K-pop’s Rising Popularity in Sweden: A Glimpse into Ifeye’s Performance
Earlier this year, during my visit to Stockholm, I met several Swedish K-pop songwriters but missed witnessing the fan reception of K-pop in Sweden. However, an event on August 22 provided a rare opportunity to see K-pop’s impact firsthand.
As part of the Korean Culture Festival Stockholm, K-pop group Ifeye performed a 10-song set at Kungstradgarden, a venue that can accommodate 7,000 attendees. Organizers estimated the day drew around 30,000 visitors. The festival featured various cultural activities, including folk games, taekwondo, K-pop dance, and vendors selling K-products.
Although I wasn’t present, I watched a recording of the event and attended to speak with one of the organizers. The audience was lively, primarily composed of teenagers and young adults wielding handmade signs and photo boards.
Ifeye’s 45-minute performance was central to the day’s events, showcasing members Won Hwayeon, Taerin, Rahee, Kasia, Meu, and Sasha, all of whom communicated comfortably with the crowd in English. My belief is that fans in regions that see fewer K-pop concerts exhibit higher enthusiasm and dedication.
Dahae Choi, the event’s creative director, remarked on the enthusiastic response, stating that K-pop fan culture has evolved, with attendees engaging actively as if they were at a concert in Seoul. Having lived in Sweden for over a decade, Dahae is committed to bringing K-pop and its cultural elements to her community, bridging the gap between curiosity and access to Korean culture.
While some attendees were die-hard Ifeye fans, many were new to the group, which allowed for intriguing dynamics. Dahae described the sight of local parents alongside dedicated fans who knew every lyric, highlighting K-pop’s engaging and infectious energy.
From my viewing, Ifeye delivered an impressive performance, mainly featuring their own songs, particularly my favorite, “Nerdy,” as well as popular covers like “As If It’s Your Last” by Blackpink and “Dope” by BTS. Striking a balance between original content and covers can be tricky for newer artists, but Ifeye navigated this well.
Additionally, during their stay, the group participated in activities that included content filming with stunning views of Stockholm, a visit to Spotify headquarters, and songwriting sessions with renowned producers. Their set included “Lover Boy,” co-written with Julie Yu, making the collaboration even more special.
Newer K-pop groups exploring non-traditional locations is a promising strategy. Groups like XLOV have reached Helsinki, Finland, while Trendz has performed in Warsaw and Prague. Such performances introduce K-pop to audiences who might not typically experience it. The magical atmosphere of a G-rated concert setting enhances the overall experience.
In conclusion, as a K-pop enthusiast who loves concerts, witnessing this evolution of K-pop in places like Sweden is incredibly rewarding.
Grace Kao
Professor of Sociology
Yale University
