Übermensch World Tour

On February 6, 2025, G-Dragon's agency Galaxy Corporation announced that G-Dragon would hold a world tour in support of his then-upcoming studio album Übermensch, set for release on February 25.^[2] A week later, it was revealed that the tour would begin at the Goyang Stadium in Goyang, South Korea on March 29 and 30.^[3] On March 19, fourteen dates were unveiled in East and Southeast Asia (Phase 1).^[4] On May 13, new four dates were unveiled in Australia and Thailand (Phase 2),^[5] with the show in Thailand being cancelled later.

On June 16, four new dates were announced in the United States and France (Phase 3).^[6] On September 12, the phase 4 of the tour was announced with 2 shows in Taipei and one in Hanoi.^[7] The encore shows in Osaka and Seoul were also added to the phase 4 of the tour.

On October 10, due to high demand, the second show in Hanoi on November 9 was announced.

The Tour presented a meticulously crafted production in which staging, lighting, fashion, and visuals were deeply integrated to express the tour’s central theme of transformation and identity. The show employed expansive LED screens and projections to frame each act with a distinct visual tone, shifting between warm, intimate palettes and stark, glitch-infused graphics in more intense segments. Reviewers praised the deliberate choreography between lighting, stage movement, and visual content—especially during transitions into high-energy songs utilizing trobing, lasers, and pyrotechnics. In Blast Out Your Stereo’s review, the production was described as “well calculated...piece by piece” with floating stairs and dynamic staging enhancing audience immersion.^[8]

In Seoul’s opening, Rolling Stone India observed how G-Dragon’s entrance used a stage lift and sudden visual reveal to dramatize his return, followed by shifting screens and mood lighting as the show progressed.^[9] Detailed Korean concert reviews also noted the integration of drones, confetti, fire columns, and shifting special effects throughout, which often aligned with lyrical or musical cues. According to IZM, the central screens interacted with G-Dragon in real time during songs like “Butterfly” while the finale leaned on pyro and drone visuals to visually contrast past and present selves.^[10] In press coverage from Aju News, early concert reviews referenced the use of air balloons, AI video content, and large dancer ensembles to supplement the visuals.^[11]

At certain venues, environmental conditions affected production, for instance, the opening shows in Goyang were delayed by over 70 minutes reportedly due to weather, which led to limitations on special effects and a truncated visual sequence.^[12] Nocut News similarly reported that safety constraints led to reduced effects usage, and that the delayed start disrupted the visual pacing of the show. ^[13]

G-Dragon’s wardrobe was treated as part of the stage’s visual language, with multiple costume changes corresponding to shifts in narrative tone. Tatler Asia covered his opening look a red rose-adorned jacket and crown as a symbolic gesture of defiance and rebirth.^[14] They also detailed his stagewear collaborations, including bespoke pieces from luxury houses and design ateliers, blending tailored silhouettes with heavy embellishment. At the Paris stop of the tour, G-Dragon wore a custom-designed Chanel ensemble, featuring an off-white wool suit with black crystal-embroidered detailing, paired with a crimson silk crepe shirt and a crystal-embellished felt hat. The standout piece was a brooch valued at approximately ₩91 million ($65,300 USD), adding a touch of opulence to the outfit. This collaboration highlighted his longstanding relationship with the brand and underscored the integration of fashion into his performance art.^[15][16]

Fashion press from Malaysia Zalora provided breakdowns of the materials and design strategies, sequins, tweed, leather, and metallic embroidery were chosen to catch stage lighting, layered jewelry and motifs, especially daisies tied to his Peaceminusone brand, recurred to knit visual continuity.^[17] Korean media praised the costume completeness and how outfits augmented the show’s philosophical motifs.^[18] Rolling Stone Korea' framed the tour as a visual performance art exhibit, with fashion designers translating themes of strength, vulnerability, and rebirth into wearable statements.^[19] KoreaPortal also discussed how costumes were synchronized with lighting and visual systems like reflective fabrics under AI-driven illumination to elevate their perceptual impact.^[20]

G-Dragon's Übermensch World Tour has been met with widespread acclaim from critics and audiences worldwide, praised for its innovative fusion of music, fashion, and technology.^[21] Korea JoongAng Daily described the tour as a "master class in showmanship" highlighting G-Dragon's ability to blend nostalgia with innovation. The publication noted that his performances were marked by a "bold reimagining of K-pop concerts" emphasizing his dynamic stage presence and artistic vision.^[21] Forbes lauded the tour's integration of cutting-edge technology, noting that the use of augmented reality and holographic visuals set a new standard for live performances in the K-pop industry. The publication highlighted G-Dragon's "charisma and stage manners" praising his ability to captivate audiences with his energy and presence.^[22] Billboard Philippines highlighted the tour's ability to captivate audiences with its innovative stage design and G-Dragon's charismatic performances, noting the widespread popularity of the tour across the country. The publication also acknowledged the tour's success in bridging cultural gaps and appealing to a diverse audience.^[23]

Fashion outlets such as Vogue Korea and Harper's Bazaar praised G-Dragon's sartorial choices throughout the tour, noting his collaborations with luxury brands like Chanel and Louis Vuitton. These partnerships were highlighted as examples of how fashion can enhance the narrative of a musical performance.^[24] Fan reactions were overwhelmingly positive, with many expressing admiration for the tour's innovative approach to live performances. Social media platforms were abuzz with discussions about the tour's unique blend of music, fashion, and technology, solidifying G-Dragon's status as a global cultural icon.^[21]

On February 28, 2025, Galaxy Corporation announced that all 60,000 tickets for the artist’s two shows at Goyang Stadium were sold out immediately upon release.^[25] Due to the overwhelming demand, limited-view seats were subsequently made available on March 6 and sold out within three minutes.^[26] In Macau, a third show was added after more than seven million users simultaneously attempted to purchase tickets through QQ Music, with an additional 680,000 accessing the main site during ticketing.^[27][28][29] In Japan, the singer went on to become the first Korean solo act to sell-out Tokyo Dome on numerous occasions, following Act III: M.O.T.T.E World Tour and the Übermensch World Tour.^[30] In Japan, the artist became the first Korean solo act to repeatedly sell out Tokyo Dome, following the success of the Act III: M.O.T.T.E World Tour and the Übermensch World Tour.^[31] In Osaka, limited-view seats were also released after all available tickets sold out.^[32] In Taiwan, both scheduled shows sold out within minutes, prompting the addition of a third date.^[33] In Australia, a second show in Melbourne was added, with all Australian dates selling out a combined total of 46,000 tickets.^[34][35] In the United States, all five concerts were sold out, with a total of 63,000 tickets sold.^[36] Following these performances, G-Dragon entered the Billboard Boxscore chart for August 2025, ranking in the top 30 with 33,600 tickets sold and generating $9.3 million in revenue from three U.S. shows.^[37] The tour re-entered the Billboard Boxscore chart in September 2025, placing at number 28 on the Top Tours list, with a reported gross of $13.7 million from four shows attended by 61,400 fans.^[38]

The Übermensch World Tour was noted for its significant cultural and economic influence across multiple Asian markets. According to a Money Today report, the tour generated an estimated domestic economic effect of ₩50 billion (approximately US$36 million) in South Korea. This figure includes revenue from ticket sales, tourism, hospitality, and consumer spending stimulated by the tour. Brands also reported increased engagement among younger demographics, with the concerts cited as major contributors to local economic revitalization.^[39]

In Hanoi, Vietnam, the concerts led to fully booked hotels and increased accommodation prices during the concert period.^[40] Hotel search queries reportedly rose by over 250 percent following the announcement, reflecting strong tourism interes.^[41] Vietnamese media described the event as a turning point for the country’s growing music tourism sector.^[42]

In Taipei, Taiwan, the tour drew approximately 116,000 attendees across five shows, which local outlets described as “a cultural event of historic scale,” contributing to increased hotel occupancy and retail activity.^[43][44] Coverage also highlighted extensive fan-driven promotions, including billboards and city-wide decorations.^[45] Analysts cited both Vietnam and Taiwan as examples of K-pop’s measurable economic impact on local tourism markets.^[46] The tour also featured large-scale brand collaborations. In Vietnam, G-Dragon partnered with VPBank, which credited the concert campaign with significantly boosting its brand visibility among younger consumers.^[47]

Critics described the Übermensch World Tour as one of the most ambitious solo K-pop tours in recent years, praising its large-scale production, visual design, and conceptual elements.^[48]

G-Dragon donated ₩300 million ($200,000) of the concert profits held in South Korea to support the recovery efforts of the wildfire crises in Gyeongsang-do and Ulsan.^[49]

This set list represents the show on March 29, 2025, in Goyang, South Korea. It does not represent all dates.

Act I

• At the March 30 show in Goyang, "Super Star" , "That XX" and "A Boy" were not performed.
• At the March 30 show, Taeyang and Daesung joined G-Dragon onstage and performed "Last Dance", "We Like 2 Party" and "Home Sweet Home".
• Beginning with the May 10 show, "The Leaders", "Super Star", "That XX" and "R.O.D" were not performed.
• Beginning with May 10 show in Tokyo, "GYRO-DROP" was performed during the encore.^[50]
• Beginning with the May 11 show, "A Boy" was moved to the third act and performed in a VCR format.^[51]
• Beginning with the May 17 show in Bulacan, "Middle Fingers-Up" was replaced by "MichiGO".^[52]
• At the June 6 show in Macau, "Untitled, 2014" was not performed.^[53]
• From the August 31 show in Las Vegas to the September 20 show in Paris, "Can't Help Falling in Love" was performed during the encore.^[54]
• At the September 20 show in Paris, "Too Bad" was performed as a remix featuring new elements of "Lady Marmalade," instead of "Get Lucky." This was changed back to the original at the October 20 show in Osaka.^[55]
• At the December 13 show in Seoul "Too Bad" was performed as a remix featuring elements of "Lady Marmalade," instead of "Get Lucky" once again.
• At the December 14 show, Taeyang and Daesung joined G-Dragon onstage and performed "Home Sweet Home", "We Like 2 Party" and “A Fool Of Tears”.^[56]
• At the December 14 show, "Can't Help Falling in Love" was played during the encore.^[56]