Winning the first place in a musical show was a dream that became reality for k-pop idols. These television victories symbolized the success, the love of fans and the recognition of the sector. But lately, something disturbing has entered the world of these milestones once joyful: a growing sense of terror around bis performances.
“If you go out of the key, it’s over” -The growing “Music Show Win Phobia” among the idols
“It’s something I’ve always wanted to get, but to be sincere, I am also afraid of getting the first place in a musical show.” This confession, echoed by several idols, reports a dramatic change in the way the music show victories are perceived behind the scenes.
The phases of encore, traditionally a moment of gratitude and service service, have become high pressure “live test” in which idols must demonstrate their vocal ability on the spot. What was a celebratory bonus is now a moment of make-break transmitted live and dissected online. In previous years, the idols played during the encore phases, wearing funny stage objects, changing parts or nonsense to entertain fans. But today social media and online forums amplify every sung note.
Clip with traces of support removed and “exposed” live flood platforms such as Tiktok and Twitter in a few minutes. A slightly off-thought moment can generate trendy hashtags, memes or worse, the accusations of being a “group of synchronization for lips”.
Cultural critic Park Song-Ah explains, “Fans record and consume every moment of the career of an idol. While the encore phases were mainly a fan service, now even those are expanded in content and perfection is required.” For beginners groups, the stakes are even higher. A phase of encore is not just a performance: it is a live hearing for survival. Park adds, “In the K-Pop market, the fate of a group can be decided in a few performances. A single error is also considered a risk for the entire brand.”
The “poisoned chalice” of a trophy musical show
Once enthusiastic about planning the victory celebrations, the agencies now hesitate. “Before we would have planned Biscore’s phases as a fun promise for fans. Now we worry,” can they sing it live without ruining “?” A company representative shared. With so much weight in a few seconds of live singing, the joy of winning is obscured by anxiety. The industry is moving towards idols that debut as “perfect products”. From the point of view of investments, the teams must be low risk and produce quick results. This transforms the perfection on stage into an economic resource. The idols today train longer and more difficult, but should also be impeccable from the first day. Yet reality remains: no human being can guarantee perfection under constant surveillance.
Despite the immense pressure, the Music Show victories still have value, mark the achievement and popularity. But the trophy, once a dream, is now described by some as a “poisoned chalice”. Instead of a celebration, idols often prepare for a performance that could raise their image or trigger a wave of criticism. Experts in the sector say, “Even the stage of encore, who should thank the fans, becomes stressful. Everyone looks, ready to judge.”
K-Pop groups that caused disputes on encore phases
In recent years, many K-Pop groups have been involved in disputes regarding their quality of live singing on the Encore Stages, the performance after winning in musical performances.
On the contrary, groups such as Blackpink, BTS Jungkook and seventeen were praised for their strong live rumors on an encore phases, acting as positive examples compared to the aforementioned disputes.
- Encore phases are becoming more and more a “test of live singing capacity”, pressing on idols and making them easy objectives for criticism if they make mistakes.
- The fourth generation groups, in particular groups of girls, are more examined for their song live in the encore phases.
- Some idols, such as Sakura (Sserafim) and Momo (twice), face repeated criticisms, which affect their image and their mental health.
- Public opinion is divided: some believe that the idols must sing well, while others think that the encore phases must be fun and not excessively severe.
These controversies reflect the growing pressure on k-pop idols as regards live singing skills, in particular in the era of social media and the rapid diffusion of encore internship videos.
This culture of constant evaluation, in which the victories also seem test, reflects the double-edged sword of the modern k-pop. While the industry pushes for higher standards, perhaps it is time for fans and the public to reconsider what we ask for idols in moments intended to be joyful. Because in K-Pop today, even the victory does not always seem a success.
