This is not a kpop doompost. It’s simply a slowdown. Probably, this year’s biggest moments didn’t come from traditional comebacks. KATSEYE, a global girl group created by HYBE and Geffen, drew attention, but people don’t even count them as kpop. Meanwhile, Kpop Demon Hunters, a Netflix animated film, turned fictional idol groups into breakout acts. The most impactful releases of the year came from that soundtrack. In a season full of underwhelming returns, a fictional group made more noise than most real ones.
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The most defining song of the year so far came from an already established name. Jennie’s “Like JENNIE” delivered two minutes of sharp, self-assured production, flipping criticism into confidence and gliding between Korean and English. It made it to U.S. pop radio, climbed the charts, and held its spot longer than most. The track proved that kpop can still produce global hits, although for now, they seem to come only from the biggest names.
BLACKPINK’s “JUMP” remains one of the few idol group tracks performing well on streaming. It holds its ground among core fans, but hasn’t sparked the same cultural impact as their earlier work.
More recent groups are struggling even more to stand out. Even aespa’s “Dirty Work”, which came with an English version and a U.S. rapper feature, failed to break into the Billboard Hot 100. Fans pointed to poor timing and muddled strategy, but the bigger issue might be the song itself. It lacked the charm and experimental edge that once set aespa apart.
Back in Korea, the numbers show a shift. Album sales fell for the first time in a decade. Nearly 93 million albums were sold in 2024, compared to 116 million the year before. Global demand is steady. Seven of the ten best-selling CDs in the U.S. last year were from kpop acts. But at home, enthusiasm is fading.
While groups have stalled, soloists are finding their rhythm. Woodz’s “Drowning” and Hwang Garam’s “I Am a Firefly” both found traction on Korean charts. These songs offer emotional clarity and intimacy, a contrast to the polished, performance-heavy style of many group releases. Listeners are responding to something more personal.
Part of the slowdown comes from the absence of the industry’s biggest names. BTS remains on military hiatus. BLACKPINK members are more focused on solo careers. With both groups mostly inactive, the rest of the field feels quieter. Their influence still casts a long shadow, but the question is how much longer the industry can depend on these two names to carry its weight.
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NewJeans, once expected to lead the next era of kpop, spent much of the year stuck in legal disputes. The ongoing conflict between HYBE and ADOR has pulled focus away from the music. Instead of building momentum, the group’s narrative has been shaped by lawsuits and leaks.
In the middle of this lull, Kpop Demon Hunters provided a rare spark. The fictional groups had real vocalists, strong production, and distinct identities. The music landed where it mattered. It captured the sense of creativity and unpredictability that feels increasingly rare in today’s releases. But projects like this aren’t built for speed. If history is any guide, it could take years before a second installment is developed or another track is released.
Kpop’s global strategy continues to generate numbers. But in refining the product for a broader market, some of the edge has been lost. The offbeat concepts, bold sounds, and distinctly Korean perspective that once set the genre apart are harder to find.
There is still room to shift the story. BTS will return. A new act could break through. But for now, kpop in 2025 feels like it’s waiting. There’s no shortage of talent, only a shortage of direction. With the giants on pause and the new wave still finding its footing, the genre is caught somewhere between eras.
