Started disappointed, ended delighted. A treasure hunt for melodies missing in “hits” led to the best KPOP songs of 2025 in rookie and nugu-land.
Writing a list of your favorite songs released in a year sounds fun and simple. But what happens if you just don’t like much of what came out?
Do you write negative but honest thoughts about what disappointed you? Try to dig deeper for the little nuggets you enjoyed at least a bit? Confront the realization that maybe this genre might not be right for you anymore?
I wrote multiple drafts with varying degrees of criticism and appreciation, but eventually, it didn’t sit right with me to post thousands of words about what I hated. Not necessarily because I want to hype all artists even when they release mediocre work, but I kept coming back to the question: What purpose would it serve?
As KPOP has exploded in popularity in recent years, several groups are moving toward a lighter, generic, “easy listening” sound. Even groups considered “legendary” earlier are now abandoning the signature artistry that put them on the top.
It’s like the real estate industry, where houses are stripped of unique styles as simple colors and minimal decor are more likely to appeal to the widest pool of buyers.
However, instead of endlessly delving into how songs have stopped feeling like something that deeply touch and “ascend” you, I decided to go and find ones that do. It meant looking beyond the popular acts and my favorites (accepting they might not continue to occupy that position anymore) to explore new artists that make KPOP feel exciting again.
Here’s the best of what I found.
Before we begin:
- This is based on releases by boy groups and male soloists because that’s what I primarily listen to and have the most context of to evaluate fairly.
- Material coming out of movies/tv shows related to KPOP is not considered, so KPop Demon Hunters and OSTs are excluded.
- This doesn’t take into account factors like how “hit” a song is or how well-known the artist is.
Best KPOP Songs Of 2025
Go in Blind – &Team
&Team keeps dethroning my favourite songs and Go in Blind smashed me out of the beige-pop rut.
Technically, this is not a classic KPOP group – it’s a Japanese group releasing and performing Korean versions of their songs. What role it plays in building their consistently fantastic discography, I don’t know enough about either culture to say.
But Go in Blind is the apt example of what drew me to KPOP. The cinematic MVs, theatrical production, anthemic choruses, soaring melodies, addictive bridges, extravagant outfits, mesmerizing choreographies, grand dance breaks. A spectacle.
I’m still not (and am unlikely to ever be) over Yuma’s part at the end. The melody, the vocals, the choreography, the styling, the performance – it all has me in a chokehold.
But it’s not just that one bit. This is one of those rare songs where every line is genuinely enjoyable, not just the chorus or hook. &Team have a history of doing this with fan favorites like Under The Skin (easily one of the best debuts) and Firework.
Even their songs which have a lower scale, like Deer Hunter, have an iconic concept, costumes, and choreography.
All this to say: It’s not surprising that my favorite song of the year came from the group known for slaying every aspect of the KPOP concept in addition to releasing just damn good music.
Back to Life – &Team
&Team finally saved me from the misery of trying to explain how they’re not actually a KPOP group but perform as one by finally making their Korean debut. Part of me was worried they’d go down the beige-pop route to appeal to a bigger audience, but the teaser with horror scenes had me sighing in relief, glad they retained their darker, angstier, grandiose signature sound.
At first listen, I didn’t enjoy this as much as Go in Blind (which instantly became one of my fav KPOP songs and performances of all time!), but that’s just because of how high they’ve set the bar. Now, if they aren’t outdoing themselves, even decent projects seem lacking.
Back to Life gets a little repetitive with the same prechorus-chorus combo repeated thrice and it would’ve benefited greatly with a bridge and an elevated chorus at the end, or at least some instrumental variation, but it’s still enjoyable overall, especially with the cinematic MV and conceptual choreography.
The Venom-esque “darkness taking over” scene was definitely one of the best MV moments of the year.
The thoughtful choreography incorporates a lot of lyrical references with beating hearts, pulse points, scars on the skin, and so on. The more closely you watch with subtitles on, the more interesting bits you might find.
The group has consistently shown interesting formations, so it’s fascinating to see the creative choices used to make the group a part of the choreography and bring the lyrics to life (pun intended).
What makes it better is that the group is packed with both technically proficient dancers and captivating performers, which helps elevate songs that would otherwise be mid.
Rendezvous – AHOF
Amidst the wave of one-word choruses and talking and chanting replacing singing, I was desperate for melodies and vocal runs until this rookie group served like 10 of them in their debut song.
Every line here—seriously, each one—is sung beautifully with various melodies and layered vocals and harmonies. If that wasn’t enough, we also get an interlude, a bridge, a dance break, and an outro. All these components, in addition to the enchanting verses and surging choruses, make the song feel like a grand experience, with some parts even resembling a K-Drama soundtrack.
The best part is that even with so many distinct sections, the song feels cohesive and flows smoothly. The rap parts are seamlessly woven in, never feeling shoehorned in just to give the group’s assigned rappers obligatory lines.
It’s commendable that a debut song by a rookie group, not from a “big 4” company, has brought back so many impactful elements that seem lost in the recent releases by more established artists with far greater resources.
Pinocchio – AHOF
A thoughtfully crafted debut is no guarantee that subsequent releases will show the same care and quality, but AHOF is back at it with ethereal melodies, soaring choruses, and a bridge that I couldn’t stop replaying for days.
Their vocals are remarkable, not just in the studio, where they can hide flaws behind good production, but also during encores, where there’s absolutely no backtrack.
The choreography is easily one of the best this year, incorporating various Pinocchio-themed gestures along with formations and transitions that show beautiful musicality.
The glitching-popping step in the final verse is what initially caught my attention in a fan-made compilation and had me look up the song.
My only gripe with both of AHOF’s releases is the mediocre styling. I’m bored of the jerseys, homewear t-shirts, hoodies, khaki pants, and uniforms that most rookies and even some veteran acts keep using. But with nearly everyone opting for them, I wonder if there’s a cultural aspect I’m missing. Either way, I hope we get to see more creative styling choices like some of the other songs on this list.
I’mma Be – XLOV
First, we had co-ed groups bending the norms of KPOP, and now there’s XLOV absolutely shattering them with the industry’s first official “genderless” concept.
The best part is that the music doesn’t seem like an afterthought thrown together in haste just to bring forth the concept.
Right from the debut, XLOV seems to have found their strengths in a sultry, siren-like sound with absolutely fascinating choreography. Being just a 4-member group, everyone gets more time to shine compared to the larger groups, but more importantly, it’s how well they’re utilised.
Every member has a unique vocal color, Rui—known for dancing—has a solo highlight section, and leader Wumuti, who conceptualized the group, is involved in writing the song with the lyrics reflecting their concept:
“See my body moving like this
I’m riding on the wall of prejudice”
“…free the beauty that will unfold on the stage
Yeah, paint the color you need”
Even if this kind of concept and music is not to your taste, it’s commendable how the group is setting new benchmarks for what’s possible in KPOP.
1&Only – XLOV
Similar to AHOF, XLOV doesn’t seem to be a one-hit wonder. 1&Only is the song that brought them the most fans (including me!), and it’s not difficult to see why.
The heavenly vocals, iconic choreography, and unique styling combined with an addictive song is the perfect example of what makes KPOP so captivating.
Like their debut song, 1&Only excels at highlighting both their gorgeous vocal colors and mesmerizing choreography, which features back-to-back wow moments rather than just memorable moves in the chorus.
The androgynous elements feel like a natural part of the song but the music is so good that you can enjoy it by itself if you’re not too keen about the gender aspect.
Electric Heart – 8Turn
Why settle for either a gorgeous melody or thundering production when songs like Electric Heart give you both?
The song is the musical equivalent of a roller coaster. It starts slow with softer melodies and builds up to an exploding chorus that combines both surging vocals and booming EDM-style production in a way that feels massive without being messy.
It doesn’t turn into a hype party track or “noise music” as some call it, because instead of staying at full blast, the song pulls back to deliver emotionally charged verses that simmer with tension (especially Myungho’s lines that I simply can’t stop replaying!) and eventually launch into a soaring bridge that’s easily one of the best I’ve heard this year (also by Myungho!).
Bonus: With all the different types of backtracks and even the fake breathing pre-recorded vocals tracks used nowadays, it’s difficult to say for sure but the group seems to sing live.
Beautiful Strangers – TXT
TXT has consistently prioritized melody, cinematic MVs, and conceptual performances, releasing some of the most memorable (and my fav!) songs over the years. Their earlier song Love Language felt like a miss in this regard, paling in comparison to their majestic projects in the past. Fortunately, they brought back some of those elements with Beautiful Strangers.
The song immediately starts with a pleasant melody, hooking you in from the first word. The one-word dubstep post-chorus reminds me of Taemin’s Sayonara Hitori, where the heavenly build-up breaks out in an instrumental chorus that some fans found jarring.
The shift doesn’t seem so harsh in Beautiful Strangers. Like Electric Heart, the softer melodic focus prevents the song from spiraling into party-bop territory and instead maintains its emotional core.
It isn’t my favorite TXT song considering the wide range of genres and concepts they’ve shown in just five or so years of their debut: rock (LO$ER=LO♡ER), horror (Devil by the Window, Frost), contemporary (Opening Sequence), magic (Run Away), cute/bright (Crown), sensual (Sugar Rush Ride), wild (Puma), and so on. But it’s still one of the best comebacks among the major artists this year.
Bad Desire – Enhypen
Enhypen is a major contributor to my favorite KPOP songs of all time and the group consistently shows up in my most-played (even this year!). I’ve loved everything they’ve released except the occasional bright songs like XO, but even then they redeem themselves by delivering killer B-sides like Brought the Heat Back.
All this to say: It’s surprising when their comebacks don’t top my list.
Bad Desire lands in a similar space as TXT’s Beautiful Strangers: not a career highlight, but definitely a step up from their previous release.
Their different vocal colors stand out in this song and they seem to be singing live now, which adds variety across stages, but I wish the choreography matched the grander sound. The group has several good dancers who seem underutilised, especially when their theatrical songs create room for spectacular performances.
It’s still a good song with an elevating melodic chorus and I’m glad they’ve retained their signature dark, fantasy-esque sound that sets them apart from the influx of groups leaning toward bubbly, youthful concepts.
Breathe – Xikers
This song is the most different from everything on this list and quite contrary to what I keep praising the other entries for. Breathe has a one-word chanting chorus with no semblance of melody. It’s antithetical to the very concept of this list that’s trying to find songs that avoid this format and prioritize melodic peaks.
Yet, after much back and forth, I decided to include it because, among the emotional and darker songs, you do need a banger and Breathe is an absolute blast. It “goes hard” from start to finish and the performance video makes everything seem much grander and wins you over if you’re initially on the fence.
The choreography elevates the song and the dancers add a lot of drama to the performance, creating a spectacle worth watching even if you aren’t fully sold on the song.
What sets it apart from other typical hype tracks are the fun bits like:
- The delivery of the “놀란 거야 혹시” (Are you surprised?”) line right before the chorus
- The gasping sounds incorporated throughout the song, even during the dance break and outro
If we must have shouty choruses and blaring production, this is the way to do it right!
Best KPOP Solo And B-Side Songs Of 2025
Occasionally, there are solos and B-sides that outshine the group and title tracks but they’re rare. This might be changing now, as some groups opt for beige-pop for the main song to appeal to the masses while the darker, experimental, and artistic songs are turned into B-sides or solo/sub-unit projects.
Whether part of this phenomenon, a passion project born out of a member’s creative vision, or just a quality release worth checking out, here are the best KPOP solos and B-sides of 2025.
Lucky to be loved – TWS
Lucky to be loved almost didn’t make it into the list, not because it’s not good enough, but I discovered it when I had almost finished writing this.
I know nothing about the group (except that they had a viral debut last year), but saw a clip of this performance in a fan-made song compilation and noticed people were moving like liquid!
Being performance-oriented, I went into it for the choreography with zero expectations of actually liking the song, as their bright, cheerful style is not what I typically enjoy.
But amidst the wow moments in the performance, I was also hooked by the tension and build-up in the melody. The song kept playing in my head for days even after I listened to a bunch of other groups, and the addictive verses are turning this into the song I’ve replayed the most despite discovering it last.
Nowadays, when melodies are absent even in the most “hit” title tracks, to find such a captivating composition—and choreography—in a B-side by a rookie group is an unexpected yet wonderful gift to end the year with.
Close To Me – 8Turn
Similar to TWS’ Lucky to be loved, I discovered this at the last moment when a clip of the performance made me pause, repeatedly replay, and run to grab something to note down the title.
To understand how good the song is, you have to know that there’s no MV or choreography — just a bunch of men standing with a mic. As someone who got into KPOP for the performance spectacle, this is farthest from being my thing, but the song is so beautifully composed and sung, it made me “ascend.”
It’s a nearly 4-minute song with a well-developed structure. It builds and lands.
It’s proof that music can still feel like something instead of being “easy listening” background noise and that both melodies and bridges are still alive and well in the reign of beige pop, if you know where to look!
It’s a reminder that if you’re not a fan of candy pop, rookies and “nugus” are serving full-course meals.
Sagittarius – Wooyoung (ATEEZ)
I previously wrote about how ATEEZ leader Hongjoong—who has a Scorpio sun sign according to astrology—made a Scorpio-themed solo song Why Do You Love, so it’s interesting to see him now work on “Sagittarius” for fellow group member Wooyoung, who is a Sagittarius!
It doesn’t seem to be a coincidence, as the lyrics include several common Sagittarius associations with lines like “I aim my arrow” and multiple references to traveling, fire, and the cosmos. Or maybe it is a coincidence and I’m reading too much into it. But either way, it’s a… fire song! (Pun definitely intended)
Wooyoung doesn’t have a lot of parts in ATEEZ songs and the group is absolutely packed with monster performers, so at times he seems to be overshadowed by the more bombastic dancers, aptly called the “Demon Line.” This solo was a good opportunity for him to get the spotlight and show off both his vocals and performance.
Even if you don’t care about all this, it’s a good song with memorable melodies. None of the lines seems like a filler — the composition for each feels thoughtfully crafted, making you want to keep listening on repeat.
Performance-oriented fans will also have something to enjoy here, as the choreography is buttery smooth and the way they capture the flow of the melody and the little musical details is quite satisfying to watch. I’ve lost track of just how much I replayed the dance video by the choreographers BBT, who work on most ATEEZ songs.
Stunner – Ten
I wasn’t thrilled when I first listened to this because Ten has set the bar unfathomably high with his previous solos: Birthday and Nightwalker, which immediately went on my list of the best KPOP songs and performances of all time.
Stunner felt quite mellow compared to his conceptually rich, performance-oriented projects.
But if you set the comparisons aside and look at this as a standalone song, it’s easily one of the best solos of 2025. While Ten’s earlier projects were intense, Stunner leans more toward being pleasant to listen to.
The vocals are dreamy and the choreography is soft but it isn’t bubblegum pop.
Like Birthday, there’s sensual tension throughout and the song feels well developed with soaring melodies, a climactic bridge, an elevated final chorus, and an outro.
Ten being a good vocalist and one of the best dancers in the industry means anything he touches is a pleasure to watch. At times, it feels like Stunner works well because Ten sells it and it might not have had the same impact without his involvement.
This is much better than a mainstream sound that has no touch of your artistry and feels like it could’ve been anyone’s song that you just happened to sing.
Bambola – Ten
Sometimes, “fun” is forgotten in the quest for complex choreography, sky-high notes, and the pressure to outdo everyone in a saturated industry. But we also have songs on the other end of the spectrum: too silly and shallow without a solid core anchoring them.
Bambola seems to find the right balance. It’s like a goofier version of Nightwalker, retaining the darkness and intensity of the “I’m a madman controlling people” concept but making it fun.
The song doesn’t feel ridiculous and “weird for the sake of standing out” as the playful touches are added on top of instead of replacing Ten’s signature artistry that you can easily spot if you’re familiar with his past work.
There’s a constant undercurrent of the Nightwalker vision with:
Similar lyrics:
Nightwalker: “No way to fight it”
Bambola: “Why would you bother fighting with?”
Nightwalker: “Pullin’ the strings…Playin’ my heart…”
Bambola: “Wrapped ’round my finger…controlling your mind, playing you like a doll…love it when you’re under my control”
Similar styling:
Bambola is Nightwalker with a wink!
I understand why Stunner might be chosen for the title track — not everyone enjoys this type of darker, maniacal material and there’s likely a bigger domestic market for lighter, brighter, pop-feeling releases. Yet, Ten’s ability to pull off concepts like Nightwalker and Bambola gives him a distinct artistry among today’s soloists and the safer “boyfriend” songs feel like a waste of his tremendous performance potential.
Final Thoughts
I began this feeling disheartened as none of my most anticipated releases were hitting the spot. “Music” seemed to have disappeared and all I kept coming across was a flood of blandness, so when I looked back at the end of the year, all I saw was a blur of grey.
But I’m grateful for this experience as it led me down the rabbit hole to dig for gems and discover new favorites. Mainly, it changed my relationship with KPOP. It taught me that there will always be stuff you dislike, even from the artists you most deeply admire.
When this happens—it will happen—instead of criticising and feeling like the “peak of KPOP is over,” it’s better to use that energy to broaden your horizons and find what makes your soul sing, dance, and ascend.
The genre is vast and ever-expanding, so there’s always something for everyone if you’re willing to look deeper and farther sometimes. You might find the magic never left, it’s just being performed elsewhere!
2025 seems to be a year of rookies and “nugus” bringing out the most impactful releases—songs that sweep you off your feet and take you to euphoric highs, not just pass you by as background humdrum. It’s good news because the promising artists are just getting started.
Disclaimer: This article is intended solely for entertainment and analysis purposes. Opinions expressed are personal perspectives offered in good faith to encourage cultural discussion. No malicious intent or disrespect toward the artists is intended.
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