The Reality of 360-Degree Performances
The 360-degree stage, a production choice where the platform is situated in the center of an arena or stadium with the audience surrounding it on all sides, has become a hallmark of high-budget pop spectacles. For management and promoters, this configuration maximizes ticket sales by opening up seating sections that would otherwise be obscured by a traditional "end-stage" setup. However, for TWICE—one of the world’s most prolific touring acts—the format presents challenges that Jihyo and Jeongyeon now claim they are unwilling to revisit.
During the interview with Seungkwan, Jihyo was emphatic about her stance, stating that she would not want to perform in that format "twice again." The primary issue she cited was the absolute lack of a "backstage" or a "blind spot" while on the platform. In a standard concert setup, the rear of the stage allows performers a momentary reprieve to adjust their microphones, take a quick sip of water, or address minor hygiene needs away from the prying eyes of thousands of cameras. On a 360-degree stage, every angle is a "front," meaning the performers are under constant, 360-degree surveillance from the moment they ascend the stage until they depart.
Physical Toll and Hygiene Challenges
One of the more visceral details shared during the broadcast involved the physical toll of performing high-energy choreography under intense stage lighting. Jihyo noted that the heat generated by the lights, combined with the aerobic demand of their setlist, often leads to physiological responses that are difficult to manage in public. Specifically, she mentioned the difficulty of dealing with a running nose—a common occurrence during intense physical exertion or when transitioning between different climates during a world tour.
"You can’t even wipe your nose because everyone is watching," Jihyo explained. The situation became so dire during certain legs of their tour that members were forced to perform with tissues stuffed into their nostrils just to manage the symptoms while maintaining the flow of the show. Jeongyeon added that the environmental factors were so taxing that she eventually contracted a cold, further complicating the demands of a global touring schedule.
Seungkwan, drawing on his own experience as a member of SEVENTEEN, validated these concerns. He noted that even a brief moment to turn around is impossible in such a setup. In a traditional configuration, an idol can turn their back to the audience during a bridge or a solo section to quickly compose themselves. In the 360-degree format, there is no such luxury, as a turn away from one section of the audience is simply a turn toward another.
Wardrobe Vulnerabilities and Perceptual Pressure
Beyond the immediate physical discomforts, the conversation touched upon the specific anxieties faced by female idols regarding wardrobe and exposure. TWICE’s stage outfits are often designed for visual impact, frequently featuring tight silhouettes or shorter hemlines that suit their "Ready to Be" and "With YOU-th" eras. On a 360-degree stage, the risk of "wardrobe malfunctions" or unflattering camera angles increases exponentially.
Jihyo highlighted the awkwardness of needing to adjust clothing that may have shifted during a dance routine. "For women, there’s a lot of exposure, and we often wear tight clothes," she remarked. "It’s awkward every time that happens. If I start adjusting something, everyone will notice right away." This constant state of self-consciousness adds a significant mental load to an already high-pressure environment. Performers must not only remember complex choreography and vocal cues but also maintain a "360-degree awareness" of their physical presentation to ensure no inappropriate or accidental exposure occurs.
Chronology of TWICE’s Touring Evolution
To understand why this revelation is significant, one must look at the trajectory of TWICE’s career. Since their debut in 2015, the group has evolved from performing in small theaters to becoming the first K-pop girl group to headline major NFL and MLB stadiums in the United States, including MetLife Stadium and SoFi Stadium.
- Early Years (2017–2018): TWICE’s initial tours, such as "Twiceland – The Opening," utilized standard proscenium stages. These allowed for traditional "entrance and exit" dynamics and a clear separation between the performance space and the "safe" backstage area.
- The Arena Transition (2019): With the "Twicelights" World Tour, the group began incorporating extended stages and "T-shaped" runways, increasing their proximity to fans but still maintaining a primary "front" orientation.
- The Stadium Leap (2022–2024): The "III" World Tour and the "READY TO BE" World Tour marked the group’s transition into massive outdoor venues. It was during these tours, particularly in North American dates, where experimental stage designs—including 360-degree elements or massive central platforms—were utilized to accommodate the scale of the venues.
The feedback provided by Jihyo and Jeongyeon suggests that while these massive stages are a sign of the group’s commercial success, they may have reached a point of diminishing returns regarding the artists’ well-being.
Supporting Data: The Complexity of 360-Degree Production
From a technical standpoint, a 360-degree stage requires significantly more preparation than a standard show. For a group like TWICE, which consists of nine members, the "blocking" (the precise positioning of performers) becomes four times more complex.
- Choreography: In a standard setup, dancers only need to worry about their formation relative to a single front. In a 360-degree setup, the choreography must be constantly rotating so that no single section of the audience is staring at the performers’ backs for too long.
- Audio Engineering: Monitoring audio is notoriously difficult in 360-degree environments. The "bounce-back" of sound in a large stadium can create a delay that makes it hard for singers to stay on beat.
- Safety and Logistics: The paths taken to reach the stage often involve underground tunnels or long walks through the crowd, adding to the exhaustion mentioned by Jihyo when she noted that "running over there [to the side] is far."
Broader Impact and Implications for the Industry
The candidness of TWICE’s members reflects a growing trend in the K-pop industry where veteran artists are becoming more vocal about their working conditions and the physical realities of their profession. As K-pop tours grow in scale and ambition, the pressure to provide "bigger and better" spectacles often falls on the shoulders of the performers.
Fans on social media have largely reacted with empathy to the members’ revelations. Many pointed out that they noticed moments during the "READY TO BE" tour where members seemed momentarily disoriented by the 360-degree layout. One viral post noted Jihyo’s visible realization during a show in Los Angeles where she turned around to fix her outfit, only to realize there was an entire section of the audience watching her from that "back" angle.
This transparency may lead to a shift in how major agencies like JYP Entertainment plan future tours. While 360-degree stages are lucrative, the mental and physical health of the artists is becoming a central pillar of long-term career sustainability. As TWICE approaches their tenth anniversary, the priority may shift toward configurations that allow for high-quality performance without sacrificing the basic comforts and privacy of the artists.
The discussion between Jihyo, Jeongyeon, and Seungkwan serves as a reminder that behind the synchronized dancing and glamorous outfits of a world tour lies a complex logistical operation that tests the limits of human endurance. By revealing the "type of stage they never want to do again," TWICE is setting a precedent for artist-led feedback in the design of global entertainment spectacles. Moving forward, it is likely that future TWICE tours will favor designs that balance fan intimacy with the functional needs of the nine women who have spent nearly a decade at the top of the music industry.
