CJ ENM’s KCON LA 2025, held from August 1–3 at LA’s Crypto.com Arena and Convention Center, featured performances from 34 K-pop acts across multiple stages. Among these, the X STAGE, spotlighted as a space for rising and genre-diverse rookies, is now under scrutiny—not for its lineup, but for its alleged exploitation of participating artists and their agencies.
Despite CJ ENM’s promotional narrative emphasizing “a gateway for rookie artists and cultural exchange“, industry insiders are revealing a different story. Agencies were reportedly required to cover all associated costs, including airfare, accommodation, car rentals, and even meals—for both artists and staff. One insider estimated that, for a team of around 20, the total outlay approached ₩100 million KRW (approx. $76,000 USD).
“We expected to pay for flights and lodging. But when we landed, we realized meals weren’t covered and we had to rent our own cars. It was shocking,” said one agency rep.
While CJ ENM claims meals were “provided on site“, reports indicate that artists had to travel to the venue even during downtime just to eat. For smaller agencies or trainees with packed schedules, this posed a serious inconvenience.
Adding to the controversy, some acts on the main stage—linked to M Countdown—had their flights and accommodation covered by CJ ENM. However, even those teams often received no performance fees. Their compensation came in the form of exposure—despite fans purchasing tickets to see them live. Meanwhile, essential styling and makeup expenses were not subsidized, further pushing smaller agencies into the red.
CJ ENM responded by reiterating the value of the event, “Beyond free performance opportunities, we offer exposure to international music industry reps, promotional mingling, and global digital distribution via YouTube and Mnet Plus. Participation is a voluntary choice made by each agency.“
However, critics argue that this framing masks a systemic imbalance—one that leverages the aspirations of rookie acts and smaller companies for CJ ENM’s gain. In contrast to other international K-pop events that typically cover basic expenses, KCON’s model is being labeled a “dream sold as a debt trap.”
Still, not all blame CJ ENM. Some say “no one was forced” and that agencies “*chose to attend, even if it meant debt, because others would have taken the slot.*” A different source added, “*There were countless groups who wanted in but couldn’t afford it. Even this ‘chance’ isn’t accessible to all.*”
As the K-pop industry continues expanding abroad, this incident highlights deeper questions about who really benefits from global stages—and at what cost.
Sources: Netizenbuzz