South Korean quartet Blackpink delivered a two‑and‑a‑half hour spectacle at Wembley Stadium that, by lights, choreography and sheer scale, underlined their claim to be the world’s biggest girl group. According to the BBC’s report of the show, the band — Jisoo, Jennie, Rosé and Lisa — became the first K‑pop girl act to headline the legendary London venue, playing to a crowd of roughly 70,000 in a night the members described as an “epic dream”. Wembley’s official event listing confirms the group’s Wembley dates and describes the performances as the stadium debut for a K‑pop female act. (wembleystadium.com)

The concert opened with a tsunami of lasers, pyrotechnics and three adrenalin‑fuelled anthems — Kill This Love, How You Like That and Pink Venom — immediately drenching the arena in pink light and synchronised fan lightsticks. The BBC’s live account praised the precision of the choreography and the staging choices that allowed each member to be showcased individually and together; onstage, the singers alternated between tightly choreographed group numbers and moments designed to highlight their distinct personalities. Speaking at Wembley, Lisa dedicated the show to the audience, saying “What an absolute honour to be performing here at Wembley Stadium”; Jennie called the concert “an epic dream” and Rosé described the night as “a whole other level,” according to the BBC’s coverage.

The London dates were the UK leg of Blackpink’s Deadline/2025 world tour, a stadium‑led itinerary that began in Seoul and moves through major arenas and stadiums worldwide. The band released a new single, Jump, alongside the tour; music press coverage notes the track was premiered live and credits collaborators including Diplo. Pitchfork described the release as part of the group’s renewed global push and highlighted the fan reaction to the video and live performances. (pitchfork.com)

Commercially, the tour is being framed as a continuation of Blackpink’s stadium successes. The BBC reported that the group are on course to surpass their own record for the highest‑grossing tour by a female group — a title they wrested from the Spice Girls during the Born Pink era — and YG Entertainment’s promotional material underlines the company’s ambition to match or exceed previous production scale. YG’s announcement sets the tour in the context of stadium dates across North America, Europe and Asia and thanks fans for supporting the group’s next chapter. (ygfamily.com)

Those commercial milestones rest on a foundation of prior sales and global exposure. Industry reporting from earlier years places Blackpink among the first K‑pop girl acts to exceed one million album sales worldwide with The Album, which sold more than 1.2 million copies according to contemporaneous Korean media coverage. That commercial heft, together with frequent chart placements and high‑profile collaborations over the past decade, helps explain why stadium promoters and venues have been willing to programme the group at the highest level. The Royal Family’s website also records that the band received honorary MBEs in late 2023 for their advocacy on climate issues and youth engagement — a rare form of recognition that the palace framed around their public‑facing outreach and appointment as UN Sustainable Development Goals ambassadors. (royal.uk)

Individual members have spent time developing solo projects between group activity, and the setlist and staging reflected that. The tour alternates between group performances and solo sections — moments the BBC said allow the singers’ separate artistic personalities to come through: Lisa as the swaggering performer, Rosé opting for semi‑acoustic, stadium‑ready balladry, Jennie with her self‑referential club energy and Jisoo taking on the more technically demanding vocal lines. YG’s publicity frames the tour as a “major group activity” following contract renewals, emphasising that the reunion is both a commercial and creative reset. (ygfamily.com)

The show was punctuated by small, human moments that played well to a stadium audience — candid asides, a comedic backstage cameo reported by reviewers, and an onstage exchange where Jisoo’s reserved “two thumbs up” drew laughter and an affectionate group hug. Songs from across the group’s catalogue — from early hits such as Whistle and DDU‑DU‑DDU‑DU to more recent material like Lovesick Girls — were rendered with the same stadium intensity, reinforcing the point, as the BBC put it, that Blackpink’s comeback is not just a commercial reset but the opening of a new artistic chapter.

Wembley’s event page and the group’s official announcements make clear these are stadium shows with standard large‑venue procedures and guest services in place — advice on accessibility, bag policies and cashless operations is already published for attendees — underscoring the scale and logistical planning behind what the promoters bill as a landmark moment for K‑pop’s female artists on UK soil. (wembleystadium.com, ygfamily.com)

📌 Reference Map:

Reference Map:

Source: Noah Wire Services