KATSEYE Conquers South America: From Chile's Standing Ovation to Colombia's Festival Debut

If Lollapalooza Argentina was the proof of concept, the rest of KATSEYE's South American campaign has been the full thesis. Over the past week, the five-piece has moved through Santiago, Bogotá, and now São Paulo with a velocity and emotional depth that has turned what could have been a difficult transitional period into the most defining chapter of their career so far. Performing without Manon Bannerman, who remains on hiatus, the group has not simply maintained — they have expanded, connecting with Latin American audiences on a level no HYBE act has achieved before.

On March 14, KATSEYE took the Banco de Chile Stage at Parque O'Higgins in Santiago and delivered a 12-song set to a packed crowd that had been gathering since early afternoon. The performance opened with "Debut" and built through fan favourites "Gameboy," "I'm Pretty," and "Mean Girls" before hitting its emotional peak midway through the show.

Daniela Avanzini paused the set to address the audience in Spanish — a first for the group at a major festival. "It means a lot to be able to come here and represent my Latino roots and culture," she told the crowd, her voice breaking slightly. "The atmosphere in Chile today was perfect." The moment resonated beyond the festival grounds. As the daughter of a Cuban mother and Venezuelan father, Daniela's connection to South America is not performative; it is biographical. Chilean fans responded with a roar that drowned out the between-song silence, and the clip circulated across Latin American social media within hours.

KATSEYE's Lollapalooza Chile setlist — Debut, Gameboy, I'm Pretty, Mean Girls, Tonight I Might, Touch, Internet Girl, Monster High, Gabriela, My Way, M.I.A. — was slightly trimmed from their 14-song Argentina set but no less impactful. The choreography, originally designed for six, has been seamlessly reworked for five. Formations that once had Manon as a focal point now shift between Megan and Sophia as dual centres, giving the stage work a different but equally compelling geometry.

Six days later, on March 20, KATSEYE opened Day 1 of Festival Estéreo Picnic at Parque Simón Bolívar in Bogotá — their first-ever performance in Colombia. The festival, now in its 15th year, is Colombia's largest international music event, and KATSEYE shared the opening-day bill with Royel Otis and Addison Rae. Hundreds of Colombian fans danced through the set, many wearing homemade KATSEYE merchandise and waving light sticks in the signature eyelet colours.

Colombia represents a strategic expansion for KATSEYE and HYBE alike. The country's streaming market has grown sharply, and Daniela's bilingual presence gives the group an authentic foothold that most K-pop and Western pop acts cannot replicate. "Gnarly," which reached the Billboard Hot 100, and the TikTok-viral "Touch" were the crowd's loudest sing-alongs — evidence that KATSEYE's catalogue has already penetrated the Colombian pop consciousness.

The South American run culminates on March 22 at Lollapalooza Brasil in São Paulo's Autódromo de Interlagos. Brasil represents the continent's largest music market and potentially the biggest single audience of KATSEYE's career. The group is billed alongside headliners Sabrina Carpenter, Tyler the Creator, and Chappell Roan — a positioning that reflects just how far KATSEYE have travelled from their Netflix documentary origins. With Coachella in April, this South American tour is not just a festival circuit; it is the foundation of a genuinely global live act.