BTS’s Jin has once again proven that his solo star power knows no limits—this time by breaking new ground in Europe with his solo world tour.
According to Billboard’s August 2025 ‘Top Tours’ chart, Jin ranked No. 24 based solely on four shows in Europe—two in London (August 5–6) and two in Amsterdam (August 9–10).
Together, those concerts grossed an impressive USD 11.5 million (approximately KRW 15.5 billion) and drew 50,700 fans, setting a new European record for a Korean soloist.
Despite it being his first solo tour and his first major activity after completing military service earlier in the year, Jin’s #RUNSEOKJIN_EP.TOUR is not only making history—it’s rewriting the rules of what a K-pop soloist can accomplish internationally.
A Record-Breaking Run in Just 4 Shows
What makes Jin’s European success especially jaw-dropping is how limited the scope was.
Unlike many top earners on Billboard’s Top Tours list, who often achieve their rankings through massive, multi-week stadium runs, Jin’s European impact came from just four shows across two cities.
Yet the tour revenue surpassed all previous solo K-pop acts in Europe—highlighting both his global popularity and the pent-up demand to see him perform live.
The August re-entry into the Billboard Top Tours chart marks Jin’s second consecutive monthly appearance, building on a stunning July where he placed No. 9 overall—an achievement no other Asian soloist has reached on that chart to date.
The Global Journey of #RUNSEOKJIN_EP.TOUR
Jin’s tour began on June 28 and wrapped up its main leg on August 10, covering nine cities across three continents.
The 18-show series kicked off in Korea, followed by stops in Chiba and Osaka in Japan, then across the United States—including Anaheim, Dallas, Tampa, and Newark—before culminating in London and Amsterdam.
In July, even before the European leg began, Jin made headlines for posting the highest-ever monthly tour revenue for an Asian soloist on Billboard Top Tours.
His 12 shows in Japan and the U.S. alone brought in approximately USD 32.5 million (about KRW 43.9 billion) and drew 217,000 fans—excluding the Korea and Europe dates.
Osaka’s Kyocera Dome: A Solo Milestone
Among the most notable stops on the tour was Kyocera Dome in Osaka. Held on July 12–13, the back-to-back shows grossed about USD 9.6 million across two nights.
BTS’s Jin (Credit: X)
These performances now hold the all-time single-venue box office record for a K-pop solo artist.
Kyocera Dome opened all available seating tiers—up to the eighth level, including limited-view seats—and still managed to sell out, underscoring Jin’s massive solo appeal in Japan.
Billboard Domination & Musical Achievements
Beyond his live tour success, Jin is also topping the charts with his recorded work.
He now holds the record for most No. 1s on the Billboard World Digital Song Sales chart for a soloist, with a staggering seven songs having hit the top.
His 2025 solo album ‘Echo’ is another massive win. It is the only K-pop solo album this year to remain on the Billboard World Albums chart for more than 18 weeks, demonstrating its staying power and widespread acclaim.
In terms of pure sales, Jin is officially the top-selling K-pop soloist in the U.S. for 2025, outpacing even artists with more extensive discographies or promotional cycles.
These achievements solidify his position as not just a successful idol, but a frontline solo act with long-term viability.
Critics Praise Jin as a “Complete Performer”
Major global media outlets have joined fans in praising Jin’s solo artistry:
- Rolling Stone gave his tour a five-star review, highlighting his ability to connect emotionally while commanding the stage as a natural-born entertainer.
- Forbes pointed to his “stable upper-register delivery” and praised his vocal range and tone as a standout element in live performances.
- Paris Match described him as the “complete package,” citing his wit, professionalism, and stage presence.
This unanimous critical approval across continents positions Jin as a performer who excels across genres, cultures, and demographics.
Encore Shows Announced
Due to overwhelming demand, Jin will continue his solo journey with encore concerts at the Incheon Munhak Stadium Main Stadium on October 31 and November 1.
These dates will not only celebrate the success of the first tour leg but also offer fans another chance to witness his full-length solo performances in Korea’s largest venues.
Fans are already speculating whether additional dates in other countries might follow.
Given the staggering revenue, rapid ticket sellouts, and critical success, it wouldn’t be surprising to see a second global leg or extended stops added in 2026.
Jin: A Soloist Defining the Future of K-pop
As the first BTS member to hold a full-length solo world tour, Jin’s impact transcends numbers. He’s setting the gold standard for what K-pop soloists can achieve, not only commercially but artistically.
Whether it’s selling out dome tours, dominating Billboard charts, or earning praise from global media, Jin has launched a solo career that stands completely on its own merits—distinct from, yet equally as powerful as, his legacy with BTS.
With the encore shows approaching and no signs of momentum slowing, one thing is certain: Jin’s solo journey has only just begun—and it’s already historic.
A seemingly innocuous attempt by KATSEYE’s Sophia Laforteza to address past online conflict has instead ignited a fresh wave of massive backlash, plunging the rising star back into the center of a heated fan debate involving global powerhouse BLACKPINK.
The controversy, which originated with a simple social media “like” earlier in the year, was unexpectedly resurrected during a recent livestream, revealing the deep and sensitive fissures that persist between K-pop fan communities.
The Genesis of the ‘Like’ Controversy
The root of the enduring conflict lies in a brief social media interaction where Sophia was accused of disrespecting BLACKPINK .
As a burgeoning idol herself, her actions are intensely scrutinized, and the act of liking a video that was perceived to be lightly shading BLACKPINK’s lack of recent releases was instantly interpreted by many fans as an intentional dig at the senior group.
For the seven-member group KATSEYE, a global group formed through the HYBE-Geffen Records joint project The Debut: Dream Academy, navigating the existing hierarchies and fan loyalties of the industry is a constant challenge.
Having just debuted, Sophia’s entanglement with the famously dedicated BLINK fandom created immediate, unwanted tension.
A Miscalculated Clarification Attempt
The recent storm began when Sophia, during a live broadcast with group member Yoonchae, recounted a heartwarming, positive encounter with BLACKPINK’s Rosé at the VMAs.
Sophia spoke glowingly of Rosé, describing her as “the sweetest person” and an inspiration to KATSEYE.
She praised Rosé’s album and congratulated her on her award win, establishing her profound respect for the senior artist.
It was in the context of this positive interaction that Sophia chose to address the prior controversy. Her goal appeared to be one of reconciliation and clarification.
She attempted to debunk the idea of any malicious intent, emphasizing that she is a “huge BLACKPINK fan myself.”
KATSEYE’s Sophia (Credit: YouTube)
Crucially, she claimed she had not even watched the entire controversial video, implying that her “like” was accidental or made without full context.
Also, she explained her silence during the initial backlash, noting,
“I didn’t even watch that full video… that’s the crazy part. But I just let it happen, because what people were saying wasn’t true. There was no point in fighting it.”
Her reasoning was based on the belief that confronting the hate would only add “more fuel to the situation,” choosing to passively wait for the anger to subside because she felt the accusations were unfounded.
The Firestorm of Renewed Criticism
Unfortunately, Sophia’s attempt to clear the air had the opposite effect.
The core of the renewed backlash is a perception of hypocrisy or selective memory on Sophia’s part. Critics quickly pivoted the narrative from her actions to the alleged actions of her own fanbase.
Social media responses, some shared directly in the original article, accused Sophia of being “too blind to see her own fandom also did worse things” to BLACKPINK members.
This shift suggests that for the critics, the issue is no longer just about Sophia’s singular “like,” but about the perceived behavior and environment created by KATSEYE’s own supporters in various fan wars.
By speaking only about the hate she received without acknowledging the potential toxicity emanating from her own fan group, critics claim she is presenting an incomplete and self-victimizing account.
This renewed fury underscores a common and often vicious cycle in K-pop fandom culture: an attack on one idol or fanbase frequently provokes a counter-attack, making true reconciliation extraordinarily difficult.
Sophia’s explanation, intended to foster understanding, was interpreted by a hardened, skeptical audience as a form of justification, thus reigniting the very conflict she hoped to extinguish.
While the severe criticism highlights the immense pressure and scrutiny placed upon new idols—where a single tap on a screen can trigger months of harassment—it also reflects the complexity of navigating highly polarized fan communities.
As KATSEYE continues its rise, Sophia’s experience serves as a clear example of the fine line artists must walk in the digital age, where every public word and action is scrutinized through the lens of existing fan loyalties and past digital missteps.
