Lollapalooza is a rare example of a modern, genre- and culturally inclusive music festival that has successfully expanded its operations globally. While electronic music festivals like Ultra Music Festival and Tomorrowland have also established themselves as major international events thanks to the unique history of EDM and party culture, large-scale festivals rooted in rock culture still tend to focus on regions like the US and the UK where they started, despite overall shifts in festival culture such as greater genre diversity like hip hop and dance, events that last three or four days, and the lower barrier to entry as a result of livestreaming. The reasons for this aren’t hard to imagine. The logistical challenge of hosting such massive events overseas and the difficulty of securing a lineup of key artists for different parts of the world mean festivals naturally tend to grow locally rather than look outward.
Compare that to Lollapalooza, which began its international expansion in the early 2010s, first to South America and later extending its reach to Europe and, most recently, India. And what about now, in 2025? This past March, the festival was held in Chile, Argentina, Brazil, and India. In July, it’ll move onto Germany on the 12th and 13th, France on the 18th through the 20th, and conclude with a four-day event in Chicago starting on the 31st. What makes Lollapalooza unique goes all the way back to its inception in 1991. Perry Farrell took his band Jane’s Addiction’s farewell tour and expanded it into a full-fledged festival featuring a group of artists. Festivals are traditionally closely tied to where they’re held, sometimes even being reflected in the event’s name. But Lollapalooza took its show on the road across multiple North American cities, becoming a stage for then-rising trends among the younger generation, particularly alternative rock. It held onto its image as an alternative festival by incorporating non-musical attractions like a circus, art exhibitions, and platforms for political and social discourse. In short, what has allowed Lollapalooza to keep extending its reach—flexibility when it comes to location, inclusivity when it comes to genre, and a refusal to limit itself to music alone—was baked into its vision right from the outset.
This year, there’s more K-pop artists at Lollapalooza than ever before. j-hope will be headlining Lollapalooza Berlin. In 2022, the BTS member became the first Korean artist to headline a major US festival when he performed at Lollapalooza Chicago, and now, three years later, he’s taking the stage in Berlin. There’s also IVE, who will perform at both Lollapalooza Berlin and Paris back to back. TWICE will join big names like Olivia Rodrigo, Sabrina Carpenter, and A$AP Rocky in Chicago as headliners. Xdinary Heroes takes the stage on Thursday, KickFlip performs Saturday, and we’ll see KATSEYE, BOYNEXTDOOR, and wave to earth on Sunday.
On the whole, the K-pop lineup at Lollapalooza this year seems to be aiming for a snapshot of where the genre’s at today. Major male solo singers and girl groups are headlining in Europe and the US, while popular fourth- and fifth-generation boy bands, multicultural K-pop groups, up-and-coming names, and bands falling under both the mainstream and indie umbrellas all appear in the lineup. It marks a distinction from previous years when artists like TOMORROW X TOGETHER, Stray Kids, and SEVENTEEN highlighted the mutually beneficial relationship between K-pop and the festival: K-pop artists gain exposure to a wider audience who might not be as familiar with the genre, while festival organizers get to stack their posters with performers who have passionate fans.
But this year’s extensive K-pop lineup can’t simply be explained as a natural result of the steadily increasing popularity of the genre. And here’s why: Lollapalooza’s approach to expansion is to essentially export the American festival’s brand. In a testament to the value of that brand, global concert organizers have demonstrated they can book popular American artists even for overseas performances. Additionally, international Lollapalooza events include artists local to where the festivals are held, adding to the festival’s “glocal” feel. But K-pop artists are neither based in the US nor anywhere else Lollapalooza fests are held. In other words, K-pop transcends the binary of globally recognized English-speaking artists versus local artists from other regions.
Charts like “Billboard” may seem like simple sales information, but they can reveal important records, too. For instance, when songs of a certain genre dominate the top two spots on the “Billboard” 200, the chart that tracks album sales, it may be inadvertently capturing the moment when that genre officially cracks the US mainstream. In the 1950s, movie soundtracks, Christmas songs, and musical cast recordings all received their due recognition. Similarly, the 1960s marked the rise of rock and roll, folk, and R&B. Later on, hip hop achieved its own milestone in 1990 and country in 1992. K-pop followed in 2024 and Latin music in 2025.
That K-pop happened to achieve the feat just before Latin music did isn’t particularly important. What matters is the shared set of traits. These are popular genres that are primarily sung in languages other than English but have nonetheless firmly lodged themselves in the American consumer conscience and achieved global success. In the process, new platforms like YouTube, social media, and streaming services gave these genres opportunities in ways that traditional gatekeepers like mainstream radio might have avoided simply because of perceived language barriers. The “Billboard” 200 records stand as a symbol of this shift.
This year’s extensive K-pop lineup at Lollapalooza is about more than the worldwide spread of Korean music. Lollapalooza has always been a festival that celebrates alternative ideas, reflecting the times by welcoming diverse genres and cultures onto its stage. Where festivals have successfully expanded their reach in the past by embracing new mainstream genres like hip hop and EDM, Lollapalooza now positions itself as one that surveys global popular music as a whole, transcending its roots in the English-speaking world.
In other words, the notable inclusion of K-pop artists represents the latest step in Lollapalooza’s tradition of offering an alternative and inclusive experience. K-pop artists are no longer exotic novelties or strategic partnerships—they have firmly established themselves as the new mainstream and normal, proving both their artistic and commercial appeal. Today, K-pop functions as a cultural catalyst, allowing festivalgoers to experience and immerse themselves in new cultures that transcend linguistic and geographical boundaries. And this ultimately offers a glimpse into the future of popular music. Across the globe, the next wave of successes won’t rely simply on introducing new hit genres. Rather, it will look to provide audiences with cultural experiences that break down language barriers.
