Hi everyone!

Here is my essay. I removed one paragraph because I felt it was unnecessary for you all to read. I might sound a bit different because I was trying to write in a more academic tone.

Setting the Stage

The Music Business Worldwide article “Superfans must be made, not just mined,” written by industry professional Sammy Andrews, argues that today’s music industry is too focused on extracting money from fans instead of building genuine, long-term relationships with them. And I totally agree, especially when I compare how Western artists and labels interact with fans versus how the K-pop industry approaches fandom. In the Western music industry, fan engagement often feels like commercialization masked as connection, while K-pop centers around community, interaction, and loyalty before profit. The article raises this awareness but doesn’t address how fan loyalty is built and vaguely addresses why some markets, such as the K-pop industry, excel at creating superfans. As a blogger, fan, and consumer of both, I will be analyzing the article’s claim using the K-pop and Western music industries as examples, as I’ve seen firsthand that superfans aren’t purchased; they’re developed through community, loyalty, and connection.

The Article and My Stance

The main point of the article is that superfans aren’t something the industry can simply “extract” for profit; they’re created through authentic connection. Andrews discusses the industry being too focused on selling products or targeting high-spending fans, and I see it constantly in the Western music landscape. The industry often treats superfans as a source of revenue rather than a community to nurture, which is something that needs to change. Emotional connection, consistency, and long-term engagement matter more than flashy marketing tactics, because that’s exactly how loyal fanbases are built. Where I don’t entirely agree with the article is when Andrews treats the problem as purely strategic, almost as if labels just need better marketing plans for fan connection. It vaguely acknowledges how different fan-building looks across markets. The Western industry’s relationship with fan-building is totally different from what we see with K-pop, where community and interaction come before selling anything. Andrews predicts that the future of the music industry will depend on deeper fan engagement, and while I agree, I believe it overlooks how K-pop already relies on deep engagement structures that the Western industry hasn’t yet adopted.

Dissecting the Two

I’ve been analyzing the Western music and K-pop industry for quite some time. From what I’ve gathered, the Western industry’s main focus is to capitalize on fans and use them for revenue. Their idea of fan engagement is artists announcing products and sponsorships for fans to participate in, prioritizing profit and visibility. K-pop is a different story. These labels focus on fan engagement, assuring fans feel important. Apps are created for idols to livestream; fan-signing events are organized; mobile games are released for fans; and album comeback performances are held. These feel like community and celebration rather than marketing stunts. What makes K-pop different is that it emphasizes building community over time. K-pop idols aren’t asking you to buy albums and merch; fans do it willingly in support of the artist. However, the Western music industry is different.

Marketing Vs. Community

Sabrina Carpenter, who last year was on every commercial, Instagram reel, and TikTok, was getting people to come together to buy these products in support of her album launch, capitalizing on that attention. From a marketing perspective, it was an outstanding campaign; everyone knew her as a result, but as a fan, it felt like I was being sold to rather than connecting with her. The campaign could’ve been a celebration, similar to K-pop promotions that bring fan communities together. I will definitely say I buy more K-pop albums than Western ones because the connection feels more genuine. With K-pop, artists and companies build a community first, and by the time an album comes out, it feels like a celebration you’re invited to. Western campaigns prioritize commercial gain over genuine connection, leaving fans like me feeling like a target market rather than connected to the artist and community.

Different Benefits of the Two

The current Western system prioritizes profit from transactional fan relationships because quick sales, merch drops, and brand partnerships generate immediate revenue. Yes, artists may benefit financially, but as a result, they lose the stability that comes from building a loyal, emotionally connected fanbase. Managers are also pressured to prioritize their artists’ commercial visibility over long-term growth because their income is measured by the financial revenue the artist generates. Andrews’ approach to deepen fan engagement increases the likelihood of artists gaining greater career longevity, managers will have room for strategic freedom, and fans will feel genuinely included rather than targeted.

To Conclude

The differences between Western and K-pop fan engagement reveal exactly why Andrews’ argument matters. The Western industry often treats superfans as something to be harvested, but this approach overlooks the long-term relationship-building that actually sustains an artist’s career. K-pop’s model demonstrates what happens when fan engagement is prioritized: loyalty grows naturally, support becomes consistent, and fans feel connected rather than marketed to. Comparing the two markets shows that genuine engagement is the foundation of a meaningful fandom. And without that foundation, even the best campaigns lose their impact. This proves the article’s claim that superfans are built over time through culture, content, community, and consistent interaction.

Currently drafting the next post, and let me tell you it’s gonna be a banger 🙂

And I wish fellow ARMY the best of luck on the Ticketmaster war!

Thanks for reading <3

-Elise