When BTS returned earlier this year, there were questions about whether they could recapture the momentum that made them the world’s biggest K-Pop band in the 2010s.
The seven members – RM, Jimin, V, Suga, Jungkook, Jin and J-Hope – had all released solo material, to varying degrees of success.
A Netflix documentary captured their nerves about coming back as a unit.
“I don’t have any real sense of what this album’s supposed to be,” said RM as recording sessions played out, arguing that “there’s a level of authenticity we need to have here”.
But they eventually pulled through. Their comback album, Arirang, is a celebration of their roots – named after a traditional Korean folk song, which is sampled in the opening track Body to Body.
Launched with the silky, catchy single Swim, the album charted at number one in 26 countries, and has already appeared on multiple best of 2026 lists.
The sold-out tour, which spans 88 dates in 23 countries, is predicted to rival Taylor Swift’s $2bn (£1.5bn) Eras tour at the box office.
At Tottenham, BTS brought the album’s themes to life. Before they arrived on stage, the audience heard the toll of the sacred bell of King Seongdeck, one of Korea’s revered cultural treasures, cast over 1,200 years ago.
The massive 360-degree stage, which featured four catwalks into the audience, was also inspired by Gyeonghoeru Pavilion in Seoul’s Gyeongbokgung Palace, while the stage floor incorporated visual elements inspired by the South Korean flag.
Taking place in much drier conditions than the first night in Goyang Stadium, the first London date is largely focused on the Arirang album, which harks back to the band’s hip-hop roots.
They burst into action with an explosion of pyrotechnics and fireworks with Hooligan, which showcased their trademark blend of honeyed harmonies and crisp rap verses.
Surrounded by 50 dancers, dressed head to toe in black, the opening set a high bar that was matched by the defiant Aliens and a gripping version of Run BTS.
The highlight was a medley of 2026’s FYA and the 2016’s Fire, during which fans jumped with such ferocity that I could literally feel the stands bounce under my feet.
The band responded to the energy, running up and down the catwalks and spraying water over fans (and each other) as the beats pounded down.
Swim also got a huge response in the stadium – Jimin even took out his earpiece during the first chorus to hear the fans’ screaming the words.
After the song, V told the fans, “Honestly, you should just join the tour with us”. The ensuing screams were so loud they could flatten an entire city.
Interestingly, BTS have reduced their focus on choreography on this tour, providing an opportunity to connect with the audience on a more individual level.
Their personalities shone during Butter, when Jungkook jumped onto Jin’s shoulders and got a piggyback around the stage.
Later, on Idol, the band walked the perimeter of the venue, stopping to pose for photos and wave to the faithful, as dancers waved giant flags.
That’s not to say they can’t break out the dance moves. 2.0 featured some of the sharpest choreography you’ll see in a stadium concert; and Dynamite saw the band freestyling Michael Jackson crotch-grabs and spinning on the floor.
The end of the show had a couple of surprise tracks, including the nostalgic Life Goes On, about staying connected during the Covid lockdowns; and Dionysus, a throwback to the opening song of their 2019 Wembley shows.
But they closed the night with the sentimental and optimistic Into The Sun; which felt like a promise the band won’t stay away so long in the future.
