by Hasan Beyaz
Photo credit: Courtesy of CJ ENM
KCON LA 2025 wrapped its final night with a fierce, full-bodied celebration of girl power — not just in theme, but in execution. The entire show pulsed with women reclaiming, rewriting, and remixing the rules of what a “main character” looks like in K-pop today. From homecoming debuts to idol icons to surprise legacy tributes, Day 3 made sure the weekend ended with nothing left in the tank.
The crowd warmed up quickly with rookies ifeye and NEWBEAT tearing into the pre-show stage — sharp, bold, and already moving like pros. They set the tone for a night that would blur the lines between “new” and “next.”
MC duties fell to ZEROBASEONE’s Zhang Hao and HANBIN, a beloved duo with playful chemistry and a clear sense of occasion. Their energy anchored the night, especially as it turned into something more personal for a handful of acts.
There was a strong sense of homecoming from the jump. ALLDAY PROJECT’s Bailey (from Placentia, OC), CRAVITY’s Allen (raised in LA), and MEOVV’s Ella (also LA-born) all made their US performance debuts on this very stage — a full-circle moment met with deafening cheers. You could feel it in the crowd: pride, recognition, and a touch of emotion.
ALLDAY PROJECT, the much-buzzed rookies from THEBLACKLABEL, exploded onto the stage with “Famous” and a fearless, flexible take on “WICKED.” Their energy was slick and sassy — a reminder that rookies today are debuting with main stage ambition. CRAVITY brought a different kind of energy, emerging in black fedoras that went flying into the air before launching into “SET NET G0?!” and “SWISH.” It was drama, impact, and showmanship in one slick move; the crowd ate it up.
MEOVV followed with a dazzling two-song set (“Hands Up” / “Drop Top”) that blended tight synchronisation with a soft, lovable charisma. Their ending fairy moment — hugs, smiles, and genuine affection — was like watching a friendship group go global.
<h3>Then, HWASA walked on and changed the mood entirely.<br />Hair slicked back, sunglasses on, she stepped over one of her dancers and planted a heeled boot on him like a throne; the crowd lost it. “NA” flowed into “MARIA” before a show-stopping MAMAMOO medley that held the audience in the palm of her hand. It was sultry, irreverent, and undeniable.</h3>
Kep1er kept the girl power energy riding high, kicking off their set with the glitchy hyperpop of “TIPI TAP” before pivoting into the metallic pulse of “YUM.” Pastel pink outfits added sugar to their bite, but they closed with a thundering techno-infused preview of their next release, “BUBBLE GUM”; strobe lights and hair-whipping choreo. It was chaos, in the best way.
RIIZE, who once played the pre-show stage just two years ago, hit the main lineup with the
confidence of seasoned headliners. “Bag Bad Back” had the crowd bouncing, while the leg-twisting choreo of “Boom Boom Bass” felt like a viral moment in the making. “Fly Up” closed the set on a cheery high — a clear sign that their underdog narrative has fully evolved into mainstay status.
Then, HWASA walked on and changed the mood entirely.
Hair slicked back, sunglasses on, she stepped over one of her dancers and planted a heeled boot on him like a throne; the crowd lost it. “NA” flowed into “MARIA” before a show-stopping MAMAMOO medley that held the audience in the palm of her hand. It was sultry, irreverent, and undeniable. She left the stage with the same effortless cool she arrived with — smile in place, shades back on.
ZEROBASEONE made their return with a set that traded in brightness for seduction. “SLAM DUNK” felt perfectly at home inside the arena’s legacy basketball venue, while “Devil Game” drenched the stage in red light and attitude. A standout moment came when Yujin’s solo dance break ended in a thrilling embrace with HANBIN — a rare beat of intimacy that echoed through the arena. “Kill The Romeo” kept the crowd on edge, dripping with bold, sultry choreo.
Then came a surprise: MEOVV returned to cover the iconic “Abracadabra” by Brown Eyed Girls — a seminal girl group hit known for its hypnotic house beat and instantly recognisable hip sway. A screen flashed reminders of its cultural legacy, but MEOVV didn’t need the context — they embodied it, owning the stage with precision and flair.
i-dle picked up the girl power baton and turned it into a weapon. Flanked by dancers in military jackets, they formed a V-shaped battle line for “Super Lady,” with Soyeon’s vocals slicing through the arena like a siren call. “Good Thing” followed — its crisp 2010s pop sheen sounded simply fantastic — and “Wife” sent the arena into a frenzy with its delightfully unhinged lyrics and chant-along energy.
Then rose KEY.
The SHINee legend, back with luminous red hair and all his usual star power, delivered a masterclass in stage command. “Good & Great” kept the atmosphere high, “CoolAs” delivered ripple effects across the stage (literally), and “GASOLINE” set fire to any doubts about his staying power; he’s the kind of artist who can make an arena feel like a private dancefloor.
Before the night closed, izna returned with a brief but picture-perfect cover of IZ*ONE’s “Fiesta” — another girl group homage, and one last nod to the show’s defining theme.
And finally, HxW — aka SEVENTEEN’s WOOZI and HOSHI — stepped up for a headline performance that felt like both a climax and a mission statement. With the highest album sales of 2025 so far under their belts, their appearance felt more like a coronation. “BRING IT” kicked off the set with hard-hitting choreography and crowd control that had everyone on their feet. “96ers (Band ver.)” and “ECHO” (from World of Street Woman Fighter, produced by WOOZI himself) showed off their range, while the quirky moves and rubbery dance beats of final track “STUPID IDIOT” ended the weekend on a euphoric, tongue-in-cheek high.
More than a lineup, KCON’s final night felt like a welcome — to first-timers, to fan-favourites returning with new fire. Day 3 sent a clear message about K-pop’s growth: the stakes are high, the stages are bigger, and K-pop’s charging forward at lightning speed.
