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| Tokyo Dome (CA Media) |
A number of high-profile K-Pop acts—including J-Hope, SEVENTEEN, and LE SSERAFIM —have been noticeably absent from Tokyo Dome's event calendar in recent months.
While the Dome has long stood as a symbol of artistic achievement in Asia, recent revelations suggest the cost of that prestige may no longer be worth it for some of today’s biggest Korean stars.
The matter came to wider attention through a recent post on X (formerly Twitter) by a fan, who revealed that Tokyo Dome reportedly takes a staggering 30% cut of all merchandise sales.
For many K-Pop groups, merchandise constitutes a critical revenue stream—often eclipsing income from ticket sales, particularly for idols who do not compose or produce their own music.
The high commission, coupled with what is described as “premium” venue rental fees, has prompted several artists and their agencies to look elsewhere.
Another major deterrent is scheduling. Tokyo Dome is not solely a concert venue; it serves as the home ground for the Yomiuri Giants, one of Japan’s most celebrated baseball teams.
As fans noted, securing consecutive concert dates at the venue during baseball season is nearly impossible. Prime dates are often booked months, if not years, in advance—posing a logistical nightmare for tightly scheduled K-Pop world tours.
This has led groups to opt for alternative venues such as Saitama Super Arena, which, while slightly smaller, offers greater flexibility, lower costs, and less red tape.
With capacities still in the tens of thousands and ample prestige in their own right, venues like Saitama have become the practical choice for agencies aiming to maximise profitability without compromising the fan experience.
That said, Tokyo Dome remains an aspirational milestone in the careers of many Asian artists. Often compared to Madison Square Garden in terms of prestige—though it nearly doubles MSG’s capacity at 42,000 seats—it has hosted legends from Michael Jackson and The Rolling Stones to K-Pop giants like SHINee, EXO, and BTS.
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| Tokyo Dome’s 30% Merchandise Cut: A Dealbreaker for K-Pop Idols (Livedoor.jp) |
Performing at Tokyo Dome is widely viewed as a career-defining achievement; emotional footage of SHINee’s Yuta during his performance there continues to resonate with fans online.
As noted, Japanese idol groups—many of whom operate under salaried contracts—may be less impacted by the Dome’s financial demands. But for K-Pop idols, whose earnings are frequently tied to performance and sales metrics, every percentage point matters.
The tide may be turning even for artists who have already conquered the Tokyo Dome. As fans highlighted, global megastars like BTS no longer require the venue’s imprimatur to validate their status.
Instead, agencies such as HYBE (and its touring subsidiary Hybe 360, as noted by @smwhr_) are making pragmatic choices, choosing venues that prioritise logistical ease and financial sustainability over symbolic cachet.
Ultimately, this trend underscores a broader evolution in the industry: a balancing act between business acumen and traditional prestige. While Tokyo Dome will undoubtedly remain a cultural touchstone, its role in the future of K-Pop touring is becoming less assured.
As the industry matures, and artists continue to grow in global reach and bargaining power, the question lingers: is it still worth chasing the Dome, or is it time for the K-Pop world to redefine what it means to “make it” in Japan?