The Tamesis
Society’s love for famous artists has a long history, dating back to the hysteria of Elvis Presley and Beatlemania. But what was once reserved for bedroom walls, school lockers and performance venues is now part of popular culture. Enter the modern superfan, whose obsession and involvement have built an entire economy around stars like Taylor Swift and Blackpink. Their adoration, combined with their spending power, creates huge business opportunities for brands and brands that know how to capitalize on this.
Joe Charrington, president of Universal Music Group UK’s Capitol Records, who represent Sam Smith and Olivia Deen, said fan engagement has been more limited in the past, often mediated through formal channels such as fan clubs, letters and gifts. “Today, fans are still present at shows in large numbers, but they are also online in real time with the artists, commenting, sharing, reacting, and shaping the story as it unfolds,” she said. “As a result, fandom has evolved from something you primarily witness in the moment to something you actively participate in every day. It has become a two-way relationship where artists and their teams can listen, respond and customize the experience in a more direct and meaningful way.”
Korean pop culture has paved the way for this new era of fiercely loyal superfans. At a major fashion show, you’re likely to see legions of screaming fans outside the venue, surrounded by balloons and signs, holding photos of their brand ambassador idols, from Enhypen (Prada) to Stray Kids’ Felix (Louis Vuitton) to Blackpink’s Jisoo (Dior). Some fans follow their idols around the world and run fan accounts to track their every move. Now, as local culture goes global, Western audiences are also venturing into K-pop superfandom. More broadly, they’ve learned how to elevate their own level of superfandom, emulating K-pop’s approach even to Western stars like Swift.
The rise of short-form videos and their addictive algorithms has brought even the most niche subcultures into the mainstream, providing fertile ground for superfans to thrive. “In the past, fandom was largely driven by distance and limited contact, with offline experiences like concerts as the main touchpoint. Today, it is continuous, global and always-on,” said Joon Choi, president of K-pop label Hybe’s Weverse, a social platform built specifically for fandom to connect among members of Hybe, which includes K-pop groups BTS, Enhypen, Illit and Katseye. “This shift reflects a fundamental change in engagement: it is no longer defined by the amount of content available, but by how connected fans are to artists and each other. Digital platforms lower barriers to interaction, enabling real-time communication and community building that transcends geography.”
As internet fatigue sets in and Gen Z feels constantly betrayed, superfandom provides tangible, shared life experiences that allow people to meaningfully connect with each other. In the age of artificial intelligence, “the most vibrant and human corners of the online world are often driven by superfan activity,” said Annie Corser, senior trends editor for pop culture and media at Stylus. “From fan fiction to artwork, companion content, and hive projects that boost ticket sales, shape discourse, and maintain an ecosystem of public devotion. [superfans are] Excited and often worship them fanatically. It is a source of meaning, resilience and permanence in an unstable, unforgiving world. “
In fact, the uncertainty of today’s geopolitical landscape means consumers are seeking connection more than ever. “Ultimately, the superfan community is growing because it fills a deeper need — not just for entertainment, but for identity, belonging and meaningful connection,” Choi said.
