcase of 34 Artist Teams and Rising K-Pop Talent
Totalling to 34 artist teams, KCON LA 2025 saw the stage ablaze with special acts. From ever-so-familiar idols to brand new faces, the program was ideally designed for any kind of K-Pop fanatic.
One of the most prominent features was the “X Stage”- intentionally built for inexperienced artists and budding professionals. It provided the newest generation a window of opportunity to display their skills in front of a truly global audience.
Promoter CJ ENM said this stage segment is intended for the purpose of “introducing new artists and talented performers across various genres,” thus generating great excitement among fans and idols-to-be. It sounded like an amazing chance, at least on paper, but many would later realize there was a grim reality behind it.
Hidden Costs for Agencies
While KCON LA 2025 promised exposure and opportunities, in reality, it turned out to be a financial burden for many agencies. Agencies were expected to pay for their own expenses — airfare, hotel accommodation, renting cars, up until paying for the meals of their artists and staff.
For around 20 people in total (members plus managers, stylists, and other staff), simply appearing on stage could cost close to 100 million won (approx. ₹62 lakh or USD $75,000).
It is extrapolated that meals were far from proper considering there is such an outrageous expenditure. Officials on the ground stated that the agencies were told that food was “available on-site,” but this meant artists actually had to travel to the concert venue in their free time just to get something to eat.
One worker lamented:
“We knew before leaving that we’d have to cover airfare and lodging ourselves. But once we arrived, we were shocked to find that meals weren’t properly arranged and we even had to pay for car rentals.”
Main Stage Payment Issues: Low Guarantees and Hidden Costs for KCON LA 2025 Performers
The costs were sometimes paid for artists presenting on KCON’s main stage specialties, often collaborating with M Countdown. Airfare and lodging for the idols were the expenses paid by CJ ENM, which appeared fair at first.
The least surprising thing was the payment for guaranteed performances: 1 million won (around ₹62,000 or USD $750) per act. With a paying audience and huge global attention, it was far less than what would have been reasonably expected.
Further to this, another travel allowance and service charges for essential staff pertinent to the hairstylists, makeup artists, and wardrobe teams must come out of the agency’s own pockets.
Adding that up led many agencies into losses in the order of tens of millions of won, despite their got-to-be-main-stage performances. This so-called launch pad just put many agencies really deep in the red.
CJ ENM’s Official Statement: “Voluntary Participation with Global Exposure Opportunities”
CJ ENM responded against criticism by defending its KCON LA 2025 approach. It was said that artists ‘appear without paying a fee,’ yet the event is helpful for networking and promotion.
It said that KCON stage content is made available to worldwide fans on platforms such as YouTube and Mnet Plus. Agencies get to meet local players of the music industry during KCON Days, who also serve as potential collaborators for their work, thereby widening the industry’s reach.
CJ ENM stated that it is a voluntary event, with each agency deciding if they want to send their artists to participate.
Industry Comparison: KCON LA 2025 vs. Standard K-Pop Concert Practices
In the previous few years, overseas K-pop omnibus concerts have been held more and more, affording artists to mingle with worldwide audiences. At many of these events, basic guarantees are given along with essential expenses for air tickets, hotel accommodation, and meals for the artists and their essential staff.
The modus operandi of KCON has been an effective eye-opener. Warmed up as a grand stage for cultural exchange and international exposure, it turned to shifting the greater portion of the financial burden onto the agencies — especially on the rookie ones. This contrarian stance has only fueled the debate over whether the event really promotes rising talent or exploits their dreams.
Mixed Reactions: Voluntary Participation or Financial Burden?
The updates regarding KCON LA 2025 and its financial model have divided the K-Pop community.
Proponents argue that no agency or artist was forced into this decision – it was a completely voluntary opportunity for the agencies and artists. For many, the chance for international exposure, networking, and fan engagement were enough of a reason to incur the costs associated with KCON, even if it required them to stretch their budgets.
Critics however argue that the total costs were exorbitant for small and medium-sized agencies making it near impossible for them to send their artists without incurring major losses. These people see this agreement as benefiting larger agencies which have deeper pockets.
Adding frustration to the situation is the fact that some groups wanted to attend but couldn’t because of the associated costs. This raises the question of whether it is doing more good or harm to up and coming talent or are these events perpetuating and enlarging the divide between established talent and rookie artists without the means to participate.
Conclusion: Opportunity or Exploitation?
KCON LA 2025 highlighted global K-pop talent but unfortunately also highlighted the reality of the cost for many agencies. For some, it was a potentially valuable opportunity to showcase talent, for others, it was an exorbitant risk. Ultimately, the question remains, is it actually benefiting new artists, or just profiting off of their hopes and dreams?
