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BOYNEXTDOOR: From Seoul Encore Concerts to Their Lollapalooza Debut

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What do we expect from a K-pop concert? For six-member boy band BOYNEXTDOOR (SUNGHO, RIWOO, JAEHYUN, TAESAN, LEEHAN and WOONHAK), their first tour “KNOCK ON Vol.1” was a coming-of-age story told onstage.

Kicking off at Incheon’s Inspire Arena on Dec. 14–15, 2024, the tour swept through six cities in Japan, then Singapore, Manila, Taipei, Jakarta, Hong Kong and returning to Tokyo, finally wrapping up with a three-night encore at KSPO DOME in Seoul on July 25–27, 2025.

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Despite debuting only in May 2023, BOYNEXTDOOR has quickly built a global fanbase, especially among teens and 20-somethings in Korea. Their first tour featured 21 tracks, pulling from four EPs, a soundtrack appearance, and the fan-dedicated song “400 Years.” Though the initial shows drew praise for solid vocals and performance etiquette, some fans expressed reservations about the overall production.

As leader JAEHYUN shared during the second night of their Incheon concert, “Since it was our first concert, we tried to stay close to the original versions to clearly express the group’s identity.” And while the intent was understandable, performing without any concert-specific arrangements — relying solely on the original choreography and the abilities of members just two years into their debut — felt like a tall order for a venue the size of Inspire Arena, which holds up to 15,000 people. Adding to the challenge was the timing: December is one of the busiest months in K-pop, filled with domestic and international awards shows and year-end specials. BOYNEXTDOOR had already proven themselves on those kinds of high-profile stages, and the group’s consistent pride in their live vocals had only heightened expectations.

Still, the fact that fans could share in such a significant moment — the group’s very first solo concert — was meaningful in itself. When ONEDOORs lit up the venue with light sticks and phone flashlights and sang in unison, “So let’s go see the stars,” the stage glowed like a falling starlight, and the members, overcome with emotion, stood teary-eyed, visibly moved. It was the kind of symbolic moment destined to replay itself throughout their career. After the final show ended, the members went live together, sharing their heartfelt reflections and gratitude with fans.

BOYNEXTDOOR

BOYNEXTDOOR

Courtesy Photo

Between the Korea launch and the encore finale, the group’s momentum only grew stronger. On Jan. 6, they released digital single “I LOVE YOU Today,” a breezy band-pop track that became a chart-topper in Korea. Then came “I Feel Good,” the title track of their fourth EP <No Genre> (May 13), which swept music shows, earning their first “quadruple crown.”

BOYNEXTDOOR

BOYNEXTDOOR

Courtesy Photo

Instead of sticking to the usual encore formula — a few new songs, a reshuffled VCR, minor tweaks — “KNOCK ON Vol.1 Final” blew the door open from the first second. The show opened with “Nice Guy,” which originally closed their main set. Notably, this version was identical to the one they performed at the 2024 Mnet Asian Music Awards, complete with synchronized dance breaks and the signature chant: “Who’s there? BOYNEXTDOOR!”

“As WOONHAK said on the first night, ‘There was some regret at first. We waited for this encore show to show everything we’ve got.’” True to his words, the show looked nothing like the Incheon leg — not in setlist, stage design, or wardrobe. Utilizing the KSPO DOME’s relatively low ceiling and wide viewing angles, the backdrop LEDs were fully reconfigured to match each song’s tone. Groovy, retro-tinged openers like “Nice Guy,” “Serenade” and the ‘60s-inspired soul pop track “123-78” were paired with romantic white ensembles and soft-toned visuals, while brighter, bouncier tracks like “Back for More” and “One and Only” leaned into a street-style aesthetic with urban-inspired graphics and costumes. The transitions between sections also stood out for their creative flow: during “Fadeaway,” a dance crew filled the stage as the members exited, sustaining energy without a pause. Elsewhere, the group incorporated sound elements from past album trailers to bridge segments seamlessly. One of the most striking examples came just before “But Sometimes,” the title track of their debut EP (‘WHY..’). RIWOO choreographed a new dance break using the EP’s teaser sound, and all six members joined in — a perfectly-timed detonation of energy before launching into the original track.

Just like their encore concert in Tokyo where the group split into two units — JAEHYUN, LEEHAN, and WOONHAK covered Creepy Nuts’ viral hit “Bling-Bang-Bang-Born,” while SUNGHO, RIWOO, and TAESAN performed Mrs. GREEN APPLE’s “Ao to Natsu (Blue and Summer)” — the Seoul shows also featured special unit stages. This time, they brought to life cover clips that had gone viral on YouTube earlier in March. SUNGHO, RIWOO, and JAEHYUN delivered a charismatic performance of Primary’s “See Through,” while TAESAN, LEEHAN, and WOONHAK earned cheers with their emotive rendition of DAY6’s “Congratulations.”

But above all, it was the introduction of a live band that elevated the encore experience to an entirely new sonic level. Starting from the transition between “Step by Step” and “Amnesia,” the band’s presence became impossible to ignore — amplifying the energy, rhythm, and impact of BOYNEXTDOOR’s music. It felt natural to lead into “I Feel Good,” a track with distinctly rock-oriented textures, but what followed next offered a surprise: a hard cut into “Parental Advisory,” one of the group’s most intense hip-hop tracks. The contrast between genres — yet seamless flow — created a sense of sonic exhilaration that rippled through the crowd.

A particularly moving stretch came with the progression from the tender ballad “Crying” into “Dear. My Darling,” which began with SUNGHO’s solo guitar intro. The emotional buildup peaked with “Pebble,” originally led by a simple guitar riff, but now expanded through the band’s full-bodied arrangement. Even after the members had exited the stage, the musicians continued to play — with the electric guitar and keys holding the atmosphere for nearly a full minute. These same band members would later accompany BOYNEXTDOOR to the Lollapalooza stage.

The official set came to a close with “Earth, Winds & Fire,” the title track from their second EP (‘HOW?’). Poignantly, it was also the very first song that opened their debut concert — completing the arc with perfect symmetry. During the encore segment, most of the members left the main stage and roamed through the arena aisles, connecting directly with fans in both lower and upper sections. All three nights were packed with extended sets, reaching the “encore of encores” each time. The magic of “So let’s go see the stars” returned in full. On the final night, when “Earth, Winds & Fire” made a surprise reappearance during the second encore, WOONHAK shouted, “Put your phones away — let’s really go wild!” And astonishingly, most of the crowd obliged, jumping and dancing with their hands in the air. The final setlist of “KNOCK ON Vol.1 Final” totaled an impressive 27 songs.

BOYNEXTDOOR

BOYNEXTDOOR

Courtesy Photo

“We are six people who love music, and we’re grateful to sing here tonight for ONEDOOR. Thank you. This has been BOYNEXTDOOR.” With JAEHYUN’s closing words, the curtain fell — but the echoes of the music, the raw emotions, and the candid reflections each member had shared lingered in the air.

So back to the original question: What should we expect from a K-pop concert? In a system where most idols begin their training and careers as teenagers, fans often become the closest witnesses to someone’s growth — watching from the very beginning as these artists find their voice, their confidence, and their place in the world. When you’ve shared in someone’s most vulnerable, formative years, there’s little choice but to keep cheering them on. What began seven months ago as a question — a possibility — has since turned into something certain. And the encore concert made it clear just how much collective effort this team poured into delivering that certainty. BOYNEXTDOOR proved their growth, their sincerity, and their purpose. In a concert — the most intimate and immediate moment in an artist’s journey — they succeeded in showing everything fans had come to see, with nothing left behind.

BOYNEXTDOOR

BOYNEXTDOOR

Courtesy Photo

On Saturday, local time, BOYNEXTDOOR took the stage at the Lollapalooza Aftershow — just ahead of their main set — and once again showed how effortlessly they enjoy performing. On Sunday, they presented a full hourlong set on the Lollapalooza Chicago stage. It marked the first time the group delivered a fully realized concert experience in North America. What new fragments of youth will these six boys next door gather in this unfamiliar land, in the middle of summer? One thing is certain: Those glittering pieces won’t belong to BOYNEXTDOOR alone — they’ll linger in the memories of every person who was there to see it.

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Tim Dillon Fired From Riyadh Comedy Festival for Saudi Slavery Remarks: ‘They Didn’t Like That’

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Tim Dillon will not be traveling to the Riyadh Comedy Festival next month. The California comedian and host of The Tim Dillon Show podcast says he was fired from the Oct. 8 Saudi Arabia festival for comments he made about the country on Joe Rogan‘s podcast.

Besides losing a $375,000 payday (an amount Dillon confirmed to Rogan), he also lost a nearby warm-up gig in Dubai two nights before his Riyadh appearance after mixing up the Arab emirate with Abu Dhabi (the rival cities are both part of the United Arab Emirates).

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“I mixed them up — apparently this is a big deal over there. This is a real problem,” he said on a recent episode of his podcast. “This is not a malicious slander. It’s a mistake.”

The Riyadh Comedy Festival — which mostly takes place at the Bakr Al-Sheddi Theatre and ANB Arena from Sept. 25 to Oct. 9, features a number of top tier comedians including Dave Chappelle, Bill Burr, Gabriel Iglesias, Aziz Ansari, Kevin Hart, Jeff Ross, Chris Distefano, Tom Segura, Jo Koy, Sam Morril, Hannibal Buress, Andrew Schultz, Sebastian Maniscalco, Whitney Cummings, Jimmy Carr, Louis CK, Pete Davidson, Russell Peters and Chris Tucker.

“Supposedly, MBS is a fan of mine,” Dillon said two weeks ago on the Joe Rogan Experience podcast, referring to Saudi head of state Mohammed Bin Salman.

Dillon was reportedly fired from the festival for claiming that Saudi Arabia relies on slave labor — a controversial take on the country’s foreign laborers laws that some groups, including Human Rights Watch, have criticized as “slavery-like.” Legally, slavery was abolished in the Kingdom in the 1960s.

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Dillon said the slavery jokes were a misunderstanding with his Saudi hosts, saying on his podcast, “I was defending them for having slaves. I literally said, ‘Slaves are hard workers and for the most part agreeable.’ But they didn’t like that.”

“You can literally support somebody too much,” he added. “In life, this happens. Too many compliments; too much support — and then they turn on you.”

He clarified his comments further, noting, “If i was a slave — not that I want to be one, but if I was and I built this really nice thing, I might say to my slave children, ‘Daddy built that,'” concluding, “Apparently this got to the people in Saudi Arabia and they were unhappy about it.”

The Riyadh Comedy Festival opens Sept. 25 with performances by Burr, Maz Jobrani and Andrew Santino and Bobby Lee from the Bad Friends podcast. More here.

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Wilson Phillips, Kenny Loggins & More to Perform at Charity Concert Honoring Brian Wilson & The Beach Boys

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Wilson Phillips, Kenny Loggins, David Pack of Ambrosia and more are set to perform at a charity concert celebrating the music of Brian Wilson and The Beach Boys on Saturday, Sept. 27 at the Granada Theatre in Santa Barbara.

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Wilson Phillips features two of Wilson’s daughters, Carnie and Wendy Wilson, as well as Chynna Phillips, the daughter of John and Michelle Phillips. The concert will also feature Brian Wilson’s grandchildren, so it will spotlight three generations of the Wilson family.

The concert, dubbed An All-Star Tribute to the Music of Brian Wilson & Songs of The Beach Boys, will feature the Folk Orchestra of Santa Barbara. Other guest performers are expected to include The Honeys; former members of The Beach Boys and the Brian Wilson Band; and keyboardist Don Randi (The Wrecking Crew); with appearances by Rosemary Butler (Jackson Browne), Ken Stacey (Elton John), Hunter Hawkins (Kenny Loggins), Carly Smithson (American Idol), Alisan Porter (The Voice) and poet Stephen J. Kalinich. These acts will be backed by The Tribe Band, who will perform an array of Beach Boys favorites.

The show begins at 7:30 p.m. Here’s a link for tickets. VIP packages are also available.

Proceeds will be donated to Adam’s Angels, a local group of volunteers, and the Surfrider Foundation of Santa Barbara, dedicated to the protection and enjoyment of the world’s oceans and beaches.

Brian Wilson died on June 11 at age 82. He was the third member of the fabled group to pass, following brothers Dennis in 1983 at age 39 and Carl in 1998 at age 51.

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AI Artist Xania Monet, Diddy Sentencing Looms, Ticketmaster Lawsuit & More Music Law News

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THE BIG STORY: If you needed another clear sign that artificial intelligence is seeping into every aspect of American cultural life, here’s one: An AI artist just signed a record deal, the hallowed milestone of success for any emerging musician.

As first reported by Billboard last week, Xania Monet — the avatar of a woman named Telisha Jones who writes her own lyrics but uses Suno to create the music — inked a record contract worth millions. The deal has quickly become the talk of the industry, including from stars who have spoken out, including Kehlani, who said: “I don’t respect it.”

But…what exactly is a label buying here? It remains unclear the extent to which you can secure intellectual property rights to AI-generated songs, raising hurdles for monetizing them. And platforms like Suno are still facing trillion-dollar infringement lawsuits that essentially claim the technology itself is illegal. For more, go read our full story.

You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.

Other top stories this week…

BLIGE CASE TOSSED – A federal judge dismissed a lawsuit against Universal Music Group claiming Mary J. Blige’s enduring 1992 hit “Real Love” infringed the oft-sampled 1973 funk song “Impeach the President” by the Honey Drippers, which has been used by Run-DMC, Dr. Dre, Doja Cat and many others over the years. The judge said the two songs were so different that nobody would hear the earlier song: “The songs do not sound the same.”

DIDDY SENTENCING – Attorneys for Sean “Diddy” Combs urged a federal judge to sentence him to just 14 months in prison on his prostitution convictions, asking him to reject the kind of “draconian” punishment sought by prosecutors. Because the star has already served 13 months in jail since he was arrested, that sentence would see him released almost immediately: “It is time for Mr. Combs to go home.”

LETTERS OF SUPPORT – To help make that argument, Diddy’s lawyers filed dozens of letters from supporters, pleading with the judge to show lenience toward the rapper when he sentences him next month. They came from Diddy’s mother and kids, from ex-girlfriend Yung Miami and from an executive at hip-hop label Quality Control Music — among many others.

SUNO SUIT 2.0 – Separate from the Xania Monet situation, the major record labels filed an amended version of their copyright lawsuit against the AI music firm, adding new allegations that the company illegally “stream-ripped” songs from YouTube to train its models. That’s a hugely important new claim: In a separate such lawsuit against Anthropic, a federal judge ruled this summer that AI training itself is likely a legal “fair use” but that using pirated works to do it could lead to many billions in potential damages.

FTC, YEAH YOU KNOW ME – The Federal Trade Commission filed a lawsuit against Live Nation and Ticketmaster accusing the concert giants of advertising misleading ticket prices and allowing scalpers to buy up tickets and resell them at inflated prices. The case came months after the agency sued a ticket broker that allegedly used thousands of fake Ticketmaster accounts to buy and resell tickets to Taylor Swift concerts and other events — and two years after Live Nation was hit with a sweeping monopoly lawsuit by the U.S. Department of Justice.

HYPE VID SETTLEMENT – Mike Tyson settled a lawsuit claiming he illegally used the Jay-Z, DMX and Ja Rule song “Murdergram” in an Instagram video promoting his boxing match against Jake Paul. The case was filed by Ty Fyffe, a producer and co-writer of the 1998 track who claimed that Tyson had willfully infringed his copyrights by using the song in a training video ahead of his much-hyped fight with Paul.

LOSE YOUR … CASE? – Meta urged a federal judge to dismiss a lawsuit from Eight Mile Style, a music publisher that owns hundreds of Eminem songs, which claims the social media giant made “Lose Yourself” and other iconic tracks available to billions of users. In the motion, Facebook’s lawyers argued the case was “remarkably short on specifics” about actual infringing material: “Fanciful estimates are not a substitute for well-pleaded facts,” the company wrote.

NEVER MEANT TO CAUSE YOU ANY PAIN – The Prince estate asked a judge to dismiss a lawsuit by the late singer’s Purple Rain co-star Apollonia (Patty Kotero) that claims the estate is trying to “steal” her name, arguing it has no intention of forcing her to change her name — and has repeatedly told her as much. The filing did say, however, that Apollonia secured her own trademarks during “the chaotic period following Prince’s death.”

SEX TAPE LEAK CASE – Colombian pop star Beéle was hit with a lawsuit alleging invasion of privacy and sexual cyberharassment from ex-girlfriend Isabella Ladera, claiming he is responsible for leaking their sex tape. Beéle’s reps have denied that he was the source of the leak and said the singer is “also a victim,” but Ladera’s lawsuit placed the blame squarely on him: “Only two people had the videos, and Ladera had already erased them almost a year and a half before.”

MEGAN THEE PLAINTIFF – Lawyers for Megan Thee Stallion argued in court filings that the social media personality DJ Akademiks must reveal whether Tory Lanez sent him a confidential DNA testing report during the singer’s criminal case. The filings came amid discovery in a defamation case against Milagro Gramz, a gossip blogger and ardent online defender of Lanez.

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