When BTS takes the stage at Gwanghwamun Plaza on Saturday (March 21), only 22,000 ticketed fans will have seats. But Seoul police are bracing for up to 260,000 people flooding the historic district — more than 10 times the venue’s capacity.

The sheer scale has transformed a single concert into a full-blown urban operation involving 6,500 police officers, 70 riot control units and 5,400 pieces of specialized equipment, including aerial observation vehicles, broadcast lighting trucks and collapsible fencing. “This BTS comeback concert is a large-scale downtown event drawing fans from around the world, so we’ve prioritized citizen safety above all,” said Jung Sang-hoon, Seoul’s first vice mayor for administrative affairs.

Seoul’s solution? Turn the historic plaza into a virtual stadium. Authorities have designated 31 official entry points and will monitor crowd density in real time, blocking additional entry when concentration exceeds two people per square meter. It’s stadium-level crowd control without an actual stadium.

In the days before the show, South Korea’s minister of the interior and safety will personally inspect high-risk areas including bottleneck zones, slopes, stairs, railings and subway stations. On the day of the concert itself, a senior field operations official from the ministry will be deployed to key crowd-density hotspots — a level of oversight directly shaped by heightened safety awareness following the 2022 Itaewon tragedy.

Major downtown arteries will shut down for 33 hours. Sejong-daero between Gwanghwamun and City Hall intersections closes at 9 p.m. on Thursday (March 19) and won’t reopen until 6 a.m. Saturday. Sajik-ro and Yulgok-ro will be pedestrian-only from 4 p.m. to 11 p.m. on concert day, with Saemunan-ro and Jongno following suit from 7 p.m. to 11 p.m.

Seoul’s subway system is getting a complete overhaul for the event. Gwanghwamun Station will run express service with no stops from 2 p.m. to 10 p.m., while City Hall and Gyeongbokgung stations will do the same from 3 p.m. to 10 p.m. To handle the post-concert exodus, Seoul Metro will deploy 12 additional trains across Lines 2, 3 and 5 starting at 9 p.m. Even the city’s public bike-share program, Ttareungyi, will suspend service.

Thirty-one buildings surrounding Gwanghwamun Plaza are under strict access control. The iconic KT Gwanghwamun West Building — a prime vantage point for public events — will close entirely, including all retail tenants. Gyeongbokgung Palace and the National Palace Museum of Korea will also shut down for the day.

All three major South Korean mobile carriers are fortifying networks to handle simultaneous smartphone use by 260,000-plus attendees. Seoul is launching a dedicated event website with real-time info on road closures, subway detours, restroom locations and on-site medical stations — urging fans to screenshot key details in case cellular service falters.

The city has secured 894 public restrooms and plans to add women-only facilities after noting that female ticket holders outnumber men by more than two to one. Multilingual signage in Korean, English, Chinese and Japanese will guide international ARMYs.

Price-gouging prevention is also on the agenda. Seoul will monitor hotels and tourist districts for inflated rates and operate a Report Price Gouging QR code system for instant complaints.

It’s rare for a single concert to trigger citywide infrastructure reconfiguration, but Gwanghwamun Plaza — one of Seoul’s most symbolic public spaces — is making it happen. For one night, South Korea’s capital isn’t just hosting BTS. It’s becoming the show itself.

This story was originally published by Billboard Korea.

The long wait is almost over. And while ARMY are revved up into a frenzy with just five days to go before BTS release their eagerly anticipated fifth album, Arirang, even the K-pop supergroup’s members can’t avoid feeling some butterflies as they prep their first full-band release in six years.

“ARMY Everyone, the album will be released soon! I’m so nervous that I don’t know what to do,” wrote singer Jimin in a translated Weverse post on Sunday afternoon (March 15) accompanied by a new selfie in which he sports platinum blonde dyed hair. “I hope you listen to it happily, and I’ll finish it off well and show you a great side!! Please look forward to it I love you 😊”

It has been a long four years for ARMY as they have patiently awaited the conclusion of all seven band members’ compulsory South Korean army service. Each day, however, is bringing the reality of their comeback closer, including last week, when they dropped the album’s artwork, which finds RM, Jin, Suga, j-hope, Jimin, V and Jung Kook looking dapper and ready for business in dark gray and black business suits.

The 14-song Arirang is the follow-up to 2020’s Be, which debuted at No. 1 on the Billboard 200 album chart and featured the Billboard Hot 100 No. 1 hits “Life Goes On” and “Dynamite.” It remains to be seen if BTS can recapture the unstoppable momentum the group had before the long layoff, but if past is in any way prologue, their six previous No. 1s on the Billboard 200 chart could pave the way for a smooth return to the top.

The group will flood the zone in the next few weeks, which will include a concert, BTS THE COMEBACK LIVE | ARIRANG, that will stream live from Gwanghwamun Square in Seoul, South Korea on Saturday (March 21). They also recently sent ARMY on a scavenger hunt in the lead-up to the album’s release via a mobile game hosted by Google that involves trivia questions and challenges themed around the Bangtan Boys.

Following Arirang‘s release, BTS will embark on a massive world stadium tour in 2026 and 2027, slated to launch on April 9 in Goyang, South Korea before arriving in the U.S. on April 25 for the first of two shows in Tampa, Fla.

Going up, up, up, it was the “Golden” songwriting team’s moment, but as the KPop Demon Hunters songwriters were in the middle of accepting the Oscar for best original song, that moment was cut short.

On Sunday (March 15), EJAE, Park Hong Jun, Yu-Han Lee, Hee Dong Nam, 24 and Mark Sonnenblick made history as the Billboard Hot 100-topping soundtrack hit became the first K-pop song to ever win an Oscar, something they had only a short period of time to celebrate on stage at the Dolby Theatre in Hollywood before the group was abruptly ushered off the stage. In response, countless fans have criticized the award show for interrupting the historic victory and allowing only EJAE — who also provided the singing voice for HUNTR/X’s Rumi — to make her speech before the orchestra played everyone off.

“the oscar’s are rude af for this i’m sorry,” one person wrote on X, while another viewer added, “This was so disrespectful.”

“the oscars cut off the kpop demon hunters songwriters SO QUICK during their thank you speech that it honestly felt pointed, I was shocked,” wrote one.

Others specifically defended Yu-Han Lee, as he’d been the person speaking — making it through just a few words of his remarks — when the Oscars orchestra started playing over him. “This was probably the biggest moment of his life as an international artist & the oscars cut off his speech just as he started…,” another person wrote.

Billboard has reached out to the Oscars for comment.

Though their time on stage was limited, the “Golden” group did get to finish accepting the best original song prize backstage. Yu-Han Lee called the win “an incredible honor,” while Sonnenblick got to shout out his family and husband. “Part of the movie is about looking at someone that you had been taught to hate and to fear, and starting to trust, maybe love them,” Sonnenblick added. “A movie is like a village, and we’re lucky to be up here right now, but there’s so many people who have made this what it is.”

And despite their time on stage being cut short, EJAE’s speech was one of the night’s most moving. “Thank you so much to the academy for this insane award,” she said while holding the golden statuette. “Growing up, people made fun of me for liking K-pop, but now everyone’s singing our song and all the Korean lyrics. I’m so proud. And I realized, the song, this award is not about success. It’s about resilience.”

Since premiering last summer, KPop Demon Hunters has had an unprecedented dominance over pop culture. In a matter of a couple of months, it became Netflix’s most watched film of all time, and “Golden” previously won best original song at the Critic’s Choice Awards and Golden Globes before snagging the same prize at the Oscars.

Other big winners at Sunday’s ceremony were Michael B. Jordan, who took home best actor for his performance in Sinners, and Hamnet‘s Jessie Buckley, who won best actress. Best picture went to One Battle After Another.

Watch EJAE’s acceptance speech for “Golden” below:

The history of music consumption is one of swings between chaos and control. Over two decades, the industry moved from the physical certainty of CDs to the “Wild West” of digital piracy, finally landing on the sleek, convenient interfaces of streaming platforms. While streaming has stabilized the industry’s bottom line, it has inadvertently created a “winner-take-all” ecosystem. By shifting the metric of value from the album or song to the time spent listening to it, the industry has hit a structural ceiling that threatens the very diversity it claims to host.

From Napster to the “All-You-Can-Eat” Buffet

In the early 2000s, the music industry was in a tailspin. Peer-to-peer sharing sites decoupled music from its monetary value. The solution arrived in two stages:

The Access Era and the “Finite Time” Ceiling

When the model shifted from ownership to access, the transition introduced a restrictive way of valuing music based on how many hours a fan spends listening. This creates two major economic bottlenecks:

The Friction of Consolidation

The market has consolidated into four major gatekeepers: Spotify, Apple, YouTube and Amazon. This oligopoly has forced fans to choose a single “silo” for their entire music library. For the artist, this creates immense friction. If an artist wants to offer a unique experience or exclusive content elsewhere, they face a wall of resistance. Fans are hesitant to leave their primary library; would you buy a CD that only worked in one CD player? This locks the artist into a system where they can rarely monetize their fans beyond that fan’s pro-rata share of a standard monthly subscription fee.

The Pro-Rata Trap: Why Logic Fails the Niche Artist

Another core issue lies in the pro-rata distribution model, where all subscription fees are pooled. If a global star accounts for 10% of streams, they receive 10% of the total royalty pool, even if a specific user’s subscription was intended for a niche punk artist they listened to exclusively. In this model, 40,000 dedicated fans are “worth” the same as 40,000 passive listeners. By removing the ability to charge more for higher value music, streaming has removed supply and demand from the equation.

The Cultural Cost of Global Homogenization

Because the current model rewards volume above all else, it disproportionately favors music designed for lean-back listening and mass appeal. This penalizes niche artists who create music specific to certain geographies, sub-genres, or lifestyle communities for not having mass appeal, even if the impact on their specific culture is profound. The long-term effects are that new artists and new music are pressured to “chase the algorithm” rather than innovate. If an artist — and the investment in artists — cannot survive on the meager pro-rata share, they may stop creating altogether, leading to a future where music is safer, blander, and less representative of human diversity.

Now, for the proposal: head to ORCA’s Substack page here for a multi-part breakdown of how a direct-to-fan streaming layer could unlock this friction for artists.

The Organization for Recorded Culture and Arts (ORCA) is a global think tank and advocacy group formed by leading independent record labels, dedicated to advancing the economic, social, and cultural value of music. ORCA equips policymakers, trade associations, and communities with primary research and actionable insights to strengthen music-powered ecosystems and promote inclusive industry growth.

Founding supporters: Because Music; Beggars Group; City Slang; Domino Recording Company; Everlasting Records!; Exceleration Music; Hopeless Records; !K7 Music; Ninja Tune Records; Partisan Records; Playground Music; Secret City Records; Secretly Group; Sub Pop.

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Louis Posen is the Founder and President of Hopeless Records, an independent record label launched in 1993, which now touts 30+ numerous gold and platinum releases from the likes of Avenged Sevenfold, All Time Low, Sum 41, and more. Posen proudly serves on a number of music boards including MERLIN, ORCA, and A2IM, and received the Lifetime Achievement Award at the 2024 Libera Awards. He also has been elected as one of Billboard’s Indie Power Players on numerous occasions. Beyond music, Posen has championed community impact through The Hopeless Foundation, the label’s nonprofit arm that has raised over $3.5 million benefiting over 150 charitable initiatives.

U.S. recorded music saw record revenue of $11.54 billion in 2025, an increase of 3.1% year-over-year, according to the latest figures released by the Recording Industry Association of America (RIAA).

Streaming remained the dominant format in the U.S. recorded music market with total revenue of $9.75 billion, up 3% from $9.46 billion in 2024. Of that revenue total, $6.38 billion came from paid subscriptions, a 5.8% increase over 2024’s $6.03 billion. Paid subscription revenue made up 55.3% of total recorded music revenue in the U.S. last year, deriving from a total of 106.5 million paid accounts — up from 105 million paid accounts the year prior.

The numbers reported Monday (March 16) are in wholesale figures, a metric the RIAA began using for its twice-annual reports at midyear last year. Prior to that, the organization reported overall revenue in terms of both retail and wholesale, but only reported retail revenue when breaking down numbers for the different revenue segments. The organization has now revived its U.S. Music Revenue Database — which it removed from its website last year amid the switch from retail to wholesale — with revenue breakdowns in wholesale terms going back to 1973, allowing for direct year-over-year comparisons.

In wholesale revenue, growth in the U.S. recorded music market picked up slightly over 2024, when year-over-year growth slowed to just 1.9%. That compared with growth of 6.7% in 2023 and 4.7% in 2022. (Check out the full breakdown here.)

While paid subscription revenue increased overall, other areas in the digital segment saw declines. This included free (ad-supported) streaming, which saw a year-over-year revenue dip of 0.6% to $1.79 billion. Digital downloads declined 5.9% year-over-year, with total revenue (albums and single downloads) of $221.8 million.

On the physical front, vinyl sales grew for the 19th consecutive year and surpassed the $1 billion wholesale revenue mark for the first time since 1983, when vinyl still made up nearly half of overall recorded music revenue in the U.S., according to the RIAA’s historical figures. Year-over-year, vinyl revenue grew 9.3% to $1.04 billion from sales of 46.8 million units, up from $954.4 million and 43.4 million units in 2024. Meanwhile, CD sales revenue continued to decline, dipping 11.6% year-over-year to $312.4 million from sales of 29.5 million units. Overall physical revenue increased 5% year-over-year to $1.38 billion — up from $1.32 billion in 2024 — thanks to vinyl’s continued growth.

Lastly, synch revenue fell to $407.1 million from last year’s $412.6 million, a slight 1.3% dip year-over-year.

“Fans are consuming music from the artists they love in more ways than ever, and that passion is reflected in today’s report,” said Matt Bass, the RIAA’s vp of research and gold & platinum operations, in a statement. “2025 reveals a strong and stable music economy resulting from committed label investment and identification of new spaces to expand artists’ creativity. From the ease of streaming to new vinyl to licensing responsible AI tools and services, labels are diversifying fan engagement. U.S. recorded music has demonstrated sustained growth globally, reaching $6.4 billion alone in paid subscriptions and tallying 50% of global vinyl revenue, leading the way for fans to listen and connect with their favorite music whenever, wherever and however they want.”

Mitch Glazier, RIAA chairman & CEO, added, “The last 20 years have been marked by unprecedented transformation for recorded music — from the steady rise to dominance of anytime, anywhere streaming options as listeners enjoy tunes from their favorite artists to a resurgence of vinyl as both a listening experience and collectable art. And now, our industry is advancing free-market licensing, building responsible AI partnerships that enhance discovery, deepen fan engagement and unlock new creative possibilities for how music is made and experienced. Through it all, music remains a cornerstone of culture and a growing economic powerhouse for the U.S., contributing $212 billion to our GDP and supporting more than 2.5 million American jobs.”

RIAA 2025 Year-End Report Highlights:

U.S. recorded music wholesale revenue hit $11.54 billion, a record high.

Overall streaming revenue hit $9.47 billion, up 3.1% year-over-year.

Paid subscription revenue grew 5.8% to $6.38 billion, accounting for 55.3% of total recorded music revenue.

Vinyl revenue climbed for the 19th straight year with total revenue of $1.04 billion, up 9.3% year-over-year.