Former B.A.P member Zelo took the stage on July 25 at the outdoor Global Stage at KINTEX in Goyang, Gyeonggi Province.
During his set, he performed B.A.P’s hit song “Crash”, tracks from his solo career, and an unreleased new song while accompanied by a team of dancers. At one point in the performance, Zelo removed his shirt, drawing enthusiastic cheers from the crowd. However, it was his choreography with dancers dressed in bikinis that quickly became the focus of online discussion.
Videos circulating online prompted mixed reactions, with some viewers arguing that parts of the choreography appeared to simulate sexual acts. While Waterbomb is restricted to audiences aged 19 and older, critics argued that the performance crossed the line from bold stage entertainment into unnecessarily provocative territory.
Others, however, defended the performance as fitting the festival’s long-established concept of high-energy, mature entertainment.
Zelo’s performance comes just days after BIBI found herself at the center of a similar controversy. During her Waterbomb stage, BIBI removed a jumpsuit to reveal a bikini before performing choreography with male dancers while kneeling between them. The performance sparked intense online debate, with some accusing it of using sexually suggestive imagery, while others argued it was appropriate for an adults-only festival known for pushing creative boundaries.
The discussions surrounding both artists have renewed broader conversations about artistic expression, stage performance, and audience expectations at large-scale music festivals.
Waterbomb has established itself as one of South Korea’s biggest summer music festivals, attracting thousands of fans each year with performances that combine live music, water effects, and energetic choreography. Because attendance is limited to adults, many participating artists embrace revealing fashion and more daring stage concepts than they typically present elsewhere.
Nevertheless, each year’s festival continues to spark debate over where the line should be drawn between artistic freedom and performances that some audiences consider excessively provocative.
With both BIBI and Zelo’s stages generating widespread discussion, Waterbomb 2026 has once again found itself at the center of conversations about the evolving boundaries of live entertainment.
Sources: Naver