#bts fandom

Then the album was released. It is different. It is more mature, more introspective and, in many ways, more restrained. It is also excellent. Yet the complaints, the demands and the entitlement didn’t stop. Some people tried to present themselves as satisfied, but there was always an underlying reluctance, as if they were forcing themselves to accept something that didn’t align with what they had imagined.

What followed was almost predictable. Critical acclaim began to pour in. Reviews highlighted the growth, the cohesion and the artistic direction of the album. The numbers spoke for themselves as well, reflecting a successful and well-received project. Suddenly, the tone shifted. There was pride again, because if there is one thing a large portion of the fandom values deeply, it is validation through numbers and awards. Those achievements become tools for comparison, for proving superiority over other fandoms. In that moment, everything seemed fine again. Yet beneath that surface-level satisfaction, the expectations for the tour had already been firmly established.

When the tour was announced, people began constructing their ideal versions of it. Everyone created their own setlists, imagined transitions, and visualised specific performances. These imagined concerts were built from personal favourites, songs from different albums, different comebacks and different emotional attachments. In doing so, many forgot a very simple and consistent pattern. Tours are usually centred around the most recent album. That has always been the case. And that is exactly what happened here. The difference is that this particular album doesn’t demand the same intensity in terms of choreography. Its tone is calmer, more reflective, less focused on high-energy performances and more on musicality and atmosphere. For many, that was disappointing, not because it was objectively lacking, but because it didn’t match the version of the concert they had already created in their minds.

There was also an expectation that this tour would resemble the PTD concerts. Or maybe the free concert in Busan. However, those concerts were built around a different concept. They were structured in a way that allowed for a broader selection of songs from across their discography. This time, there is a clear album identity guiding the tour. The structure is not new; it is simply being applied to a different kind of project. Yet that distinction seems to be overlooked.

The deeper issue lies elsewhere. While BTS have clearly evolved and moved forward, a significant portion of the fandom has remained attached to the past. Nostalgia plays a powerful role here. It shapes expectations, influences perception and creates a fixed idea of what BTS should be. This affects not only long-time fans, but also newer ones. Many of them experienced their first comeback in real time with this album. When it didn’t match the stories they had read or the moments they had seen from previous comebacks, it led to disappointment. Those expectations, built on past experiences rather than present reality, became the foundation for frustration. And instead of adjusting those expectations, many chose to criticise the outcome.

Having expectations is not inherently wrong. It is natural to anticipate something you care about. The problem arises when those expectations turn into rigid demands. What is happening now goes beyond simple disappointment. It has turned into open criticism of BTS’s work, their artistic choices and their direction. People dismiss the album, question the concert and undermine their decisions, often hiding behind the excuse that it is the company’s fault. This argument persists despite the fact that it has been stated repeatedly that BTS have significant involvement in their careers. They are not passive participants. They contribute to the creative process; they make decisions, and they shape their own path. Ignoring this reality simplifies the situation in a way that is both inaccurate and dismissive of their autonomy.

The reaction also highlights a broader issue within the fandom. There is a tendency to selectively acknowledge information. When something aligns with personal preferences, it is accepted. When it doesn’t, it is dismissed or misunderstood. This is evident in the way some people interpreted Bang PD’s interview with Billboard or parts of the Netflix documentary. Rather than engaging with the content critically, many filtered it through their own expectations.

Now, yesterday’s concert. Looking at the concert itself, it is important to consider the context. The first show was affected by heavy rain. That alone introduces variables that impact performance, staging and overall flow. Jimin himself addressed this, indicating that adjustments had to be made. It is reasonable to expect that future shows, under different conditions, may present a more accurate representation of what they had in mind for the tour.

Even so, the core question remains. What are people attending these concerts for? Is it solely for choreography, or is it for the music, the atmosphere and the connection between artist and audience? Performance is a combination of many elements, not just physical intensity. If BTS chose to prioritise certain aspects over others, there is likely a reason behind that decision. Another recurring complaint has been the duration of the concert. The concert lasts approximately two and a half hours; it is not a short show by any standard. The absence of solo stages and extended VCR segments contributed to a slightly more condensed structure. However, those elements serve specific functions. In this case, the structure appears to have been influenced by both the album and the stage design. A more complex stage setup can limit movement and increase transition times, leading to adjustments in how the show is organised. The lack of solo songs also aligns with the album itself, which doesn’t feature individual tracks. This consistency suggests intentional planning rather than oversight.

I was actually going to compare the number of songs on this tour’s setlist with previous ones, and the difference really isn’t that significant when you look at it properly. But someone on Twitter already did that breakdown, so I’ll just post a screenshot instead. That honestly saved me the time and effort, and it also helps to have everything laid out clearly in one place.

What stands out when you look at those comparisons is that this tour is not some huge outlier like people are making it seem. The structure is actually very consistent with what BTS have done before. Most of the songs in each setlist have always come from the album that the tour is centred on. That has been the standard approach for years. The only real difference this time is that the album itself has fewer tracks, so naturally, the setlist feels more limited in variety to some people.

But that does not mean the concert is lacking. It just means the focus is tighter. Previous albums often had more songs to pull from, which made it easier to create the illusion of a broader mix while still technically centring the tour around one project. This time, because the album is more concise and cohesive, that structure is more noticeable.

It also highlights something else people tend to overlook. Setlists are not just about cramming in as many songs as possible. They are designed with flow in mind, with pacing, with transitions, with the overall experience of the show. Adding more songs from older eras just for the sake of variety could easily disrupt that balance, especially when the tone of the current album is so distinct from their past work.

So when you actually take a step back and compare things properly, the difference is not as dramatic as people claim. It only feels that way because expectations were built around a different idea of what the tour should be, rather than what it was always likely going to be based on how BTS have structured their tours in the past.

So maybe the problem is that some people expect too much of different things.

When I became a fan years ago, I remember seeing comments from people who were angry at the agency in the past for pushing them too hard on tour, for putting them in situations where they needed oxygen masks backstage, where they would collapse from sheer exhaustion, where they had to step on stage and perform just days after losing a family member. Do you remember when everyone was genuinely upset about the level of pressure they were under, especially after they revealed in 2018 that they had even considered disbanding because of it? Do you remember when they were finally given a proper break in 2019 and people praised that, saying it was long overdue? Because that is what I remember seeing. But now, those same fans are the ones asking for more. More intense choreography, more tour dates, more output, even under conditions like performing in the rain, as if none of those past concerns ever existed. All of this is justified simply because they are fans, as if that alone gives them the right to demand more and more without limits.

At what point did that shift happen? When did the conversation stop being about their wellbeing and start revolving entirely around expectations? When did they stop being seen as human beings with physical limits and emotional realities, and start being treated like products designed to deliver a specific experience on demand?

Because that is what it starts to feel like. Not support, not appreciation, but consumption. And there is a difference, even if many people refuse to acknowledge it.

“But it’s my money… I didn’t pay for this.” Then don’t. Don’t listen to them. If this version of BTS doesn’t resonate with you, go back to their older songs, revisit their past content and enjoy what you already love. That option has always been there, and it still is. Their earlier comebacks haven’t disappeared just because they’ve chosen to move forward.

And to be fair, the agency has done a good job preserving all of that. There is a huge catalogue of past comebacks, performances and tours that people can return to at any time. Nothing has been taken away. If anything, there is more access now than ever before.

Supporting an artist has never meant having control over the direction they take. You are choosing to engage with what they create, not dictating what they should create next. If the current direction does not align with your preferences, stepping back is a valid choice. But demanding that they go backwards just to meet those expectations is something else entirely.

Like Hobi said, they haven’t changed. Not in the way people claim. The core of who they are is still there. What has changed is the context, the stage of life they are in, and the way they choose to express themselves. The real shift has happened within the fandom. And that is what makes it disappointing. Not that BTS have grown, but those parts of the fandom have struggled to grow with them.

 I’ve always believed that the only thing a fan can demand from an artist is good music, and BTS have consistently delivered quality music. That is the one expectation that can reasonably be held, and they have met it. Beyond that, their artistic direction is theirs to define. Each member brings different influences, different perspectives and different goals. That diversity is part of what allows them to evolve. Staying the same indefinitely is not sustainable in any creative field. Growth requires change, and change inevitably leads to division in audience response. Ironically, those who criticise them for changing would likely criticise them for stagnation if they had remained the same.

The ability to explore new sounds while maintaining a core identity is what sustains longevity. It allows artists to remain relevant without losing themselves. And Arirang confirmed it.

In the end, this situation reflects a broader dynamic between artists and their audience. Change is inevitable, but acceptance of that change varies. Some will adapt, others will resist, and some will choose to step away.

The reality is simple. The past cannot be recreated exactly as it was. It can be revisited, appreciated and remembered, but not relived in the same way. Expecting it to return unchanged only leads to frustration.

So for those who find themselves disappointed, there are two options. Accept the direction BTS are taking and experience this new phase with an open mind, or remain with the version of them that resonates most personally. Both choices are valid, but they require honesty.