Korea JoongAng Daily - Daily News from Korea

The Democratic Party and the government agreed two days ago on a supplementary budget worth 25 trillion won ($16.7 billion) to respond to the Middle East crisis. The plan aims to ease the burden of high oil prices on logistics and fuel costs, support vulnerable households, small business owners, farmers and fishermen, and assist export companies affected by the situation. Following President Lee Jae Myung's recent remarks on income support, the package is also expected to include cash assistance through local-currency programs.

Given the strain on livelihoods caused by high oil prices and a weak currency, a supplementary budget has an element of inevitability. In times of crisis, such budgets should be both swift and sufficient. However, the agreed scale of 25 trillion won exceeds earlier estimates by 5 trillion to 10 trillion won, raising questions about whether the size and composition have been properly assessed.

Democratic Party leader Jung Chung-rae said the government would not miss the "golden time" for the budget and pledged to pass it in the National Assembly by the 10th of next month at what he described as the fastest pace in history. Labeling it a "war budget" should not be used to exclude reasonable debate and criticism. Although the opposition has struggled to fulfill its role, pushing the budget through unilaterally would risk appearing dismissive of the democratic process.

Park Hong-keun, nominee for minister of planning and budget, said during a parliamentary confirmation hearing that the budget would proceed without issuing additional government bonds. However, the expected surplus tax revenue should not be treated as free funds. If implemented, the supplementary budget would increase this year's total budget from 728 trillion won to 753 trillion won, already 8.1 percent higher than last year's original budget. This would represent an increase of nearly 80 trillion won, or 11.8 percent, compared to last year.

For an economy with a potential growth rate in the 1 percent range, such rapid fiscal expansion is not typical. The government has already planned a deficit exceeding 100 trillion won for this year. Rather than spending anticipated surplus revenue immediately, it would be more responsible to use it to reduce deficit-financed debt where possible.

Rising inflation expectations and uncertainty from the Middle East conflict have already pushed up government bond yields. Without clear fiscal discipline to limit the supplementary budget to what is necessary, yields could rise further. Higher market interest rates would place additional strain on small business owners and vulnerable groups already burdened by debt. The government and ruling party should proceed with greater caution.

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.

This article is by Sarah Chea and read by an artificial voice.

[NEWS ANALYSIS]

As Iran's war disrupts imports of crude oil, liquefied natural gas (LNG) and other critical energy supplies, experts are cautiously warning that Korea could confront a full-blown energy crisis as early as late April.

With the Strait of Hormuz effectively sealed for nearly three weeks to date, Korea's oil refiners — which depend on the Middle East for roughly 70 percent of their crude — say their operational endurance may not exceed two months. The shortages of naphtha have already begun to bite in the petrochemical sector, forcing companies to sharply curtail utilization rates in a bid to conserve dwindling feedstock.

Some chemical firms have already cut production or shut down plants temporarily, adopting a defensive stance to endure the mounting supply crisis.

"While the government cites reserves sufficient for seven months, that figure reflects an extreme, all-inclusive accounting," said a source at a major Korean oil refiner. "We can hold out for perhaps two months, and by late April, if there doesn't look to be any clear solution, the impact will become unmistakable, and we may be forced to scale back plant operations in earnest."

Korea currently holds roughly 190 million barrels in oil reserves, where the government states that Korea can sustain for up to 208 days. But this calculation was made without considering the exports; domestic refiners exported 485.35 million barrels last year, or some 51.9 percent of total crude imports.

When exports are factored in, daily oil demand rises to roughly 2.8 million barrels, reducing the effective lifespan of existing reserves to just 68 days.

West Texas Intermediate crude stood at $99.98 a barrel as of Monday at 7 a.m., a 49.2 percent surge from Feb. 27, while Brent crude climbed 56.6 percent over the same period to $113.5 a barrel.

"The price spread between Dubai crude and other benchmarks had widened to near-historic levels, meaning that the closure of the Strait of Hormuz has been directly priced into Dubai spot cargoes," said Yang Ki-wook, director general of the Office of Industry, Trade and Resource Security at the Ministry of Trade, Industry and Resources Monday morning at the Sejong government complex, adding that the recent pace of increase "far outstrips that observed during the Russia-Ukraine war."

The disruption is particularly acute for Korea, where roughly 99 percent of crude imports from the Middle East transit the Strait of Hormuz — a narrow but indispensable artery of global energy trade. Despite stretching just 90 miles in length and narrowing to 21 miles at its tightest point, the waterway serves as the sole maritime gateway connecting the Persian Gulf to the Indian Ocean. Each year, about 26 percent of the world's crude oil and 23 percent of its liquefied natural gas shipments pass through the strait.

"Given that Israel has begun to signal the possibility of a ceasefire, there is reason to expect a window for stabilization by the end of March," said Lee Kwon-hyung, a senior research fellow specializing in the Middle East at the Korea Institute for International Economic Policy.

"If that fails, by late April the refining and petrochemical industries will begin to feel direct strain, with disruptions likely cascading into the production of vinyl and other plastic goods.

Naphtha — a critical feedstock underpinning a vast downstream ecosystem spanning plastics, automobiles and electronics — poses an even more acute challenge.

With the closure of the Strait of Hormuz effectively severing supply, naphtha prices have surged to more than $1,100 a barrel, nearly doubling from the previous levels of around $600. Industry inventories are perilously thin, averaging just two to three weeks of supply.

LG Chem has halted operations at its No. 2 plant in the Yeosu National Industrial Complex, which has an annual capacity of 800,000 tons.

Lotte Chemical has moved up its regularly scheduled turn...

This article is by Shin Ha-nee and read by an artificial voice.

It may be the most well-timed solo debut for ITZY's Yuna. The youngest member of the girl group is launching her solo career just as the quintet is receiving renewed attention after its recent performance of "That's a No No" (2020) went viral online.

"I'm really grateful for 'That's a No No' regaining popularity," said Yuna during a press conference in eastern Seoul on Monday, ahead of the release of her solo EP, "Ice Cream."

"It got hyped up right before my solo promotions," she continued. "It'd be wonderful if listeners would give love to not only 'That's A No No' but also 'Ice Cream.'"

Set to be released at 6 p.m. on Monday, Yuna's first solo EP features four songs, including the title track, "Ice Cream," as well as B-sides "B-Boy," "Blue Maze" and "Hyper Dream."

The title track is a bubbly pop song, and its music video leans into cheeky, bright visuals, with Yuna appearing in blond wigs and frozen poses to mimic the nature of ice cream.

"It's a good song to listen to in the spring," Yuna said. She remembered how the melody had immediately hooked her, leading her to imagine how the song would look on stage.

Yuna, who debuted as part of ITZY under JYP Entertainment in 2019, is the second member of the group to go solo, after leader Yeji launched her solo career in March last year.

ITZY, known for its high-energy performances and solid live vocals, has recently found itself in the spotlight again. Its performance of "That's a No No," a B-side in the group's second EP "IT'z ME" (2020), from February — during its "Tunnel Vision" world tour — went viral for its synchronized choreography and distinctive dance moves. A practice video for the song topped Korea's chart for most popular music-related videos on YouTube, and the song climbed from No. 961 to No. 157 on domestic streaming platform Melon from March 2 to 16.

Standing at a new start line, Yuna admitted that she is as nervous as she is excited.

"I feel the pressure of launching a solo album seven years after my debut, but I still really want to do this right," she said.

"While preparing this album, I learned that I have a perfectionist side of me," Yuna shared while recalling the past few months, during which she actively participated in shaping the album's creative direction. "I sometimes felt so confident, but other times so small. During those moments, I wrote in my journal to better recognize my emotions."

Yuna also said that standing on her own made her miss her bandmates, who have supported her and even sent snack trucks during the "Ice Cream" music video shoot.

"Thanks to Yeji, who had such a wonderful solo debut, I was able to take on a new challenge as well," she said. Yuna apparently watched Yeji's solo performances as references while preparing for her solo promotions.

Park Jin-young, the founder of JYP Entertainment, also offered his support, she said.

"He told me not to get injured and to finish promoting [the EP] in good health."

With hopes of establishing herself as a solo artist, Yuna said she wants the album to bring a smile to her listeners' faces.

"My wish is for 'Ice Cream' to be an album that makes people smile," Yuna said. "Even when you feel down after not sleeping well or when the weather isn't nice, I hope thinking of 'Ice Cream' can make you smile."

This article is by Kim Ji-ye and read by an artificial voice.

[REVIEW]

Warning: This article may contain spoilers for Netflix's documentary "BTS: The Return."

They live in the moment, shoulder their responsibilities and "Swim" forward together with their brothers. That is the takeaway about BTS from Netflix's upcoming documentary "BTS: The Return."

Directed by Bao Nguyen, "BTS: The Return" documents the process of how the group created its fifth studio album "Arirang," which just dropped last week amid much fanfare. It focuses less on spectacle and more on digging deep into the musical agony and pressure that come with holding the title of world's biggest K-pop group and returning after nearly four years away.

A large part of the film unfolds during the members' two-month stay together in Los Angeles. For a band that began its journey living under one roof but has long moved into separate houses, the return to being roommates again feels both unfamiliar and deeply nostalgic.

Stripped of the grandeur of stadiums and global stages, the film lingers on small, intimate moments: the members swimming, playing volleyball or simply laughing together. In one particularly memorable scene, Jimin dives into the ocean, prompting carefree laughter from the others. It is through these unscripted fragments that the documentary quietly makes its point that behind the global phenomenon, they are still after all just ordinary young men.

That sense of intimacy continues around the dining table, where the members gather to share meals and speak candidly about their thoughts and concerns regarding the album. Conversations flow over drinks like soju, revealing raw and unfiltered emotions with moments of doubt, reflection and mutual reassurance. These scenes do not dramatize their struggles but instead present them with a disarming honesty.

For viewers outside the fandom, these moments may be the most striking. In such raw and intimate scenes, a sense of relatability emerges — a reminder that these globally-known stars are, in many ways, just like us, each carrying their own burdens and pushing forward through hard work.

The film also underscores the group's defining dynamic: brotherhood and being a second family. It seems evident that this bond is what allows BTS to move — or, as the band phrases it, "Swim" — forward together, balancing authenticity with the immense responsibility of representing not only themselves but also all of Korea on a global stage.

At the same time, the documentary does not shy away from the pressures that accompany that role. The process of building a long-awaited album in the face of intense global anticipation proves anything but easy. The members are seen revisiting ideas, questioning choices and holding one another to high standards, revealing a level of rigor that often goes unnoticed by the public.

Seeing how individual songs evolved, like "Body to Body" and "Swim," becomes an interesting process for viewers to watch.

There is also an intimate layer to the film. Through the members' self-shot footage captured on a camcorder — what the director describes as "home video" vibes — the audience is offered a more personal perspective, one that feels less like observation and more like participation. These unpolished moments further dissolve the distance between artist and viewer.

Ultimately, "BTS: The Return" goes beyond simply documenting the process of making the album "Arirang." It offers, instead, a closer look at BTS as people and as individuals. And for those outside ARMY, the film may present something perhaps unexpected: A chance to reconsider what lies behind the image of a K-pop star and to see, within it, something profoundly human.

Netflix's documentary "BTS: The Return" will be released on Friday.

This article is by Kim Ji-ye and read by an artificial voice.

The upcoming Netflix documentary, "BTS: The Return," digs into sides of BTS — arguably the world's most successful K-pop group — that remain largely unknown, even 13 years after its debut, director Bao Nguyen says.

"The weight of this return was evident when we were filming and the pressure that they were experiencing, I knew the film was going to be slightly different from what I had pictured," Nguyen said during a press conference for the documentary held at central Seoul on Friday.

"Through the entire process of the film [...] witnessing the members and for the first time in many years living together and creating together [...] I hope that people felt this as well. The film [is] obviously about the creative process, but it's [also] about brotherhood and your second family and how you sort of find yourself in a world that is very hard to navigate being BTS, but you're able to do it because you're doing it with your six other brothers in a way."

The documentary captures the group's comeback journey as they reunite after nearly four years of hiatus, documenting the creation of their fifth full-length album, "Arirang," including two months of living and recording together in Los Angeles.

However, it was the director's task to present a different depiction of the band, given the group's openness and extensive behind-the-scenes content already available. Nguyen's solution was to hand each member an old-style camcorder, allowing them to document their own moments.

"Early on, we gave them these old-style camcorders, allowing them to document parts of the time in LA," he said.

"I think finding those moments where, for me, those types of cameras evoke almost a home video style footage, like that your father or your family member would shoot. And so knowing that they were a family to each other, having them document that was something I knew would be very hard to capture from an outside film crew. So we have these moments of intimacy between them that are shot by them that I think are really beautiful and unique."

"Sometimes we forget what BTS represents to the world as Koreans, but as global artists too, we often neglect that responsibility that they have in many ways, and to see how they handle that responsibility and transform it to a privilege and transform it into something that's beautiful, you know, artistically and creatively," Nguyen said. "They don't take it for granted. So that was something that, through the making of the film, I respected and admired witnessing through them."

The documentary showcases very raw and unfiltered moments of the members, including them swearing or drinking alcohol, which is far from the typical idol portrayal. This issue was also discussed internally at the agency, according to Nicole Kim, vice president at BigHit Music. However, ultimately, including those moments aligned with the group's new "chapter 2.0."

"We did have long discussions within the label and together with the artists about what to show and what not to show in the documentary," Kim said. "But as launching a new chapter 2.0, we thought it was important to show the authentic side of BTS, along with the raw side and the more mature side of them."

The BigHit Music vice president, Kim, also shared the simple yet clear reason the agency decided to participate in the project, adding that the members were very happy with the result.

"These moments felt too precious to keep to ourselves," said Kim. "With the release of 'Arirang' as a starting point, BTS is stepping into a new chapter, and we thought it would be meaningful if fans and even the general public could watch that process and relate to it."

Documentary "BTS: The Return" is set to be released on Netflix on Friday.

This article is by Lee Jian and read by an artificial voice.

[REVIEW]

The National Museum of Modern and Contemporary Art, Korea's (MMCA) exhibit on Damien Hirst, "Nothing Is True But Everything Is Possible," is an homage to Hirst's glory days, showcasing his major works over 35 years, including the shark in formaldehyde; diamond skull; spot and spin paintings; and a piece from his iconic "Freeze" show from 1988.

There is a twist, though.

Tucked away from the main galleries, the final section turns to Hirst's most recent "River" paintings, with the unfinished works offering a candid look into the former art superstar's ongoing search for direction.

But does this late chapter provide a new way of seeing Britain's former enfant terrible, or does it merely reinforce the narrative of an artist past his prime?

The MMCA, which has injected 3.3 billion won ($2.2 million) into the show, maintains that Hirst is not only relevant but also an artist of serious craft.

"[Hirst] is an icon in contemporary art," MMCA's head curator Song Soo-jung said. "If he is a must-see artist [of this period], then any time later [to see his works] would be too late. In this sense, we believed this was the most timely — and the earliest — moment to present such an exhibition."

The show is Hirst's first large-scale survey in Asia.

"[Hirst] himself has often said that he has a rather rebellious streak. [...] However, it is undeniable that he approaches art with great seriousness and has consistently explored modern society through a coherent and sustained thematic inquiry," said MMCA's director Kim Sung-hee. "I hope this exhibition will offer audiences a deeper understanding of the artist and serve as a source of new inspiration for many."

Born in Bristol, England, Hirst first came to public attention in London in 1988, when he conceived and curated the group exhibition "Freeze" during his sophomore year at Goldsmiths, University of London. It effectively launched a new wave of British artists who would go on to reshape contemporary art and popularize it as a mainstream genre in Britain and beyond. Hirst has since held over 90 solo exhibitions, including a major retrospective at the Tate Modern in 2012.

His art explores how modern society tries — and ultimately fails — to control, understand and assign value to life through science, beliefs and money. As a result, death is a consistent through line in his oeuvre.

The MMCA show begins with Hirst's works from his 20s, including a photo of 16-year-old Hirst posing "With Dead Head" (1991) at a morgue in Leeds. This is followed by "When Logics Die" (1991), Hirst's first installation work, which comprises bottles of disinfectants and medications next to a picture of a person who has committed suicide — pixelated, as the public museum deemed it too graphic — depicting that even though humans take pride in their intellect, their logic is useless in the face of death.

But the rest of the section consists of work that is light, bright and colorful. Viewers are surrounded by spinning, paint-splattered wheels ("Beautiful Exploding, It's a Boy, It's a Girl, Calligraphy Monster Time and Space Red and Green Space Hoop Hello Painting," 1999); fields of polka dots stretching across a 3-meter (9.8-foot) canvas (Spot Painting, 1986); rainbow cardboard boxes ("Boxes," 1988); a beach ball suspended above metal spikes ("The Fragility of Love," 2010); transparent caskets ("You Avoid Me, I Avoid You, " 1991); and a hair dryer delicately keeping a ping-pong ball aloft ("What Goes Up, Must Come Down," 1984). They explore the fragile balance between control and chaos, as well as the precarity of life and the uncontrollable nature of death.

The section also aims to introduce Hirst's painting origins by displaying his collage works from 1984 to 1986. These pieces have random objects pasted on grubby wood canvases — inspired by his former older neighbor, who was a compulsive hoarder.

"[Hirst] had a deep longing for painting from e...

This article is by Lee Jian and read by an artificial voice.

[REVIEW]

The National Museum of Modern and Contemporary Art, Korea's (MMCA) exhibit on Damien Hirst, "Nothing Is True But Everything Is Possible," is an homage to Hirst's glory days, showcasing his major works over 35 years, including the shark in formaldehyde; diamond skull; spot and spin paintings; and a piece from his iconic "Freeze" show from 1988.

There is a twist, though.

Tucked away from the main galleries, the final section turns to Hirst's most recent "River" paintings, with the unfinished works offering a candid look into the former art superstar's ongoing search for direction.

But does this late chapter provide a new way of seeing Britain's enfant terrible, or does it merely reinforce the narrative of an artist past his prime?

The MMCA, which has injected 3.3 billion won ($2.2 million) into the show, maintains that Hirst is not only relevant but also an artist of serious craft.

"[Hirst] is an icon in contemporary art," MMCA's head curator Song Soo-jung said. "If he is a must-see artist [of this period], then any time later [to see his works] would be too late. In this sense, we believed this was the most timely — and the earliest — moment to present such an exhibition."

The show is Hirst's first large-scale survey in Asia.

"[Hirst] himself has often said that he has a rather rebellious streak. [...] However, it is undeniable that he approaches art with great seriousness and has consistently explored modern society through a coherent and sustained thematic inquiry," said MMCA's director Kim Sung-hee. "I hope this exhibition will offer audiences a deeper understanding of the artist and serve as a source of new inspiration for many."

Born in Bristol, Britain, Hirst first came to public attention in London in 1988, when he conceived and curated the group exhibition "Freeze" during his sophomore year at Goldsmiths, University of London. It effectively launched a new wave of British artists who would go on to reshape contemporary art and popularize it as a mainstream genre in Britain and beyond. Hirst has since held over 90 solo exhibitions, including a major retrospective at the Tate Modern in 2012.

His art explores how modern society tries — and ultimately fails — to control, understand and assign value to life through science, beliefs and money. As a result, death is a consistent through line in his oeuvre.

The MMCA show begins with Hirst's works from his 20s, including a photo of 16-year-old Hirst posing "With Dead Head" (1991) at a morgue in Leeds. This is followed by "When Logics Die" (1991), Hirst's first installation work, which comprises bottles of disinfectants and medications next to a picture of a person who has committed suicide — pixelated, as the public museum deemed it too graphic — depicting that even though humans take pride in their intellect, their logic is useless in the face of death.

But the rest of the section consists of work that is light, bright and colorful. Viewers are surrounded by spinning, paint-splattered wheels ("Beautiful Exploding, It's a Boy, It's a Girl, Calligraphy Monster Time and Space Red and Green Space Hoop Hello Painting," 1999); fields of polka dots stretching across a 3-meter (9.8-foot) canvas ("Spot Painting," 1986); rainbow cardboard boxes ("Boxes," 1988); a beach ball suspended above metal spikes ("The Fragility of Love," 2010); transparent caskets ("You Avoid Me, I Avoid You," 1991); and a hair dryer delicately keeping a ping-pong ball aloft ("What Goes Up, Must Come Down," 1984). They explore the fragile balance between control and chaos, as well as the precarity of life and the uncontrollable nature of death.

The section also aims to introduce Hirst's painting origins by displaying his collage works from 1984 to 1986. These pieces have random objects pasted on grubby wood canvases — inspired by his former older neighbor, who was a compulsive hoarder.

"[Hirst] had a deep longing for painting from early o...

This article is by Shin Ha-nee and read by an artificial voice.

[REVIEW]

Some works of art reveal themselves more fully once they're given context, and BTS's long-awaited fifth full-length album, "Arirang," appears to be one of them, its significance to the boy band becoming clearer when put into perspective.

With HYBE founder Bang Si-hyuk at the helm, "Arirang" marks BTS's first full-group album release in nearly four years and is a collaboration between the septet and a star-studded lineup of producers, including Diplo, Ryan Tedder and El Guincho.

As a result, the album — which has already proven to be a massive commercial success, with nearly 4 million copies sold on the first day of release — is unmistakably polished, with the smooth precision expected of the trendy, contemporary pop.

But its meaning emerges less through the craftsmanship of individual songs than in the album's carefully structured chronology, as well as through a larger arc as the world's biggest boy band declares a new phase in its career.

While "Arirang" has been described as an exploration of BTS's roots, fittingly sharing a name with a centuries-old Korean folk song, the album ultimately delves into something more personal than nationality or legacy. Instead, it reflects on the group's present standing as a global phenomenon and the question that now confronts the septet: Where does it go next?

Back to its roots

Like how RM's solo introduction to "Map of the Soul: Persona" (2019) — which opens with the question "Who the hell am I?" — and Suga's interlude in "Map of the Soul: 7" (2020) encapsulate the message behind their respective albums, the first song in "Arirang," "Body to Body," hints at the album's central narrative of returning to where everything began.

The opening track establishes the album's main concept by sampling the melody of the "Arirang" folk song. Moreover, the dance-pop track, which has already emerged as a fan favorite, is apparently designed for stadium performances and thus leans heavily into a hip-hop sound — fitting, given that BTS started as a hip-hop group.

"Hooligan" delivers an intriguing experiment that blends the sophisticated sound of strings with that of clashing swords. The song is followed by "Aliens," an honest hip-hop track that tackles the theme of identity through cheeky lyrics such as "If you want to hit my house, then take your shoes off at the door" or "The sun's risin' from the East," emphasizing the group's self-awareness of being Korean artists dominating the global music scene.

"FYA" is an energetic club banger, arguably the album's most quintessentially K-pop-esque track, and "2.0" comes with a minimalistic trap beat anchored by Suga's blunt opening line: "Yes, 'like BTS' is easy to say / We're vaults, and someone's jumping over us / It's funny — no, actually, not so funny."

The ding

Then comes the ding.

Placed between "2.0" and the lead track, "Swim," the interlude creates a striking pause in the album's momentum. After a run of hip-hop-driven tracks, the bell's lingering resonance prepares listeners for a shift toward a softer, more introspective sound.

When the opening crescendo of "Swim" finally arrives after the long silence, it feels like the beginning of a new journey.

Despite being the lead single, "Swim" is among the album's most stripped-down tracks. RM repeatedly likened it to Pyongyang naengmyeon (cold buckwheat noodles), which is known for its subtle yet deep flavor.

The song clearly marks a departure from BTS's typically high-energy lead tracks, with its slower pace, minimalistic instrumentation and repeating chorus of "Swim, swim," which evokes the image of moving steadily forward through water. It also reflects where BTS stands now.

During Friday's livestream, RM said that the members ultimately arrived at the key word "Arirang" after reflecting on what still tied them together, saying, "It felt like the only grounds we share at the current point were that we love ourselves and tha...

This article is by Shin Ha-nee and read by an artificial voice.

BTS delivered a monumental performance on Saturday night in the heart of Seoul, which unfolded like a layered work of cultural storytelling, rich with symbolism.

The historic show, taking place at Seoul's Gwanghwamun Square, traced the world's biggest K-pop group back to its roots — while also reflecting on its place as a global phenomenon and declaring the beginning of "BTS 2.0."

"It's truly, truly an honor to be able to perform at Gwanghwamun, one of the most historic places in Korea," said member Suga at the beginning of the show.

"Especially with this album, we wanted to include our identity," the rapper continued, "which led to the album's title, 'Arirang.'"

"BTS The Comeback Live: Arirang," held a day after the release of the septet's fifth full-length "Arirang", took place at Gwanghwamun Square in Jongno District, central Seoul, on Saturday. This marked the first time a K-pop act had held a standalone concert at the historic venue.

The event was livestreamed globally by Netflix, the first time the streaming giant has broadcast a Korean live event worldwide.

The free, 60-minute concert was BTS's first full group live performance since the members completed their military service, and the first performance together in more than three years following the "Yet to Come in Busan" concert in 2022.

"While preparing this album, we felt afraid at times," said V, reflecting on the months the members spent preparing for the new album. "But we firmly believe that if we include even those feelings and keep swimming together, we'll find the answer someday."

With just over 20,000 tickets issued, the event actually drew about 104,000 people to the surrounding area, according to organizers.

The show was helmed by executive director Hamish Hamilton, known for directing the Super Bowl halftime show and the opening and closing ceremonies at the 2012 London Olympics. Guy Carrington, who directed the Emmy Awards in 2020, joined the project as a producer.

As expected from the title of the group's new album, "Arirang" — which got its name from a collection of Korean folksongs — the performance placed the spotlight on BTS's cultural identity. Throughout the evening, the show explored the intersection of the septet's Korean roots and its current status as a global pop phenomenon.

Behind the main stage, measuring 18 meters wide (59 feet) wide and 10 meters long, a cube-shaped structure stood against the backdrop of Gwanghwamun, framing the historic gate like a piece of art. During the performance, the seven members walked out along an extending stage into the standing section, bringing them closer to their fans, known as ARMY.

The concert kicked off at 8 p.m. with the sound of a bell ringing, featuring an opening performance by 50 traditional dancers. The members emerged between the performers, who lined both sides of the stage, in a dramatic introduction that paid homage to Korean heritage.

Leader RM, however, had to remain seated during the performance, as he injured his ankle during rehearsal.

Their stage costumes were inspired by "Korea's past, present and future," according to a statement from BigHit Music. The outfits drew inspiration from traditional attire, including the armor worn during the Joseon Dynasty (1392-1910).

The setlist featured 12 songs, both new and old hits. After opening with a run of tracks from the new album, "Body to Body," "Hooligan" and "2.0," the show shifted to classics, namely "Butter" (2021) and "MIC Drop" (2017).

After the performance-heavy numbers "Aliens" and "FYA," the atmosphere grew more intense with "Swim," followed by "Like Animals" and "Normal," before an emotional finale with "Dynamite" (2020) and "Mikrokosmos" (2019).

The opening track, "Body to Body" featured musicians from the National Gugak Center, blending contemporary pop with traditional music in a nod to the group's Korean roots.

Symbolism originating from Korean national image...

This article is by Shin Ha-nee and read by an artificial voice.

BTS delivered a monumental performance on Saturday night in the heart of Seoul, which unfolded like a layered work of cultural storytelling, rich with symbolism.

The historic show, taking place at Seoul's Gwanghwamun Square, traced the world's biggest K-pop group back to its roots — while also reflecting on its place as a global phenomenon and declaring the beginning of "BTS 2.0."

"It's truly, truly an honor to be able to perform at Gwanghwamun, one of the most historic places in Korea," said member Suga at the beginning of the show.

"Especially with this album, we wanted to include our identity," the rapper continued, "which led to the album's title, 'Arirang.'"

"BTS The Comeback Live: Arirang," held a day after the release of the septet's fifth full-length "Arirang," took place at Gwanghwamun Square in Jongno District, central Seoul, on Saturday. This marked the first time a K-pop act had held a stand-alone show at the historic venue.

The event was livestreamed globally by Netflix, the first time the streaming giant has broadcast a Korean live event worldwide.

The free, 60-minute performance was BTS's first full group live performance since the members completed their military service, and the first performance together in more than three years following the "Yet to Come in Busan" concert in 2022.

"While preparing this album, we felt afraid at times," said Jimin, reflecting on the months the members spent preparing for the new album. "But we firmly believe that if we include even those feelings and keep swimming together, we'll find the answer someday."

With just over 20,000 tickets issued, the event actually drew about 104,000 people to the surrounding area, according to organizers.

The show was helmed by executive director Hamish Hamilton, known for directing the Super Bowl halftime show and the opening and closing ceremonies at the 2012 London Olympics. Guy Carrington, who directed the Emmy Awards in 2020, joined the project as a producer.

As expected from the title of the group's new album, "Arirang" — which got its name from a collection of Korean folk songs — the performance placed the spotlight on BTS's cultural identity. Throughout the evening, the show explored the intersection of the septet's Korean roots and its current status as a global pop phenomenon.

Behind the main stage, measuring 18 meters wide (59 feet) wide and 10 meters long, a cube-shaped structure stood against the backdrop of Gwanghwamun, framing the historic gate like a piece of art. During the performance, the seven members walked out along an extending stage into the standing section, bringing them closer to their fans, known as ARMY.

The show kicked off at 8 p.m. with the sound of a bell ringing, featuring an opening performance by 50 traditional dancers. The members emerged between the performers, who lined both sides of the stage, in a dramatic introduction that paid homage to Korean heritage.

Leader RM, however, had to remain seated during some of the performances, as he injured his ankle during rehearsal.

Their stage costumes were inspired by "Korea's past, present and future," according to a statement from BigHit Music. The outfits drew inspiration from traditional attire, including the armor worn during the Joseon Dynasty (1392-1910).

The set list featured 12 songs, both new and old hits. After opening with a run of tracks from the new album, "Body to Body," "Hooligan" and "2.0," the show shifted to classics, namely "Butter" (2021) and "MIC Drop" (2017).

After the performance-heavy numbers "Aliens" and "FYA," the atmosphere grew more intense with "Swim," followed by "Like Animals" and "Normal," before an emotional finale with "Dynamite" (2020) and "Mikrokosmos" (2019).

The opening track, "Body to Body" featured musicians from the National Gugak Center, blending contemporary pop with traditional music in a nod to the group's Korean roots.

Symbolism originating from Korean ...