Hearts2Hearts made a comeback with their second mini album, Lemon Tang, showcasing a unique choreography structure exclusive to an eight-member even-numbered group.

Typically, K-pop groups consist of an odd number of members, allowing for center-focused symmetrical choreography. However, Hearts2Hearts introduced various choreography strategies to overcome the limitations of an even-numbered group. They actively use the ″heart formation″ as their signature choreography, inspired by the ″s2″ in their group name, which resembles a heart shape. In STYLE, released in 2025, they completed a heart shape in the ending, and the heart formation was also featured in the introduction of their first mini album title track, FOCUS. In Lemon Tang, they created the heart formation three times by changing the members’ positions.

Additionally, Hearts2Hearts compensated for the limitations of an even-numbered group through a ″3-5″ split formation. By dividing the members into groups of three and five on stage, they maintained a center-focused structure and prevented distraction of attention. For example, in the second verse of STYLE, during the transition to the pre-chorus, five members—Jueun, Ian, Yeon, Carmen, and Jiwoo—performed first, followed by a switch to a three-member formation with Aina, Yuha, and Stella. In the introduction of FOCUS, Yuha, Ian, and Jiwoo appeared at the front first, followed by Aina, Yeon, Carmen, Jueun, and Stella entering from behind.

In Lemon Tang, the choreography mainly featured a ″two-person center.″ From the beginning of the song, members appeared walking out in pairs, and in the post-chorus, Aina and Ian led in the first verse, while Jueun and Jiwoo stood side by side at the front in the second verse. After the chorus, during Yeon’s part shouting ″Like lemon tang,″ a seven-member formation with Yeon at the center was completed, while the remaining member, Carmen, posed seated. This arrangement allowed all members to be on stage while creating an odd-numbered formation.

Hearts2Hearts enhanced the completeness of their performance by overcoming the choreography limitations of a large even-numbered group through various formations and movements.