There must be something in the water in South Korea, because K-pop is hitting it out of the park in 2024. Whether it’s a viral hit that launched a brand-new girl group to superstardom or a critically acclaimed album from one of the industry’s most creative minds, we’ve been spoiled for choice every which way we turn.
To anyone paying close attention, though, it’d be no surprise that the ladies are on their way for yet another year in the driver’s seat. From the instant classic IU ballad ‘Love Wins All’, to a sublime J-rock-inspired hit from up-and-coming band QWER, to NMIXX finally finding their sweet spot on ‘Dash’, their dominance over the genre has been undeniable.
Things might still change in the months to come – RIIZE and SEVENTEEN show that boybands can keep up with the girls – but right now, the likes of aespa, Chung Ha and tripleS continue to rule our hearts and souls. Join NME as we celebrate the 15 best K-pop songs 2024 has had to offer so far.
Puah Ziwei, Associate Commissioning Editor (Music)
aespa
‘Supernova’
aespa have consistently proven themselves as a musician powerhouse since their debut. It is said that the brighter the star, the faster it burns out. But with as much undeniable star power as this quartet possess, it is through the death of a star that they shine even brighter.
The aptly named ‘Supernova’ is exactly what it is: a vivid explosion of gritty syncopated beats, alien-sounding synths and an annoyingly addictive topline that cleverly harmonises with a bass that never lets up – all of which collides to a brilliant spectacle that’s got the whole world humming “ah-oh-ay!” since its release.
Mika Chen
ARTMS
‘The Hitchhiker’s Guide to the Galaxy’
ARTMS seem intent on keeping the legacy of their original girl group LOONA alive. Out of the tracks on their debut album ‘Dall’, it is most apparent on ‘The Hitchhiker’s Guide to the Galaxy’, working both as a tribute and as an upgraded version to LOONA’s ‘Butterfly’ – down to the same producer, G-High.
‘Hitchhiker’s’ plays with the here and now, with space and silence, speeding up and slowing down as it pleases. ARTMS’ velvety voices forge ahead, unveiling galaxies of bliss at each build-up, and overflowing in an ingenious use of dubstep and drum ’n’ bass. It’s as bewitching as it gets, and the fact that the song was almost the album’s title track attests to its magnificence.
Tássia Assis
BIBI
‘Bam Yang Gang’
In this waltzy, mellow indie number, BIBI delivers a simple yet compelling tale of lost love. Likening her desires to the traditional Korean chestnut jelly the song gets its name from, she expresses her longing for a simple, authentic love.
Laced with an acute poignance, her saccharine vocals meander airly along the track as she laments a past lover’s unwillingness to meet her needs. And when she croons mournfully (“All I wanted was one thing / Just that one thing, sweet bamyanggang”), one doesn’t need to have tried chestnut jelly to recognise that bittersweet taste of regretful yearning.
Gladys Yeo
Chung Ha
‘I’m Ready’
‘I’m Ready’ is a true comeback for Chung Ha in every sense. While the glittering star previously admitted that she almost left the music industry, she defiantly declares on this pulsating club banger that she is here to stay, here to slay and is still at the top of her game.
More confident and assured than she’s ever been, this spiritual follow-up to her fan-favourite single ‘Stay Tonight’ is a testament to the mountains ahead that she will undoubtedly conquer – and we’ll be here every step of the way.
Daniel Anderson
ILLIT
‘Lucky Girl Syndrome’
On their debut release alone, rookie group ILLIT have already put out some of the most infectious tracks this year. Bursting with charm, the effervescent ‘Lucky Girl Syndrome’ feels like a refreshing morning stroll through an enthralling dream world where everything goes as planned.
The song is simple and straightforward, but its perfectly polished production and the members’ playful, sprightly delivery are all the feel-good magic it needs. ‘Lucky Girl Syndrome’ might not quite reflect how real life goes for most of us, but just for its two-and-a-half minute run, it sure makes it easy to pretend.
Gladys Yeo
IU
‘Love Wins All’
If true love ceases to exist then this song must’ve been deliberately removed from this earth out of spite. IU has created many classics since the start of her career many years ago, but ‘Love Wins All’ will live on as one of the grandest love songs she’s ever penned.
Emotional piano, dramatic strings, her ethereal vocals – they all come together like kismet on this spellbinding yet tender ballad where she wonders if love can conquer all. Perhaps it does, or maybe it doesn’t. Regardless, IU will go against all odds to find out: “Two of us, side by side, gone astray on purpose.”
Sofiana Ramli
KISS OF LIFE
‘Nothing’
If 2023 was a test run of how far KISS OF LIFE could go by reimagining old-school sounds for a new generation, 2024 has been a testament of how they’ve perfected it. While the Britney Spears-esque single ‘Midas Touch’ is pop gold, the quartet give ’90s R&B girl groups more than a run for their money on the exquisite B-side, ‘Nothing’.
Powered by the conviction that an ex-flame just wasn’t worth their time and effort, KISS OF LIFE turn this bittersweet break-up song into a robust self-empowerment anthem. And when they go all out with their vocals during the bridge, it’s absolute bliss.
Puah Ziwei
NMIXX
‘Dash’
NMIXX have always been proud of their unique, though often divisive sound, that they dub ‘MIXX POP’. But the girl group have found the sweet spot with ‘Dash’, a kinetic burst of energy that melts old-school hip-hop with a pop-punk flair.
The song oscillates between groovy guitar riffs and R&B hooks, culminating in a grungy rock bridge, but it never feels disjointed or fractured for a second. ‘Dash’ is living proof of NMIXX’s immense potential as a group with marvellous vocalists – they may very well bring change to the K-pop formula if they continue this impressive streak.
Carmen Chin
QWER
‘T.B.H’
There’s nothing typical about QWER, from the way they were formed to the music they’re putting out. Case in point: ‘T.B.H’, the explosive and addictive lead single of their first EP, a true mid-year standout amidst blink-and-you’ll-miss-it trends and tired formulas.
Shy glances across the room, unsaid hellos and scribbling their names over and over again on a textbook – it is the electricity of a highschool crush that the girl band draw from in the song. With earnest, emotive determination, vocalist Siyeon sings “No, no, not yet, I’m just not ready to say it”, and you can’t help but root for her in her conquest of confession.
Mika Chen
RIIZE
‘Impossible’
From the start, RIIZE’s calling card has been to trace a lively diorama of youth through their music, creating a soundtrack that breaks through the ordinary. And with the impeccable house track ‘Impossible’, the boyband transport us to a summer dream by unleashing a rush of bliss.
The song’s galloping beat is accompanied by lyrical snapshots soaked in the feeling of freedom: “My only dream reachin’ you there beyond / Beatin’ its wings and risin’ higher.” When the final chorus arrives, a blend of glistening synths and harmonised vocals crowns the joyride – with an open invitation to repeat it again and again.
Ivana E. Morales
SEVENTEEN
‘Spell’
Leave it to SEVENTEEN to always rightfully earn their spot on best-of lists. ‘Spell’ from the group’s performance team (Dino, The8, Hoshi and Jun) is a bewitching incantation that marries a hypnotic Amapiano percussion and beats with dreamlike synths to concoct the perfect, well, spell.
Its reverb-drenched percussion and atmospheric nature beautifully conjure a feeling of blurring the lines between fantasy and reality. The group have always been ones to push the envelope in K-pop, and they’ve hit all the right notes yet again – alongside a wonderfully crafted music video that only enhances the experience of the song.
Carmen Chin
tripleS
‘Chiyu’
tripleS’ debut album, ‘ASSEMBLE24,’ is a striking effort for a group that boasts 24 members. They sound ultra cohesive and clean, and all of their 10 synth-filled, glinting tracks are worth a listen. However, it’s the melancholic sweetness of ‘Chiyu’ that will have you humming instantly.
“I will get through this winter like a dry flower petal,” they sing, evoking the softness of the melody and the depth of its poignant bassline. The word chiyu (치유) in Korean means “cure” or “healing” – if you need something to soothe your heart, this might be the best medicine.
Tássia Assis
WOOAH
‘Blush’
The tender first ‘Blush’ of romance is given audible form in WOOAH‘s fizzy, minimalistic springtime refresher. Keeping to the literal sweet spot, the song spends much of its length slinking between airy, wistful verses over hypnotising beats.
A fizzy, energy reverberates throughout as the echoing chorus weaves in and out, with member’s voices playing around over and under one another in an otherworldly and dreamy way. With the occasional divergent verse offering up some pep to emulate palpitating heartbeats, ‘Blush’ perfectly evokes the cheek-warming, fluttering feeling.
Tamar Herman
Yves
‘LOOP’ feat. Lil Cherry
“I’m lost, but I like it,” Yves sings over a cool house beat on ‘LOOP’, the title track from her debut solo EP. It’s an honest assessment of the last year in the LOONA member’s life and career, but one that embraces uncertainty and makes it sound deliciously fun.
Magnetic and hypnotic – and bolstered by a zippy Lil Cherry feature – ‘LOOP’ reintroduces Yves as an individual artist with bags of potential, ready to make gold from her inner thoughts and emotions. Being lost never sounded so good.
Rhian Daly
Zico
‘Spot’ feat. Jennie
Zico has the audacity to ask “Everything okay, my man?” when he drops this supremely groovy bop. Then BLACKPINK’s Jennie, basking in the radiance of her solo era, comes in and practically growls on the catchy hook, showing off a delicious trill that reminds everyone of her powerhouse vocal versatility.
The video’s rooftop parties and dance battles let us in on what a night out on the town might be like with these two effortlessly cool virtuosos. We’ll probably never get to do that, but this is the summertime jam to blast on repeat as we escape to “hit the spot” with our own partners-in-crime.
Daniel Anderson