TWICE is entering its tenth year with the momentum of a group nowhere near its peak. Their latest singles, “Takedown” and “Strategy,” are now in their 19th and 17th consecutive weeks on the Billboard Hot 100, securing the second- and third-longest charting songs by any Korean girl group in the history of the U.S. chart. The longest charting song by a Korean girlgroup is “Cupid” by Fifty-Fifty. They charted for 25 weeks.
Both songs are predicted to extend their stay in the chart for one more week, at least.
On Spotify’s U.S. Weekly Chart, both tracks have held firm for over 20 weeks, signaling sustained American listenership—not just opening-week bursts.
Their touring power tells an equally compelling story. Early reports confirm that TWICE sold 53,752 tickets per night at the Tokyo Dome during the This Is For world tour—the largest audience ever recorded for a K-pop concert at the venue. Across eight reported shows in Japan, they generated $38.2 million in gross revenue and moved 389,427 tickets, all sold out.
The tour also brought a milestone for Tzuyu. As TWICE returned to Kaohsiung for her long-awaited homecoming concert, the city government lit major landmarks blue in her honor. The timing aligned with her 13th anniversary under JYP Entertainment—a full-circle moment for the youngest member, who entered the company at age 13 and debuted three years later through Sixteen.
Taiwan lights up blue as tribute to Tzuyu, a Taiwanese member of TWICE.
Looking ahead, TWICE’s This Is For World Tour is positioned to become the best-selling U.S. tour by an Asian female artist, supported by an aggressive North American itinerary. With 35 stops across the region, it stands as the largest single North American K-pop tour ever mounted in terms of number of dates.
A Strategic Shift: Breadth Over Depth
While many top-tier acts chase stadiums for the prestige of size, TWICE is taking a different route: smaller venues but more dates, including cities they’ve never touched before.
That choice isn’t a retreat—it’s a recalibration. By expanding the number of markets rather than concentrating on mega-stadiums, TWICE is prioritizing reach over spectacle. They are meeting fans where they are, building new pockets of demand, and broadening their footprint beyond the major metropolitan hubs that typically dominate K-pop touring.
In their tenth year, TWICE isn’t only sustaining their legacy—they’re widening it.
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