As much as I want to insist that 2025 was a fantastic year for K-pop, I think that we can all agree that it was pretty dull and repetitive–or inconsistent, at least. I fully expected it to be terribly difficult for me to make this list–if I curated such a list in 2024, it would have been tough to do so.
With such powerful debuts in 2024, such as ILLIT’s “Magnetic”, or even disbandment songs with NewJeans’ “Supernatural”, it is tough to beat these two. This year has not been phenomenal for K-pop, and I think it is okay to admit that. But that is not to say that there have not been some phenomenal songs released this year, even if they have been far and few in between.
- “Reality Hurts” by NMIXX
I am disappointed to admit that I was never a big fan of NMIXX until the release of their most recent full album, “Blue Valentine.” When I first indulged in the group when they debuted in 2022, I tuned in to tracks such as “TANK” or “Dash”. I would not say that I was particularly moved. While the six-member girl group offered something innovative and daring, I couldn’t quite hop on the hype train until I heard “Reality Hurts” for the first time while scrolling through my Discovery Weekly playlist on Spotify.
“Reality Hurts” stood out to me with its emotional depth and unique sound, showcasing NMIXX’s growth as artists. “Reality Hurts” highlights a more futuristic vibe that many K-pop groups have struggled to encapsulate in recent years – while some have dared to try, NMIXX has perfected it. I have never heard a girl group take advantage of such an obscure genre. These talented girls grasped the bold, EDM, and Jersey club-inspired beats with unconventional vocals and rap in a way I had not heard before. In a way, it is like they are creating their own genre.
The track’s poignant lyrics and captivating melody resonated deeply, making it a standout in their discography. It’s a reminder that even in a less remarkable year for K-pop, hidden gems like this can shine brightly.
2. “The Chase” by Hearts2Hearts
In my many years of listening to K-pop, I have failed to hear such a strong debut until Girls’ Generation’s little sisters popped onto the scene with “The Chase” on Feb. 24, 2025. Admittedly, I had been anticipating Hearts2Heart’s debut since their entertainment company, SM Entertainment, teased their first public appearance in November 2024, as I simply adored their group name. Although I am not very knowledgeable about the girls themselves, I know for a fact that these girls have a bright future ahead of them.
Composition-wise, the song is laid-back and cutesy–it is mysterious and soft, leading the listener into a fanciful and celestial world. Accompanied by a powerful, yet gentle, unique bass synth-centered sound characterizing the mood change within the song. “The Chase” moves listeners who appreciate splendid harmonies and do not require something monumental. Not every song in K-pop has to be life-changing–there is nothing wrong with a cute, simple song that offers divinity in a few simple choruses and rap verses.
3. “TILT” by Irene & Seulgi
Wow. Just wow. I had always been aware that Irene and Seulgi were capable of spitting out infectious tracks that have you listening for hours on end, as they proved that with the release of their first mini-album “Monster” in 2020–but “TILT” exceeded my expectations.
“TILT” is addictive, to say the least–it unfolds in a remarkable harmony, accompanied by a restrained R&B groove. “TILT” explores and unfolds dark concepts–the duo explores themes such as the pain that comes with emotional insecurity, pain and loss. The track is a confession of sorts, offering listeners a brief glimpse into an emotionally raw, authentic experience. The electronic beats support the song, elevating it to become my #1 song on this mini-album.
It is unfair that the vast majority of K-pop fans were hyper-focused on the boldness of the concept photos, even though some of the images were deemed quite vulgar by netizens. Why not focus on the music instead?
4. “Stunner” by TEN
It confuses me how “Stunner” was not nominated for Song of the Year for the MAMA Awards–while I have my own thoughts about that, I must hold off to admire Ten’s ability to turn a track that seems so plain lyrically into something marvelous with the assistance of the talent he has accumulated throughout his years in the music industry.
It was hard to choose a song from all the songs on Ten’s second mini-album, “Stunner,” to choose as one of my top songs of the year. I typically prefer B-sides from K-pop albums, but “Stunner” really took it home.
I revere Ten’s ability to turn a track into something nifty and whimsical-the R&B rhythms traveled through my eardrums, filling my brain with delight. Even with an odd instrumental, Ten managed to make it work. His ability to infuse every note with creativity and charm is genuinely remarkable.
The way he transforms unconventional sounds into captivating, enjoyable music showcases his unique talent. Ten’s music not only entertains but also leaves a lasting impression, making each track a delightful experience.
5. “White cat” by Yves
It would be a crime not to have Yves on this list. I have been obsessed with her solo works ever since she debuted as the eighth member of LOONA. However, Yves has really shone as a true solo artist outside the group, with the assistance of fantastic producers, creative designers and devoted makeup artists.
I love a cute cat metaphor. Is it actually adorable in this context? Not really, but the lyrics astonished me and saddened me at the same time. In the vast majority of Yves’ works, it is pretty evident that she has been struggling with coming to terms with where she is–whether it be musically or emotionally, it is hard to tell. Despite this, I cannot wait to see how Yves evolves with the continuation of her tracks.
Maybe she will discover her true self, or maybe unexpected turns will twist her path. Whatever happens, I will be right there beside her.
6. “Kiss a kitty” by Chuu
Chuu is one of those artists you cannot get tired of. It is simply inconceivable–despicable, even, to imply that one would mean that anything that Chuu releases would be mediocre. We had already determined that Chuu was a marvelous soloist with her solo debut, “Heart Attack,” in LOONA, but “Kiss a kitty” really solidified her talent.
“Kiss a kitty” is one of those songs that makes you want to turn your volume to 100%. Through a cute, bubbly intro that swiftly leaps into a spirited, joyful guitar and retro bass sound, you cannot help but feel overwhelmed-that is how I felt the very first time I listened to the track. Chuu has that habit of lightening up listeners with just her voice-her sweet, unique voice enhanced the divine atmosphere of the song.
7. “Wait On Me” by Kai
I had been itching, aching for Kai’s return to the music scene over the past two years. I remember counting down the days of he would depart from his government-mandated military service–and I am so pleased I was not disappointed. The industry has been struggling without Kai to carry it.
While many had controversial things to say about the first song promoted after his release, “Adult Swim”, he won back the public’s hearts with the song’s sister track, “Wait On Me”.
Since Tomorrow x Together released their track “Tinnitus (Wanna be a rock),” I never thought the K-pop scene would again receive such a beautifully composed work. I compare the two because they are both songs inspired by Afrobeats, featuring restrained percussion-driven grooves and a synth string that builds tension.
The track’s smooth, layered production and Kai’s emotions create a captivating atmosphere that draws listeners in. Its intricate blend of rhythm and melody showcases his versatility as an artist, proving once again why he remains a standout figure in the K-pop industry.
8. “SWICY” by UNIS
“SWICY” is a song I have been yearning to hear for a long time. I feel as though I have listened to this song multiple times–a different version of it, of course, being poorly executed by other groups. Nugu groups in K-pop that have failed to implement it as well as UNIS have. In fact, their entire debut was a breath of fresh air, with some calling it “the rebirth of Christian Horse Girl K-pop.” Have no clue what I am talking about? Google is your best friend–in fact, you will probably find some of the best tracks ever created through that simple search. These girls have a true talent for reaching out to fans with open arms through their cute, preppy music.
Despite social media dragging some members as “untalented,” this bubbly EP undoubtedly showcased the girls’ expertise. With thin and wispy vocals, a fun, catchy chorus and a unique title, it is clear that UNIS has the potential to dominate the music scene in a way that we, as K-pop fans, have been dying to hear since the legendary era of generation two of K-pop.
9. “Baby, Not Baby” by Seulgi
Would this list even be valid without Seulgi? For three years, K-pop fans on several social media platforms have been begging–no, demanding-for Seulgi to make a return to the K-pop scene as a soloist. Of course, we have been treated to tracks this year by Seulgi, such as “TILT” by the Red Velvet duo Irene & Seulgi, but Seulgi is one of those artists who exhibit pure superiority and skill in her solo tracks.
“Baby, Not Baby” is much different than “28 Reasons”, Seulgi’s solo debut song, but not unwelcome by any means. Through “Baby, Not Baby”, Seulgi portrays a woman oozing with confidence, aided by harmonious and rock elements that come together to make a nifty, fashionable song. The song showcases Seulgi’s versatility as an artist, blending her powerful vocals with an edgy, modern sound.
With “Baby, Not Baby,” Seulgi solidifies her position as a soloist capable of delivering both depth and charisma in her music.
10. “Righteous” by Mark Lee
It is astounding to me that it took SM Entertainment so long to present one of their best artists as a soloist–but then again, it is not like SM Entertainment has ever had any luck presenting their artists to the public in a consistent manner. It is hard for me to consider “The Firstfruit” as Mark’s first album, as in my mind, he debuted with “Golden Hour” in 2023, when I learned that Mark had real potential to become a soloist outside his NCT groups.
“Righteous” brings that hard, intense, bold track that fans have been dying to hear from Mark–and we were not disappointed. With an insane, yet so unabashedly insane, funky instrumental that is so reminiscent of “MAD DOG” by NCT 127, it jumps from ear to ear. You cannot help but feel compelled to stream “Righteous” a million times.
Mark has been holding back, waiting to present himself explosively through this debut album. I can feel the energy radiating through his voice-it makes me anxious, anticipating what he will deliver to us next.
