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Snow Man’s “SERIOUS” bows at No. 1 on the Billboard Japan Hot 100, on the chart dated July 30.

The 12th single by the nine-member boy band is being featured as the theme song for the new Stigmatized Properties: Possession horror movie starring Snow Man member Shota Watanabe, which hit domestic theaters last Friday (July 25). The track launched with 909,496 CDs to rule sales, and the group scores its tenth No. 1 hit on the Japan Hot 100.

HANA’s “Blue Jeans” slips a notch to No. 2 after debuting at No. 1 last week. The track rules streaming for the second week in a row, while coming in at No. 11 for sales and No. 4 for downloads. The breakout seven-member girl group has five songs charting on the tally this week, with “ROSE” at No. 9, “Burning Flower” at No. 17, “Tiger” at No. 23, and “Drop” at No. 29.

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CUTIE STREET’s new song “Kyuu ni stop dekimasen!” follows at No. 3. The track had been available digitally since May 7, but soared on the tally after the CD version dropped July 23 and sold 505,909 copies in its first week. The latest single by the eight-member ASOBISYSTEM girl group comes in at No. 2 for sales and No. 37 for video views.

Mrs. GREEN APPLE’s “Carrying Happiness” rises 10-4 this week, hitting No. 1 for radio airplay. Streams for the Tokyo Disney Resort summer event theme song is up to 132% from last week and video views to 222%.

LiSA’s “Zankoku na yoru ni kagayake” (English title: “Shine in the Cruel Night”) hits No. 5, breaking into the top 10 from No. 39. This is one of the two theme songs gracing the blockbuster animated movie Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle — Part 1: Akaza Returns alongside Aimer’s “Taiyo ga Noboranai Sekai” (English title: “A World Where the Sun Never Rises,” at No. 8 this week). The digital version was released on July 19 and the CD dropped on the 23rd. The latest Kimetsu collab by the “Homura” songstress rules downloads, while coming in at No. 7 for sales, No. 14 for streaming, No. 6 for radio, and No. 17 for video.

In other chart news, J-pop summer staples are back on the Japan Hot 100. YUI’s “SUMMER SONG” (2010) rises 41-38, aiko’s “Hanabi” (1990) jumps 80-52, Keisuke Kuwata’s “Naminori Johnny” (“Johnny Surfer,” 2002) is at No. 73, Kuwata-led Southern All Stars’ classic “Manatsu no Kajitsu” (1990) is at No. 84, and Yuzu’s “Natsuiro” is at No. 86.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from July 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

This article contains spoilers for the Love Island final.

The winners of ITV2’s latest season of Love Island have been crowned.

Toni Laites and Cach Mercer were announced as winners by presenter Maya Jama during Monday’s live final.

The pair won the public vote and £50,000 prize money, ahead of second-placed finalists Shakira Khan and Harry Cooksley.

Yasmin Pettet and Jamie Rhodes finished in third place, while Angel Swift and Ty Isherwood finished in fourth.

Toni Laites became Love Island UK’s first American contestant when she entered the Villa this summer.

“Thank you to the UK,” she screamed after winning with partner Cach Mercer.

As soon as the episode finished, we spoke to to self-confessed Love Island “super-fans” Harriet and Georgia.

“I’m absolutely thrilled. I’m not gonna lie, it’s like Christmas Day,” says Harriet.

“They so deserved it. It feels like the international Love Island family coming together to celebrate our Toni.”

“100% the right couple won,” Georgia added.

“I feel like it was a close call but they definitely deserved it.”

Toni and Cach’s Love Island journey was not without its difficulties. Earlier in the series, Toni chose to couple with one of the other boys, Harrison, rather than Cach.

After the re-coupling, Cach cried and was consoled by friend and fellow Islander Ty, something Georgia says was a key moment in the series.

“I think where the season was going, almost questioning how genuine a lot of the couples were, it was really nice to see raw emotion coming from someone who was feeling real feelings,” she says.

“Especially it coming from a man, because I think we just don’t see that enough. We don’t see men showing their raw emotion.

“I think it’s one of those things that should be celebrated.”

Harriet agreed, adding: “It was really moving to see someone so in touch with their emotions and really let it out.

“It’s actually really powerful to see him own it, and encourage other men to be in touch with their emotions.”

Couple Dejon Noel-Williams and Meg Moore narrowly missed out on the final after they were dramatically dumped during Sunday’s Episode.

Former Islanders returned to the villa and voted them the least compatible remaining couple.

Love Island’s popularity has risen this year, thanks to the success of the US version of the show and a jump in social media interest.

ITV said this series was on track to be the biggest since Series 9 in January 2023.

It said streams on subscription service ITVX were up 9% year on year, and figures from TikTok show 1 million people have followed Love Island’s official account this year.

Earlier on Monday, ITV bosses announced Love Island All Stars – where previous fan-favourite islanders return to the villa – would get a third series.

They said it would air early next year and take place over six weeks in South Africa.

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.

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.

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 (May 13), which swept music shows, earning their first “quadruple crown.”

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.

“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.

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.