“Dandelion,” the new song from go!go!vanillas, is the ending theme for season 2 of the TV anime SAKAMOTO DAYS, which is based on a popular comic. This sophisticated synth-pop tune, with its cozy groove and occasional trumpet flourishes, is a new departure for the group. It powerfully, heartrendingly depicts the feelings that legendary hitman Sakamoto, the main character of SAKAMOTO DAYS, has for his family and his views of life and death.

go!go!vanillas recently toured in support of their latest album, Lab. They played at small concert venues, music halls and arenas before selling out two consecutive days of shows at the Budokan, their first time playing at the venue.

Billboard JAPAN talked to them about “Dandelion” and about their next tour, which will start in October. 

What kinds of things did you focus on when you wrote “Dandelion?” 

Tatsuya Maki (vocals and guitar): I read the comic after they reached out to us about writing the theme song, and it really sucked me in. I loved how it took the feel of Shonen Jump comics, which I used to really be into, and then tweaked them with this modern innovative approach. I especially loved the fight scenes. I was fascinated by how you could feel the passion that Yuto Suzuki, the manga’s author, poured into them. I particularly liked the story covered in season 2, so I was really happy to be able to write the theme song for it. We’d written the broad outline of the song around last summer, after we finished working on our album Lab. When they approached us about doing a tie-up with the anime, I realized that this song we’d been working on would be a good match, so I wrote the lyrics to it. I thought about what I felt about SAKAMOTO DAYS—about Sakamoto, family, the ephemeral nature of existence, life and death—as I worked on the lyrics. 

Pretty Keisuke Hasegawa (bass): There are a lot of great comics in Jump, but to some degree they all have a similar format. With SAKAMOTO DAYS, on the other hand, the characters and fight scenes are so original you think, “Where is this coming from?” What really struck me about it was how it can surprise and move you in new ways. 

Shintaro Yanagisawa (guitar): It’s on its way to becoming the face of Jump, so I knew this was a hot property. The second season has a cool, almost movie-like feel. The way it combines that with the Jump aesthetic is impressive. The art just keeps getting better and better, and there are scenes where I find myself just impressed by the sheer quality of a drawing. 

Jett Seiya (drums): Sakamoto met his wife at the convenience store she was working at. We have a song called “Convenience Love,” so I was like “Whoa, this is just like ‘Convenience Love!’” 

What did you think when you heard Maki’s demo? 

Yanagisawa: It really felt like our ending theme for SAKAMOTO DAYS (laughs). 

Hasegawa: In my head, I made up animated ending credits and imagined them rolling as I listened to the song (laughs). I was like, “It would look really cool with art like this.” 

Dandelions are a motif in a lot of songs. What made you choose them for this song? 

Maki: Sakamoto is leaving a peaceful life with his family, the exact opposite of the life of a hitman, so I thought it would be fun to contrast his life then and now. His wife, who used to work in a convenience store, is named Aoi, which is a kind of flower, and his daughter’s name is Hana, which means “flower.” I wanted to bring him into the song, and I was thinking about how hard things must be for him, given the brutal world he used to be part of. Dandelions are called that because they resemble the teeth of a lion, so I went with the name “Dandelion.” Sakamoto is physically strong, but he has something fragile he needs to protect: his family. That fleeting ephemerality is like dandelion fluff. It stings, in a way. That makes it perfect for Sakamoto. 

Did the process of writing the lyrics go smoothly? 

Maki: Yes, the words just flowed out. I thought about what I’d be feeling if I were Sakamoto, and it felt like I’d be supporting my family from the shadows. He’s killed countless people, but he’s also brought new life into this world, in the form of his daughter. But he can’t just forget everything and live a brand new life. There are a lot of comedy elements, but I focused on the parts with a more serious tone.

For this song, having the room for sonic exploration is very important. What mentality did you take to working on the song? 

Seiya: I approached it with the feeling you’d have the morning after a battle (laughs). A feeling of being drained, and finally being able to go back home. 

Yanagisawa: The vocal melody is beautiful, so I didn’t want to get in its way. Instead of using a counter-melody approach, which I use in a lot of our songs, I decided to go with chord work. The chords were about 70% done in the demo, so when I wrote my own guitar additions, the idea was that they would be fused together with the synth lines. 

Hasegawa: For the bass, instead of having a bold presence, I wanted to make it float through the song. Like, even after I cut off a tone, I wanted it to feel like it was still floating there. That was totally different from the style of bass I’ve played in the past, so it was quite a struggle. 

Maki: I feel like the bass work was the biggest new challenge. Instead of filling in the spaces, we wanted the listener to be able to bask in the afterglow, such as by using sustain. During recording, too, we concentrated on the bass more than anything else. But you can’t overthink things. This kind of goes along with what Seiya was saying earlier, but we wanted a sound with a down-to-earth human feeling in the middle of an inorganic backing, perfectly balanced so that it wouldn’t go overboard in damping that sense of sway. Your mindset can have a lot of impact on that. There’s no ‘right’ answer, which makes it hard. Pretty and I bounced ideas off each other, and it was a difficult process. 

This new song represented a new sound design for go!go!vanillas. Did it draw inspiration from any other songs? 

Maki: We thought about the feel of M83, a French band, and about the blending of analog synths with rock band arrangements that was so popular back in 2005. For the bass, especially, we worked on the sound to give it sustain and a solid sub-low bottom. 

“Dandelion” is a very fresh-feeling song. 

Maki: From the demo stage, it was a song with a lot of sonic space. When I realized that this song would be a good fit for a theme song, I started to think about how popular anime has become overseas, and how many people listen to anime theme songs now, so I wanted to add something Japanese to it. We’d tried using a UK-like approach to playing, and we’d also tried for a vibe like The Weeknd, but as I worked on the song I wanted to use more Eastern lyrics and melody. 

In May, you put on your first solo show in Seoul. After that, you played in festivals in Brighton and Paris. What were your overseas show experiences like? 

Maki: When we were still amateurs, nobody knew us, so at our shows it all came down to making that first impression. Now, when we perform in Japan, there aren’t many shows with that dynamic, but playing overseas, it felt like a new frontier. That really energized us, and it was a lot of fun. 

Hasegawa: Even if we couldn’t communicate in words, we were able to play the music we loved, so it was a blast. For the first time, I could viscerally feel that music transcends the language barrier. 

Maki: Right. people at our overseas shows said “Your energy slays,” and it made me realize that of the many aspects of music, overseas listeners particularly value passion and energy. 

Yanagisawa: It was neat seeing the crowd go wild in different places than a Japanese crowd. Partly because of that, we went more aggressive than we do in Japan, putting passion into every part of our sets (laughs). The venues were small—the audience was right in front of you, it was like you could just reach out and touch them. The stages were also low, so you were almost at eye-level with the audience, which was exciting. Any passion you put out there, the audience gave that same passion back. 

Seiya: It was fun seeing the rest of the band going wild from my position at the back of the stage. It was like “Usually Shintaro doesn’t bob his head in that part,” or I’d see Pretty’s sweat flying off onto the people in the front row, or the expression on Maki’s face would be like when he was going wild at a show 12 years ago (laughs). As for Brighton, on the first day, we had our hands completely full just playing, but on the second day we were able to make some improvements and maintain a better balance. 

Yanagisawa: On the first day, there was a big panic until right before we went on stage because my equipment broke, so there was no guitar output. There weren’t many monitors, either, and the environment and the interfaces were totally different than in Japan, so it was a struggle. 

In October, you’re going to be starting a music hall and arena tour. What kind of tour do you want it to be? 

Hasegawa: We’re going to be playing at halls and arenas—big venues—so we’ll be putting on shows in a different way than we would at a small concert venue in the UK. But I think what’s really important is putting out that energy and reaching people’s hearts. I want to make the fullest of our different experiences playing in small concert venues, arenas, and overseas venues. 

Yanagisawa: I think we’ll be able to reveal some new songs around when the tour starts, so I hope we’ll be able to put on really great performances of those songs, too. 

—This interview by Kaori Komatsu first appeared on Billboard Japan

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 <No Genre> (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.

Ed Sheeran fans are seeing double once again. Fourteen years after the pop star first tapped Rupert Grint to play his stalker/doppelgänger in the “Lego House” music video, the two ginger gents have teamed up once again for a new music video, coming soon.

Arriving Thursday alongside a new song titled “A Little More,” the video will feature the Harry Potter star seemingly reprising his role from the 2011 “Lego House” visual. In a clip posted by Sheeran on Monday (Aug. 4), Grint steps out of a prison — where he appears to have spent the past decade and a half in custody — and starts walking as the memories of his past crimes flash through his mind. The montage that plays features clips from “Lego House,” showing Grint getting tackled after he sneaks into a concert venue and pretends to be the Grammy winner onstage.

“14 years later me and @rupertgrint are reunited,” Sheeran captioned the clip. “I had this wild idea after writing the song, and thankfully rupert was up for it. It’s an utterly bonkers video for a very upbeat, fun, but angry song.”

The musician also confirmed that “A Little More” will appear on his upcoming album Play, noting that he thinks it’ll be “a lot of people’s fav song” on the September-slated project. Shortly prior to the official song announcement, Sheeran posted a funny clip of himself and Grint singing along to the lyrics.

The two men have been poking fun at their similarities as fellow red-headed English stars for years. After Grint played Sheeran’s obsessive fan in “Lego House,” the Knock at the Cabin actor joked on an MTV News comedy skit that Sheeran was never a real person, but instead a character he made up.

“After Potter, all I wanted to do was stretch myself, create some real magic, so I created a character,” he said in the sketch. “He’d have the voice of an angel, impossibly wispy facial hair. So I bought a guitar and a bunch of flannel, and I called him Ed — Ed Sheeran.”

See Sheeran’s announcement featuring Grint below.

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A post shared by Ed Sheeran (@teddysphotos)

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Showing off your personality goes beyond your fashion and makeup style — you can also incorporate your tastes into your living space. For college students, this includes your dorm room, and if music is a big part of your identity, then incorporating vintage music posters should be considered your dorm essentials.

Whether you’re a fan of classic rock, pop, alternative or hip-hop, make note of your favorite artists and take a peek at Billboard‘s best album covers list to determine who and what pictures you’ll want displayed in your room. There are no rules when it comes to showing off your most-listened-to bands and/or singers, which means you can mix and match everything from genres to color palettes.

Curious which ones are the most popular? We rounded up some of our previously ranked album covers to help inspire you in your decorating journey.

Keep reading to shop our selection below.

In celebration of the late and great Ozzy Osbourne, you purchase a certified banger of a poster at Walmart depicting Osbourne on the cover of Rolling Stone from 2002. The poster is printed on heavy stock paper and measures 27 x 40 inches.

Your favorite artist’s favorite artist has a slew of posters available that would look pretty stellar on your dorm room wall. This one from Amazon is 24 x 36 inches and is printed on impactful high gloss paper.

For our Rodrigo fans, this poster serves as a homage to the singer’s stellar career thus far. The 12×18 inch poster is printed on sturdy canvas and features some of the singer’s most memorable looks and lyrics printed in a collage.

Frank Ocean’s Blonde album is a classic. The album holds a special place in the hearts of many, especially you skater boys (you know who you are). This poster retails for $2.96 and neasures 24in x 36in.

Buy: Woonkit Vintage Rock Band Posters for Room Aesthetic, 70s 80s 90s Retro Music Room Wall Bedroom Decor Art, Vintage Rock Concert Poster Wall Collage, Old Music Album Cover Prints (12 SET B, 7.8X11.8 INCH) $18.99

Rock ‘n’ roll fans will appreciate this set of posters, as it comes with a variety of vintage-inspired posters of artists including Queen, Guns N’ Roses, Van Halen, Kiss and more. Plus, you can arrange them on your wall however you want, making it 100% customizable.

Bring a pop of pink into your space with Tyler, The Creator’s Igor album cover poster, which features an all-pink background and a black-and-white photo of the rapper’s face. You can choose between two sizes: 12″ x 18″ or 16″ x 24″, depending on your preferences.

David Bowie takes the spotlight in this poster for Aladdin Sane as he sports the iconic painted lightning bolt on his face. It measures at 24″ x 36″ and is made with traditional poster paper.

Infuse your love of rap into your decor game through The Notorious B.I.G.’s popular ready to die album poster. It comes with a simple photo on a white background that’s minimalist-approved while showcasing your adoration for the music.

Score 15% off A$AP Rocky’s 2013 album poster that has a photograph of the rapper wrapped in the American flag. You can pair it with other black-and-white photos or surround it by color to make it pop.

Buy: SZA Poster SOS Poster SZA SOS Album Cover Poster Canvas Poster Bedroom Decor Sports Landscape Office Room Decor Gift Unframe-style 12x18inch(30x45cm)

Lovers of SZA can cover that blank wall space with her SOS album poster, which comes with the name and song titles printed underneath a sitting SZA. It’ll also go nicely with another round of you listening to her hits and more.

Buy: Pyramid America Led Zeppelin I Music Album Cover Cool Wall Decor Art Print Poster 60×90 $13.88

Show some love for Led Zeppelin with this retro album poster that’s not only less than $11, but comes with some subtle color that won’t take away from all your other pieces of dorm decor.

Buy: A Pink Floyd – Dark Side of The Moon Poster 36 x 12 (UNFRAMED) $11.27

Dedicated Pink Floyd listeners can enjoy a supersized version of the band’s Dark Side of the Moon album art as this poster measures at 36″ x 12″.

Buy: Trends International Beatles-Abbey Road Wall Poster, 22.375″ x 34″, Unframed Version, Bedroom $9.99

If you’d prefer to put up some of the greats, you can’t forget to incorporate the famous Abbey Road album poster. The photo displays all four of the band members walking across the street in London, while showcasing your love for vintage music.

Complete your shrine of Kendrick Lamar with a black and white poster of him and others posing in front to the White House. It’s made with a semi-gloss material and comes in two sizes to choose from.

Sophie’s poster will mesmerize you and your guests as it features a pearl-like background as she sits in water wearing a gorgeous multi-colored dress.

The Beyhive will be buzzing to cover their wall space with the artist and what better way than with a poster of her chart-making album Lemonade.

For more product recommendations, check out our roundups of the best music coolers, mattress sales and tarot cards.