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Hello Korea > Blog > K-POP > TREASURE’s About to SLAY the Year-End Shows?! Korea & Japan AREN’T Ready! 🤯
K-POP

TREASURE’s About to SLAY the Year-End Shows?! Korea & Japan AREN’T Ready! 🤯

Last updated: 2025-12-23 9:36 am
Hello Korea Editor
4 Min Read
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TREASURE’s Year-End Gala: A Deep Dive into Their Transnational Triumph Across Korea & Japan! 📜⛩️

Hello Korea Fam! As the year 2025 draws to a close, we at Hello Korea are reflecting on the cultural currents that have defined this vibrant period. And truly, few narratives capture the essence of Hallyu’s boundless reach quite like the extraordinary journey of TREASURE. This dynamic group is not merely performing; they are strategically dominating the year-end music landscapes of both South Korea and Japan, showcasing a formidable global presence that speaks volumes about their talent and K-pop’s ever-evolving international appeal. 🧐

Indeed, TREASURE is set to conclude 2025 with a spectacular series of appearances on some of Japan’s most prestigious year-end music programs. Their rigorous schedule highlights the group’s immense popularity in the archipelago, promising fans a rich tapestry of performances. We’ve compiled their upcoming engagements:

  • On December 29, they will grace the stage of Nihon TV’s ‘Announcement! Most Listened Song of the Year ~Annual Music Award 2025~‘.
  • Following this, on December 31, fans can catch them on TBS’s ‘CDTV Live! Live! New Year’s Eve Countdown Fes. 2025→2026‘, ringing in the new year with their infectious energy.
/Photo Credit: YG Entertainment

This impressive lineup follows their highly successful appearance on Fuji TV’s ‘2025 FNS Gayo Festival‘ on December 3, where their robust live vocals and unique, vibrant energy captivated audiences, sparking fervent discussion. These upcoming stages are expected to further solidify their musical prowess and elevate their performance quality. Furthermore, the group has been inundated with requests from major Japanese terrestrial broadcasters, including Fuji TV, Nihon TV, and TV Asahi, as well as regional private stations such as Fukuoka RKB Mainichi Broadcasting, Kansai Asahi Broadcasting TV, and Yomiuri TV, underscoring their wide-ranging local appeal and expanding their connection with Japanese fans as a definitive ‘global group.’ 📜

Meanwhile, TREASURE’s domestic footprint remains just as strong and significant. Having successfully delivered an acclaimed performance at the Mnet ‘2025 MAMA Awards‘ on November 28, they are now meticulously preparing for two of Korea’s most anticipated year-end music extravaganzas:

  • The ‘2025 SBS Gayo Daejeon with Bithumb‘ on December 25.
  • The ‘2025 MBC Gayo Daejejeon Meot‘ on December 31.
/Photo Credit: YG Entertainment

Beyond these captivating stages, TREASURE’s artistic endeavors in 2025 have been remarkably fruitful. This year saw the release of their special mini-album, [PLEASURE], and their 3rd mini-album, [LOVE PULSE], both of which enjoyed immense success. Notably, [LOVE PULSE] achieved million-seller status, selling an astounding 1,131,346 copies within just one week, setting a new personal record for first-week sales. This commercial triumph was mirrored by their touring success, as their third Japanese tour, ‘2025-26 TREASURE TOUR [PULSE ON] IN JAPAN,’ commenced with a sold-out engagement at Tokyo Keio Arena on October 25-26, and is set to culminate at the iconic Kyocera Dome Osaka on February 10-11. 📖

This meticulous dual-market strategy isn’t merely about commercial success; it’s a testament to K-pop’s sophisticated approach to cultural exchange. TREASURE, with their dynamic energy and musical prowess, are not just performing; they are weaving stronger cultural threads between nations. It speaks volumes about the universality of music and the power of youth culture to bridge divides. 🧐

As TREASURE continues to captivate audiences across the globe, their year-end performances stand as a powerful testament to their talent and the ever-expanding influence of Korean music. We eagerly anticipate what 2026 holds for these remarkable artists. 🖋️

Editor: Minho Kang 📜

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