When aespa booked Good Morning America to perform “Rich Man,” it looked like the perfect springboard for their U.S. campaign. Instead, the TV stage ignited online backlash over energy, synchronization, and alleged lip-syncing—turning a high-visibility slot into a heated debate about readiness and staging.

What actually happened on GMA

On Sept. 12, the quartet performed “Rich Man” on GMA as part of a stateside promo swing (with a Jennifer Hudson Show taping also reported). Clips ricocheted across socials, with commenters calling the set “awkward” and “a mess,” citing thin camera blocking, low crowd engagement, and questions about live vocals. The criticism quickly overshadowed the booking itself.

The fan discourse: comparisons and expectations

Coverage and posts compared the set to past K-pop network moments and to aespa’s own TV history, arguing the group’s stage presence felt muted for a U.S. morning-show audience that demands instant connection. That framing—“big stage, small impact”—fueled the narrative that the U.S. push fell flat.

But commercially? The numbers tell a different story

Away from that one TV slot, “Rich Man – The 6th Mini Album” has been robust. The EP dropped Sept. 5 and went straight to streaming/download platforms; shortly after, it debuted at No. 12 on the Billboard 200 and hit Top 3 on key U.S. album-sales charts. First-week physicals topped 1.08M (Hanteo), marking another million-seller for the group. In short: the broadcast misfire didn’t tank consumer demand.

How aespa responded—fast

Within days, aespa tweaked their approach: subsequent “Rich Man” performances added backup dancers and were widely perceived as more live-vocal-forward, addressing two of the biggest fan gripes from GMA. That quick pivot helped cool tempers and re-center conversation on the song and choreography rather than the controversy.

Why the GMA stage underwhelmed (and what it teaches)

• Morning TV constraints: Early-day audio mixes, tight camera cuts, and studio lighting can flatten high-concept K-pop staging if not customized. Groups that land best on U.S. mornings tend to over-index on audience interaction and obvious live-vocal moments. (aespa’s later stages leaned into exactly that.)
• Blocking & scale: “Rich Man” pairs gritty, staccato moves with a bold visual identity; without support dancers or dynamic set pieces, the choreography reads smaller on a bright, compact set. The comeback’s own teasers emphasize the track’s swagger—TV needed to mirror that scale.

The bigger picture: U.S. growth isn’t one performance

The campaign itself—from pre-release buzz to TV rounds—still advanced aespa’s U.S. footprint, and the music results (albums, streams, sales) reflect resilient demand. The lesson isn’t “don’t do TV”; it’s design TV-specific versions: live ad-libs and call-and-response, fuller blocking, clearer crowd shots, and camera-aware formations. Think “TV edit” as seriously as an MV.

Quick timeline

• Aug 4 — Comeback announced; “Rich Man” era framed with bold, confidence-first messaging.
• Sept 5 — EP Rich Man released on major platforms.
• Sept 12 — GMA performance triggers online backlash about stage quality and vocals.
• Following days — Staging/vocal approach adjusted; later performances draw improved reception.
• Chart week of Sept 16 — EP debuts #12 Billboard 200, strong U.S. album-sales placements.

Verdict

A misjudged TV execution ≠ failed era. aespa stumbled on a high-stakes stage, listened fast, and recalibrated. With sales and charting intact, “Rich Man” remains a commercial win; the takeaway is strategic—treat U.S. daytime TV like its own arena and build to its strengths next time.