For years, K-pop’s global expansion has largely centered around the US, Europe, and Japan markets with established concert infrastructures and massive fanbases. But in 2024, ATEEZ made history by becoming the first K-pop group to perform at Morocco’s Mawazine Festival, one of Africa’s biggest music events.
Their electrifying stage presence and record-breaking crowd engagement (~130k in attendance) proved that Africa is not just a viable market but an untapped goldmine for K-pop.
“ATINY”, ATEEZ’s fans, have since been campaigning relentlessly for an official African tour leg, especially in countries like South Africa, Nigeria, Morocco, Tunisia, Ethiopia and Egypt. The African market has become a new battleground for K-pop since the US market is now saturated and politically complicated for K-pop, with visa issues, high production costs, and intense competition.
Meanwhile, Africa is offering a young, rapidly growing population—over 60% of Africans are under 25, the prime demographic for K-pop, and untapped festival opportunities such as Mawazine (Morocco), Flytime Fest(Nigeria), Hey Neighbours (South Africa) and Detty Rave (Ghana).
As ATINYs keenly await a potential tour leg or a festival tour return, other major companies are eyeing Africa’s potential, leaving KQ Entertainment behind in the race. With groups like Stray Kids (JYPE), aespa (SM Entertainment), and TXT (HYBE) reportedly exploring opportunities in Africa, will ATEEZ remain the trail blazers, or will bigger corporations dominate this new frontier first?
KQ Entertainment remains hesitant, clinging to the traditional US and Europe focus. ATEEZ’s historic Mawazine performance proved Africa’s immense potential, yet KQ has failed to capitalize—no tour plans and no festival follow-ups. By delaying investment in these pristine regions, KQ risks squandering ATEEZ’s pioneering momentum, not only in Africa but other continents as well, allowing competitors to seize the spotlight in what could be K-pop’s next major frontier. In an industry where timing is everything, playing it safe is the riskiest move of all.
Stray Kids and TXT have taken the world by storm, solidifying their global dominance with groundbreaking achievements and a rapidly expanding fanbase that spans continents, including Africa. In 2022, Spotify named Stray Kids the second most-streamed K-pop artist in Sub-Saharan Africa, with TXT ranking fourth and ATEEZ in ninth place. Stray Kids also made history as the only boy group featured on TurnTable’s Official Nigeria Top 100 chart with their 2024 title track, “Chk Chk Boom.” Meanwhile, TXT won the hearts of many African music fans with their Afropop-inspired track “Tinnitus,” which was praised as one of the most authentic fusions of African music with K-pop.
Similarly, SM Entertainment’s aespa is making waves of their own, gaining recognition alongside local artists. Their album Armageddon The 1st Album became the most-streamed K-pop album in Nigeria, spending 20 weeks on the Top Albums chart—the longest of any K-pop act in 2024—and peaking at No. 34, the highest position achieved by any K-pop album in Nigeria. aespa’s Whiplash The 5th Mini Album also made its mark, spending three weeks on the charts in 2024. The group’s popularity extends to overlooked K-pop markets in Africa, including Djibouti, where aespa’s “Black Mamba” on a playlist is enough to unite an entire festival crowd.
Will KQ Entertainment Act—Or Lose the Race?
ATEEZ proved that Africa is ready for K-pop. But with bigger companies moving faster, KQ Entertainment risks losing their first-mover advantage. While being the first is impactful, failing to follow up means others will take the spotlight. They will also be missing a massive growth opportunity; African kpop fans are eager to welcome any act but the most forthcoming one will secure a loyal and supportive fanbase with more ease.
At this point, any kpop act that seriously ventures in the African market will become the “face” of K-pop in the continent. While ATEEZ did make history by bringing K-pop to Africa, the real question remains: Will they lead the charge, or will their rivals take over? With JYPE, SM Entertainment and HYBE potentially entering the scene, KQ Entertainment must act fast—or risk being left behind in what could be K-pop’s next biggest market.
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