The 25 Best K-pop Songs of 2025
2025 was packed with comebacks, debuts, and unique little algorithm gems, so we’re spotlighting the songs we can’t stop replaying. From veteran groups pushing into new eras to rookies kicking the door in, these 25 tracks, in no particular order, trace just how wide K-pop stretched this year.
Yves – “Ex Machina”
“Ex Machina” feels like Yves writing her own myth, fusing acoustic textures with a soaring, almost hymn-like topline. The verses stay quiet and intricate, then the chorus rushes in with something that sounds both deeply human and slightly machine-coded. It lands as yet another bold statement from YVES, and a reminder of why she’s one of the most compelling soloists moving through K-pop right now.
TWS – “OVERDRIVE”
“OVERDRIVE” pushes TWS’s boyish pop into sharper territory, threading a rock-leaning guitar line through their usual bright energy. And by the time the chorus hits, it swerves into a full shout-along rush that feels like flooring the gas on an empty highway. It’s also a smart way of conceptually aging the group up without losing the youthful, hyper-melodic core that hooked people in the first place.
aespa – “Rich Man”
“Rich Man” doubles down on aespa’s steel-core sound, all futuristic noisy synths, sharp percussive hits, and a snappy, soft chorus. The lyrics call out and flip recurring gender roles while the performance leans into grit and attitude, with choreography that mirrors those clipped, almost mechanical accents. As the lead single of their sixth mini album, it morphs their cyber identity into something even more distinct—and genuinely fun.
tripleS – “Are You Alive”
“Are You Alive” pulls in tripleS’s full-member lineup with a kind of slow-burn urgency, built on pounding drums, airy synths, and a chorus that really sticks the landing. As that core question keeps echoing, the track leans into connection and what it means to wake up from numbness, all without tipping into melodrama. tripleS isn’t afraid to ask bigger questions in their music, and it’s part of what’s cementing them as one of the most compelling pop projects working right now.
LE SSERAFIM – “HOT”
The 2025 track “HOT” nudges LE SSERAFIM’s cool, razor-edged image into something looser and slightly more nostalgic than most of their singles so far. Distorted bass, chant-like hook fragments, and a feverish pre-chorus keep threatening to blow the song open, but the tempo stays locked in a low, swaying groove. It feels like another step in a discography that keeps shifting shape without losing the core LSF attitude we love.
Close Your Eyes – “Laid Back”
The CLOSE YOUR EYES B-side “Laid Back” lives up to its title, gliding on warm bass and soft percussion with a slightly hazy finish. Even the vocals feel folded into the arrangement instead of pushed out front, blending so cleanly into the mix that the whole track moves as one easy, unbroken groove. While we already know that they can bring high energy to their music, “Laid Back” feels like a calmer standout moment, built for late nights when you want something a little more low-key.
TREASURE – “PARADISE”
“PARADISE” catches TREASURE in a lighter, more relaxed mode, built on light funk touches, bright keys, and a rolling bass line that keeps the groove smooth rather than explosive. The chorus leans into an easy, singable melody that prioritizes warmth over sheer power, giving the members room to sit in softer tones. It’s a clear example of how effective they are when they pull the energy back a notch and focus on feel.
RESCENE – “Deja Vu”
RESCENE already has plenty of charismatic tracks to pull from (“Crash” and “In My Lotion” get honorable mentions), but “Deja Vu” might be their strongest yet, riding a dreamy mid-tempo groove with soft synth washes and a melody that keeps looping back on itself the way the title promises. The verses feel almost conversational in delivery, before the chorus shifts into a quiet rush that gets stronger on every listen.
CORTIS – “What You Want”
In their breakout debut era, CORTIS puts themselves on the map with “What You Want,” an infectiously loud, punk-tinged track built on a confident vocal and a beat that lands between HYBE-level shine and scrappy, self-made grit. That perfect push-and-pull between polish and rough edge sets up the chant-heavy hook, repeating its title until it swells into a full-on, genre-blurring anthem.
IRISe – “KIIRI”
“KIIRI” gives IRISÉ’s virtual member of the same name an even brighter spotlight, letting her move from breathy, intimate phrases into a confident, full-throttle chorus. Glistening synths and bright electronic touches keep the track light on its feet, then lift everything a step higher when the hook hits. Lyrically, it leans into waves, twilight, and long, quiet nights, balancing loneliness with the rush of feeling someone’s warmth return. With “KIIRI” and a few other standouts, IRISÉ already has a compact catalog that feels ready to slide into a lot more playlists.
KiiiKiii – “DANCING ALONE (‘90s Ver.)”
KiiiKiii’s “DANCING ALONE (’90s Ver.)” is a good stress test for how sturdy the original is, as one of several decade-themed remixes that still sound unmistakably like the same song. This cut shifts into slow-jam ’90s R&B mode, with shimmery keys, rounded drums, and more measured vocals that stretch the melody instead of pushing it forward. Released as part of the PARKMOONCHI Mix EP, it definitely stands out as the deepest stylistic detour and the one that most convincingly plays like a ’90s R&B track in its own right.
ifeye – “r u ok?”
“r u ok?” spins a flirty, slightly chaotic club track out of its title phrase, weaving in multilingual lyrics and a bouncing beat that never really lets up. More importantly, the song keeps masterfully shifting sections (rap, chant, soaring chorus) without losing its through-line. It’s fun, a little dizzying, and quietly sharp about how attraction can feel like a storm you invited in.
P1Harmony – “Pretty Boy”
“Pretty Boy” starts with a straightforward premise and turns it into a sly, addictive groove, all strutting beat and R&B-laced pre-choruses that slide into a punchy refrain. As the hook wraps itself around the “pretty boy” tag, the song reframes vanity as a question of identity and perception rather than a surface-level flex. It stays playful on the surface, but in the ad-libs you can hear a strong, confident reclaiming of the label.
ILLIT – “Billyeoon Goyangi (Do the Dance)”
ILLIT’s “Do the Dance” is pure sugar-rush Eurodance, carried by bright strings and a rhythm section that never loses momentum. The melody glitters, but it’s the spell-like repetition in the hook that makes the song burrow into your brain after a single listen. It’s theatrical, cute, and just unhinged enough to feel like a sparkly-pop spell being cast on the dance floor.
AHOF — “Rendezvous”
“Rendezvous,” the debut title track from AHOF’s Who We Are, puts them in a band-driven pop-rock frame, with guitars and drums giving the whole song a live edge. In the verses, things stay airy, the vocal line gliding over the arrangement as they sing about lingering feelings and the hope of a reunion. When the chorus hits, everything rises into a more powerful, emotive stretch that really drives home how strong they are as performers. It’s an early cut that already works as a clear calling card.
Heize – “Love Virus (Feat. I.M)”
“Love Virus (Feat. I.M)” sits in a moody pop lane with soft strings and a slow pulse that keeps the whole track feeling close and contained. Throughout the song, the structure keeps making room for Heize’s unmistakable voice to open up, from low, softly sung lines to higher phrases that catch a little more feeling. When I.M. finally comes in, the bass thickens, and the song settles into an even deeper groove. Together, they sketch out the kind of complicated love song that lingers, turning a simple setup into something you want to loop a few times just to stay with it.
PLAVE – “BBUU!”
“BBUU!” is pure, vibrant K-pop energy that utilizes compressed vocals, bouncy synth lines, and a colorful chorus that keeps things simple yet extremely effective. PLAVE’s virtual-boyband framing also works in their favor here, letting them lean into hyper-saturated pop sounds (and visuals) that perfectly align with their established style.
idntt – “BOYtude”
“BOYtude,” from MODHAUS’s new boy group idntt (which uses tripleS-style roster rotations), settles into a sound that drifts between hip-hop and R&B, giving the members room to play with tone, texture, and volume. It’s essentially the kind of sleeper track you enjoy on first listen and then realize a week later it’s also the one you keep replaying.
ENHYPEN – “Bad Desire (With or Without You)”
“Bad Desire” sticks with ENHYPEN’s dark-pop sound and pushes it in a sleeker direction, anchored by a tight dance-pop beat and moody synths that keep the tension up. The hook turns the title into something that lands as equal parts plea and warning, tapping back into their long-running focus on doomed romance while still feeling like a step forward from earlier singles. It’s a strong marker of where ENHYPEN are right now—and why this era hits so hard.
AtHeart – “Push Back”
“Push Back” runs on an Afrobeat- and amapiano-rooted groove, driven by syncopated percussion and a deep, rolling beat that keeps the song in steady motion. The focus stays on rhythm, with the members trading lines about the push and pull between excitement and hesitation as feelings start to build. As one of the key tracks on Plot Twist, it shows how comfortably AtHeart can sit inside a beat-heavy sound while still sounding clean and precise.
Dayoung – “Body”
“BODY” showcases Dayoung at her most kinetic, turning rapid-fire delivery and a tightly wired beat into something instantly physical and addictive. Verses tumble into an even more charged pre-chorus, then surge into a hook that locks in on first listen, each section flowing into the next with almost surgical pop precision. Lyrically and in performance, it’s pure command, sharpening her tone, timing, and stage persona into one of the clearest statements of who she is as a soloist.
&TEAM – “Back to Life”
&TEAM’s first Korean mini album opens on a wide, cinematic title track, but the arrangement keeps the vocals at the emotional center. Strings, big swells, and a hook made for arena sing-alongs each move in sync, turning “Back to Life” into a mission statement about seizing an opportunity for rebirth. That sense of cross-border ambition also runs through every creative choice, which makes its Oricon-topping run as a Korean-language debut feel like a natural next step.
Hearts2Hearts – “Style”
“Style” is an infectious uptempo dance track with a bright rhythm and groovy bass that keeps everything moving. Conceptually, it fixates on someone whose style always seems to stand out, picking up on small nuances that make them feel one of a kind. And by the time the hook comes back around, it’s easy to understand why the track has already become a quick favorite with listeners.
GOT7 – “PYTHON”
“PYTHON” coils around a minimalist trap beat, leaving plenty of negative space for the members to glide between rap and half-sung lines. The instrumental makes sure to stay cool and low-key, but small details—harp-like synth flickers, tiny bass shifts—keep it from ever going static. It’s an understated flex only a veteran group can manage, secure enough to let restraint and presence do most of the work.
SOOBIN (TOMORROW X TOGETHER) – “SUNDAY DRIVER”
TOMORROW X TOGETHER’s Soobin steps out alone on “Sunday Driver,” a relaxed pop solo cut on an album where the entire group is already firing on all cylinders. Bright guitar lines, rhythmic bass, and light drums complement his soft, steady vocal as he sings about picking someone up, singing along, and letting time move slower than usual. As the lyrics explore a drive that drifts off course but still feels perfect, the song turns that small detour into the point—treating simple togetherness as the real destination.
