[E-Daily Starin YUN GI BACK Reporter] The group aespa has demonstrated its growing concert presence in South America and has officially set sail on its fourth world tour.

According to their agency, SM Entertainment, aespa held the “2026–27 aespa LIVE TOUR – SYNK: COMPLæXITY - in SÃO PAULO” (2026-27 aespa LIVE TOUR - SYNK: COMPLæXITY - in SÃO PAULO) at the Mercado Livre Arena in Pacaembu, São Paulo, Brazil, on the 4th (local time).
Despite inclement weather, over 21,000 fans attended the concert. This is approximately 2.5 times larger than the audience of about 8,000 at aespa’s 2023 concert in São Paulo. This indicates that aespa’s fanbase and demand for concerts in South America have grown significantly over the past three years.
Two days later, on the 6th, they carried the momentum forward with a concert in Santiago, Chile. They performed at a local venue with a capacity of about 13,000 seats, reuniting with South American fans following their show in Brazil.

The significance of this South American leg goes beyond simply adding another region to their world tour. Since their debut, aespa has rapidly expanded the scale of their tours, primarily in Asia and North America, and has now established itself as a group capable of consistently drawing audiences in the tens of thousands in South America as well.
In particular, the surge in audience numbers seen in Brazil succinctly illustrates aespa’s global growth. The fact that the venue size more than doubled when they returned to a market they had previously visited indicates that local buzz extended beyond a one-time phenomenon and translated into actual ticket demand.
The stage production also encapsulated what aespa is today. They performed their hit songs, including the new tracks “LEMONADE” and “WDA (Whole Different Animal),” as well as “Whiplash” and “Black Mamba.”
Solo performances that highlighted each member’s individuality were also prominently featured. Karina performed “16 Bit,” Winter performed “Saddle Up,” Giselle performed “BYEB4HELLO,” and Ningning performed “I Love You But I Gotta Let You Go.” With the addition of unit performances—such as Karina and Winter’s “Serenade” and Giselle and Ningning’s “Lollipop”—the group showcased both their collective and individual styles.

Aespa had already confirmed the commercial potential of this tour early on by selling out all 35,000 seats at the Taipei Dome in Taiwan last August. The trend shows that the scale of their performances is expanding across regions, as they fill domes in Asia and draw audiences in the tens of thousands in South America.
The tour kicked off last August at the Gocheok Sky Dome in Seoul and will visit a total of 25 regions across North America, South America, and Europe through February of next year. Based on the new narrative universe introduced with their second full-length album *LEMONADE*, the group has adopted “CRACK” as its central theme.
For aespa, this tour is less about the fact that it is their fourth world tour and more about confirming how much they have grown as a group capable of filling large venues in each region. In particular, more than doubling their audience size in São Paulo for the first time in three years demonstrates that aespa is evolving from a “K-pop group that tours South America” into an artist that has secured a demand for large-scale local concerts in the region.