SF9’s return to the stage after six years carried a weight that went far beyond nostalgia. In the years since, the group have faced enlistments, departures, and reshuffles that could have easily disrupted their chemistry – yet what unfolded at Indigo at The O2 wasn’t a group clinging to the past, but one reaffirming their staying power.

A cinematic visualiser sets the scene as siren-red lights flicker against a dystopian skyline, and the five silhouettes take their places. The show opens with the sleek R&B-pop of “LOVE RACE,” a stylish warm-up that rolls straight into “RPM” and its chest-thumping bass. It’s confident, controlled – the kind of live precision that reminds you SF9 has always been a performance-driven act.

But it’s “Now or Never” that changes the temperature. A burning skyline stretches across the screen, but the track itself has been reimagined – the synths swapped for a haunting piano intro, adding an almost cinematic gravity. HWIYOUNG opens with cool restraint before JAEYOON and INSEONG trade verses, each adding their own character to the new arrangement. When CHANI steps forward and sweeps the floor for the first chorus, the atmosphere shifts; the stage feels charged. Even with key members missing – TAEYANG sidelined by illness, DAWON enlisted, ROWOON long departed – the redistribution of lines feels natural. The adaptability is striking; they reshape familiar material with new energy rather than letting the gaps show.

The first ment offers a breather and a glimpse into their personalities. CHANI keeps things light, eager for the crowd to “have fun,” while JAEYOON’s energy lifts the room instantly. INSEONG, with his trademark humour, jokes in a mock British accent – “Welcome to my hometown,” he says, half-joking given his London study days. The mood is warm, almost intimate. JAEYOON explains that the concept of the tour is simple: “to enjoy the concert together and create love energy.” And that energy, even this early on, feels genuine – they’re clearly thrilled to be back in front of a London crowd.

Momentum rises again with “Tear Drop,” one of their most iconic tracks. The elegant water-drop choreography remains as hypnotic as ever, executed with the kind of precision only a veteran group could pull off. “TRAUMA” follows – darker, funkier, and one of the most criminally underrated title tracks in their catalogue. Under sultry red lighting, HWIYOUNG’s vocals take over TAEYANG’s usual parts, adding a rougher edge, while INSEONG covers DAWON’s section with effortless control, even throwing in a growl and extended vocal run. It’s a strong reminder that minor shifts in vocal distribution can dramatically alter the song’s texture.

Fan-favourite B-sides “Cruel Love” and “WARURU” follow, before the first act crescendos with “BIBORA” – a high-energy orchestral dance number that feels like a statement piece. The red-and-black aesthetic of their outfits during this segment mirrors the tour’s branding, closing out the opening act on a bold note.

Then comes the solo segment – four performances that highlight individuality as much as charisma. YOUNGBIN kicks things off with an upbeat punk-pop take on ph-1’s “Nerdy Love,” blending cheeky choreography with preppy flair. INSEONG, in washed-out jeans, a biker chain and a Guns N’ Roses tee, turns ROSÉ’s “On The Ground” into a grittier, amped-up moment. JAEYOON calms the room with a stripped, precise cover of Billie Eilish’s “Birds of a Feather,” his control and phrasing on full display. HWIYOUNG closes the segment with sombr’s “back to friends,” leather and slicked-back hair transforming him into a tangible “baby rockstar,” as YOUNGBIN later jokes – a presence that commands by vibe as much as technique.

When the group return dressed in white, the tone shifts again. There’s laughter – INSEONG teasing CHANI for “acting for seventy years,” JAEYOON giving YOUNGBIN a piggyback – and the camaraderie feels real, not rehearsed. The next segment, as JAEYOON puts it, takes on a “different mood.” “Just On My Way” from Knights Of The Sun and “Round and Round” from RPM showcase their clean synchronisation and understated stage chemistry; a highlight comes in the second half of the “Round & Round” chorus where they form a clock-like line, the choreography perfectly calibrated. “Enough” follows with its dynamic choreography and powerhouse breakdown, the dance breakdown showing they’re willing to give everything in the room.

The night builds toward the inevitable climax: “Good Guy.” Arguably their defining hit, its bright house chords and polished energy hit as hard as they did in 2020. YOUNGBIN says afterwards about wanting to do justice to this song, and they do.

Then comes a surprise: “Love No.5,” one of their strongest but lesser-known B-sides. “London, make some noise!” INSEONG shouts before the drop, and the group erupts into tightly wound choreography that feels almost cathartic. The control of JAEYOON and INSEONG’s vocals stands out – effortless slides from smooth midrange to soaring belts, all while maintaining live stability that few groups can replicate.

“O Sole Mio” closes the main set, performed in a slightly reimagined arrangement. The flamenco guitar undercurrent is still there, but softened – more cinematic than showy. As the final chorus fades, the five remain standing still under dim orange lighting, piano notes trailing into silence as a sunset fills the screen behind them. They walk slowly toward it, the moment drenched in suspense. A final message flashes: “As love dawns, we’ll light up the night again.” It’s dramatic, but it works – a fitting punctuation for a show built around endurance and rebirth.

The encore stretch begins with “Mamma Mia” – a fan-favourite that’s so contagious it earns an impromptu second round – before closing on “My Fantasia.” As lyrics like, “Hey, my fantasia, I sing for you” close out the song, it feels less like a finale and more like a reunion six years in the making.

There’s no denying that TAEYANG’s absence was felt. He’s not just their strongest dancer, but one of the most expressive performers in K-pop – a stylistic equal to TAEMIN in how movement becomes emotion. Still, the remaining lineup handled the void with grace and balance. Setlist omissions like “Puzzle” and “Summer Breeze” were noticeable, but the show’s blend of older B-sides and modern hits still managed to trace the arc of who SF9 were and who they’ve become.

When INSEONG jokes about returning to London even when they’re ninety, it doesn’t feel like empty talk. There’s an unmistakable sincerity in their tone – the kind that makes you believe it’s a promise, not a punchline. Nearly ten years into their career, SF9’s message is clear: evolution, not endurance, is what keeps a group alive.