Nine years have passed since China began unofficially enforcing the so-called “Hallyu Ban” (Korean Wave restriction order), which has suffocated Korea’s cultural exports. In 2016, China initiated this de facto retaliation against South Korea’s deployment of the THAAD (Terminal High Altitude Area Defense) system by curbing Korean music, dramas, and films. As a result, performances by Korean pop artists were blocked in mainland China, and Korean content was removed from Chinese broadcasting platforms. The shutout of China, Korea’s largest cultural export market, dealt a major blow to the Korean cultural content, tourism, and consumer goods sectors.

Occasionally, hopeful signs would appear—such as Korean dramas and films airing in China or sporadic performances by K-pop artists—but each time, the optimism quickly faded. China remained silent, and the Korean entertainment industry endured repeated cycles of anticipation and disappointment.

However, this year feels different. Signs of the Hallyu Ban easing are emerging in earnest, especially in the music industry. Earlier this year, girl groups TWICE and IVE held fan sign events in Shanghai. In April, Korean hip-hop trio Homies held a tour in China, and singer-actor Kim Jaejoong hosted a fan meeting in Chongqing.

Most notably, EPEX—a K-pop idol group comprised entirely of South Korean nationals—recently announced a solo concert in Fuzhou on May 31st. While K-pop artists of foreign nationality have occasionally appeared on Chinese TV, this marks the first time in nine years that a K-pop group made up entirely of Korean members will hold a solo concert in China since the 2016 ban.

The thaw in the Hallyu Ban comes at a crucial time for the K-pop industry. Once seen as the vanguard of the Korean Wave, K-pop is now facing concerns about stagnation. According to the Circle Chart by the Korea Music Content Association, K-pop album sales fell to 93.28 million units in 2023, down 19.4% from a record-breaking 115.78 million in 2022—the first year-over-year decline in a decade.

This drop is significant, as album sales account for up to 50% of total revenue for many entertainment agencies and are often used as a barometer of K-pop’s global influence.

Despite the Hallyu Ban, Chinese K-pop fandom has remained strong. Chinese fans have continued to boost album sales through mass purchases via Korean fan clubs. While China’s album import total fell to $33.9 million in 2022, it surged to $59.78 million in 2023 as signs of the ban easing began to surface.

In contrast, exports to Japan declined significantly. In the first two months of 2024 alone, China imported $9.25 million worth of Korean albums—approximately 3.5 times more than the same period the year before—surpassing Japan, Taiwan, and the United States. If the ban is fully lifted, China could surpass Japan as the largest market for K-pop album exports.

The end of the Hallyu Ban signals more than a political shift—it could be a turning point for the K-pop industry as a whole. Even under restrictions, K-pop maintained resilience through online fan engagement and loyal fandoms. Now, the easing of the ban may not only revive consumption but also provide strategic momentum for growth.

That said, a return to the Chinese market does not guarantee smooth sailing. Political tensions remain, and China continues to prioritize the development of its domestic idol industry. Nonetheless, the reopening of a long-closed door could offer the breath of fresh air the industry needs. Rather than settling for short-term revenue gains, the Korean entertainment industry must develop long-term, sustainable strategies to turn this policy shift into a second leap forward.

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