Walking into the Eventim Apollo on March 26th for the concert of NMIXX might seem like it could make an older K-Pop fan feel out of place, but that wasn’t the case at all. There were fans of all ages and gender identities, and what looked like a fair number of parents attending with their children. Over the past few years, the K-Pop fandom has become a lot more diverse, whether due to wider global exposure or due to K-Pop becoming more embedded in mainstream culture, thanks in part to acts like BTS and the booming popularity of K-Pop Demon Hunters. Seeing young students proudly carrying photocard holders attached to their bags is a surreal but welcome shift.
What stood out was how calm and respectful the audience was as they filed in. Whether that came down to the fully seated venue or simply the tone of the fanbase, it made for a more relaxed atmosphere compared to other K-Pop shows. Outfits were varied and creative as expected in this space, with fans taking multiple photos throughout the venue, pickets in hand. A couple of friends were filming themselves dancing for TikTok on the stairs, while nearby, two older women wore custom-made pink ‘Team Lily’ shirts. Later in the show, when Lily herself pointed them out, it confirmed what one might have already suspected: they were her relatives coming to support her.
Before the concert began, a JYP Entertainment video played, highlighting artists across the label. Familiar names like Stray Kids, ITZY and TWICE drew huge reactions, but some equally enthusiastic cheers could also be heard for Girlset and NEXZ; a reminder of how the newer generation currently dominates fan attention. Older fans are more likely to still associate JYP with their earlier acts such as 2PM and Got7.
One unexpected detail was the presence of a full live band set up on stage. It is relatively rare for K-Pop groups, outside of DAY6 and Xdinary Heroes, to have a band on stage. It gave the suggestion of a different kind of show, which made the anticipation rise even more. The screen displayed a surreal visual of a galaxy containing a glass box floating in a sea. A low, droning sound built a haunting tension before glitching into something more urgent as the band kicked in. NMIXX appeared in white outfits with metal-esque jagged detailing, backlit dramatically. From the opening moments the production felt cinematic. Their opening and debut track ‘O.O’ was transformed by the live band. It stayed true to the original while adding enough variation to feel fresh. This carried into ‘Phoenix’ and ‘Run For Rose’, with Lily’s line, “Do you want to run away with me?” landing particularly well with the audience.
Vocally, the group impressed throughout. In the current K-Pop landscape where live vocals can sometimes feel secondary, NMIXX leaned into them. The delivery was not overly polished but it was stable, clear, and confident, especially considering the choreography. It gave the performance a sense of authenticity that was easy to appreciate. Tracks like ‘Sonar’ turned into full crowd singalongs, with evolving stage visuals from a glowing golden door rising from the sea, to glitching televisions.
The first spoken segment followed with leader Haewon introducing the night as their first solo concert in London and the final stop of the tour. The group leaned into light humour, from Bae’s playful “you must be tea because you’re my cup of everything,” to attempts at British accents that were met with loud cheers. Lily, unsurprisingly, navigated the English sections comfortably but made a point of letting the other members speak.
The band remained a highlight. During ‘DASH’, a saxophone was introduced, adding another layer to the arrangement. An instrumental interlude led into a glossy VCR segment, visually impressive if somewhat expected. A costume change brought the group back in black and white, school/sailor inspired baggy outfits for ‘PAXXWORD’ which were later revealed to be layered for a quick on-stage transformation. ‘Young, Dumb, Stupid’ allowed them to become more playful with the crowd, using colourful microphones and encouraging interaction. Confetti then arrived early during ‘Break the Wall’, which was a nice surprise, although, it slightly reduced the impact of two more confetti cannons later in the show.
As the concert progressed, there was a noticeable shift towards casual performance and audience engagement. Lightstick waves, balcony versus floor call and response, and dynamic camera shots of the crowd pushed this different feel. ‘Love Me Like This’ and ‘DICE’ were clear highlights for the crowd, with the “big wave” section drawing a strong response as always. A standout moment came with ‘Papillon’, performed in more casual white and denim outfits. The live band elevated the track significantly, turning it into one of the most memorable performances of the night. Here, it also became noticeable that their choreography is slightly more restrained than some of their fellow K-Pop peers, but it’s seemingly by design, allowing them to prioritise live vocals. It is a smart trade off and gives them a distinct edge.
Other tracks like ‘Know About Me’, ‘Slingshot’ and ‘Run For Roses’ showcased the group’s ability to move between styles, from bright pop to heavier electronic influences. Their recent single ‘TIC TIC’ also stood out as a key moment in the set. Featuring a prerecorded voice of Pabllo Vittar, their drag queen collaborator on the song, the track felt much more elevated in a live band setting. The addition of guitars gave it a heavier edge and the band leaned into that energy, with the drummer in particular cutting through. It is one of those songs that benefits from being heard live, where the instrumental sounds more dynamic than in its studio version and was a particular highlight, especially for fans of more alternative music.
When ‘Blue Valentine’ began, one fan in the audience immediately lit up, clearly having waited for that moment all night. It was obvious that the track holds a special place for many fans, proven by its later use as a karaoke style singalong during an interlude with the camera moving through the audience. The song itself leans softer and more sentimental, which offered a nice contrast within the set. Towards the end, the pacing slowed slightly with longer talking segments. While heartfelt, some of the comments covered familiar ground and the length of these sections began to test the audience’s patience slightly. That said, the sincerity was clear.
For the encore, fans raised banners handed out earlier in the foyer as the group returned in customised tour shirts. Tracks like ‘Beat Beat’ and ‘Moving On’ brought the energy back up, with the members visibly more relaxed and playful. A slightly unexpected choice, ‘Funky Glitter Christmas’ felt a bit out of season in March, but the group’s enjoyment along with another strong showing from the saxophonist carried its strangeness through.
Overall, NMIXX left a strong impression. Seeing them live made it clear that the entire group is very vocally capable and that their commitment to live performance is not just a concept, but a defining feature of their group’s identity. Their music, which is known for its shifting structures and contrasting musical sections, could easily feel disjointed in a live setting. Instead, it thrived, and if anything, the band arrangements made those transitions feel more intentional. There are many directions K-Pop continues to take, but NMIXX stands out by choosing not to play it safe. At a time when it is easy to prioritise perfection or spectacle, they focus on musicality and performance and most importantly, they are never boring.
Written by: Chiara Fulgoni
Edited by: Shanna Henselmans
