The best K-pop singles of 2019
From BTS to TWICE to SuperM and more.
Hello, and welcome to maybe if you stanned, a (mostly) weekly round-up of K-pop news, releases, and fandom culture. Happy holidays! I took last week off of the newsletter to recharge with my family, and also to get the ball rolling on this issue: for the final Sunday of 2019, I’m ranking my top 20 K-pop singles of the year.
2019 has been a prolific year in K-pop, with numerous groups pushing the boundaries not only of the industry but of their own unique sound. We’ve seen major stylistic shifts in groups like Seventeen and Twice, massive international success from groups like BTS, Blackpink, and SuperM, and some stellar first years from soon-to-not-be rookie groups like ATEEZ and TXT. The industry has also been wracked by scandal and tragedy; just as K-pop is experiencing mainstream popularity outside of Korea, many of its negative facets have been brought to light as well.
This is by no means a comprehensive nor definitive list — I’m just one woman unable to fully rein back my own subjectivity! The criteria here are pretty loose (i.e. I basically went with my gut), but I did make some difficult choices and cut out plenty of favorites along the way. Honorable mentions are NCT 127’s “Superhuman,” Yukika’s “Neon,” X1’s “Flash,” Stray Kids’ “Miroh,” AB6IX’s “Breathe,” and Everglow’s “Bon Bon Chocolat,” among others.
Got different opinions? (I am positive that you do.) Drop a line in the comments of this post or hit me up on Twitter.
Here’s this ranking’s playlist.
20. Blackpink — “Kill This Love”
Blackpink emerges from the YG basement one a year to release a total banger, incrementally adding to their criminally short discography. This year was the EDM trap single “Kill This Love,” a brassy, theatrical track about breaking off an imperfect relationship. While it lacks a strong chorus, it makes it up with attitude in spades. “Kill This Love” quickly became iconic — as all Blackpink singles eventually do — for its militant choreography and catchy one-liners.
19. Seventeen— “Fear”
Seventeen was one of several groups that engineered a stylistic shift this year, and “Fear” was the single that spearheaded that charge. A departure from Seventeen’s poppier and more cheerful concepts like “Mansae” or even the more melancholy “Thanks,” “Fear” is both darker and more overtly sexual. Tied together by a strong, subby bass sound that drops out at quieter moments at the song, “Fear” is testament to Seventeen’s production skills — while mostly relentless, there’s plenty of nuance in the single’s echoing vocals or flavorful background synth sounds. Overall, the track is testament to Seventeen’s performance and production acumen as well as their versatility.
18. fromis_9 — “FUN!”
There’s this kind of energetic urgency inherent in all of fromis_9’s title tracks. While “FUN!” is more lighthearted than the explosive “Love Bomb” or innocent “Pitapat (DKDK),” a chromatic bass at the chorus and constantly shifting drum machine beat keeps things moving along towards an over-the-top final chorus. That final culmination is arguably what fromis_9 does better than any other group — even a light-hearted summer release like “FUN!” still has the same dramatic arc as their other releases. Plus, it’s nigh-impossible to not bop while listening to this.
17. SuperM — “Jopping”
“Jopping” — jumping and popping, simultaneously — makes absolutely zero sense, and that’s a big part of what makes it such an incredible single. Held together by a punchy bass in the verses and a wall of synth chords in the chorus, it manages to give the seven members of SuperM — each of whom come from a variety of other SM groups — space to shine despite their almost conflictual musical flavors. “Jopping” quickly became iconic for its legacy of memes and clownery, but while all of the jopping jokes may seem mean-spirited, they’re all rooted in the truth that this single totally bangs.
16. Red Velvet — “Psycho”
I’ll say it — Red Velvet had a bit of a rough year musically. 2019 saw the quintet beginning and wrapping up its “ReVe Festival” trilogy, comprised of two EPs and a final repackage album led by “Psycho.” More laid-back than companion singles “Zimzalabim” and “Umpah Umpah,” “Psycho” is full of lush synth flavors and layered vocals. While it skews a bit more mainstream pop than previous Red Velvet hits, the group’s signature style still comes out in little vocal riffs or the synth arpeggiator cutting through the verses.
15. Dreamcatcher — “Piri”
Few groups push K-pop’s musical boundaries like Dreamcatcher, especially on the girl group side. A rock single with a fighting spirit, “Piri” is the group’s strongest single in recent memory. It’s perhaps most fascinating in its pre-chorus, which starts out aggressive and chromatic before dropping to a soft vocal that pushes towards the chorus. It’s these quiet moments that make the song’s simple but effective chorus shine, and Dreamcatcher handles the shifting tensions of the song with aplomb. (And, truth be told, they deserved a music show win for it.)
14. Tomorrow by Together — “9 and Three Quarters (Run Away)”
Bighit’s Tomorrow by Together (TXT) were one of the most highly-anticipated debuts of 2019, and after their debut single “Crown” garnered the group a pretty solid amount of success, all eyes were on their first comeback. In many ways, “Run Away” and accompanying album The Dream Chapter: Magic surpassed “Crown:” with a story-driven concept and riskier rock-pop sound, it was a stronger argument for TXT’s unique musical identity. While arguably hindered by its strong musical ties to Harry Potter, the urgency of “Run Away”’s chorus and youthful concept have solidified the group’s place as one of the most capable rookie boy groups of the year.
13. Baekhyun — “UN Village”
2019 saw a variety of promotions from EXO members like Chen, Sehun, and Chanyeol, but Baekyun’s solo debut with “UN Village” was perhaps the most eagerly anticipated of them all. A laid-back but simmering R&B single named for the famous UN Village neighborhood of Seoul, it’s a perfect fit for Baekhyun’s versatility. One of the power vocals of EXO, this is Baekhyun perhaps at his most delicate and nuanced. The vocal mix is pure ear candy, but the single’s instrumentation (anchored by a drum beat that switches between open claps and hi-hats to muted brushes) is what really makes it stand out.
12. Chung Ha — “Gotta Go”
“Gotta Go” was soloist Chung Ha’s breakout single of the year, arguably becoming her greateest success since her post-IOI debut single, “Rollercoaster.” Moreover, it proved her ability to handle more nuanced, darker concepts with aplomb. “Gotta Go”’s two-pronged chorus relishes in Chung Ha’s sustained vocals, taking time to let her voice really soar over a busy instrumental. Overall, “Gotta Go” is relentless without being overpowering.
11. Hwasa — “Twit”
“Twit” was one of the best solo debuts of 2019, giving Mamamoo’s Hwasa a solo stage to show off her sizeable vocal range and performance style. An ode to a lover who has fallen too hard for someone who doesn’t deserve it, “Twit” is equal parts berating and self-deprecating, with Hwasa oscillating between tearing down herself and tearing down her lover for following her. With a somewhat sparse instrumental that invokes trap and tropical house elements complementing Hwasa’s smoky vocal, “Twit” has a unique sound that eventually led to Hwasa’s first individual music show win.
10. CLC — “No”
2019 finally saw Cube veteran girl group CLC get some damn recognition with “No,” which finally garnered the group their first music show win. Driven by a pulsating a bass line that throbs like an undercurrent throughout the entire song, “No” delivers both on the irreverent attitude that has defined some of CLC’s later releases as well as a rock-solid chorus reminiscent of their earlier years. While such a repetitive motif — the “no” throughout — could have become grating, “No” uses it as an anchor to cut through the noise with a simple message: refusing all of the material signifiers that define conventional femininity.
9. TWICE — “Feel Special”
Perhaps Twice’s most emotional single yet, “Feel Special” was the final pin in the group’s 2019 style shift away from cuter, more innocent concepts. That being said, “Feel Special” still captures the pop and dance sensibilities that have made Twice such a compelling group since their debut. However, from the music video aesthetics to the house-esque bassline of the chorus to the single’s central theme of confidence, “Feel Special” was a breakout, and perhaps the beginning of Twice’s true golden age.
8. IZ*ONE — “Violeta”
Korean-Japanese project group IZ*ONE had a tough show to follow after their stellar debut single “La Vie en Rose.” “Violeta” more than delivers, carrying on the dramatic tradition from their debut with a tropical house flavor. Strung together by the recurring “넌 나의 비올레타 (neon naye Violeta)” motif both in the vocal and instrumental, the single effectively manages its energy despite an explosive pre-chorus. Overall, “Violeta” manages to be aggressive without being overwhelming, still engineering a thrilling push towards the end and culminating in a dramatic half-time post chorus.
7. ATEEZ — “Wonderland”
ATEEZ’s last major release of the year and the final single of their Treasure series, “Wonderland” is more dramatic and harrowing than any of the group’s previous singles. With it, however, ATEEZ effectively solidified their musical identity in a way that can’t be said for too many groups. “Wonderland” is relentless but measured, slowing down in the pre-chorus even while beckoning — “가자, kaja” — for listeners to follow. Overall, “Wonderland” encapsulates the vocal skill, rebellious attitude, and patience that sets ATEEZ apart from other groups.
6. Itzy — “Icy”
Itzy, JYP’s monster rookie girl group, debuted early in the year with “Dalla Dalla,” an absolutely bonkers single that at times feels like it’s strung together on a single, feeble musical thread. “Icy,” the group’s sophomore title track, manages to take all of “Dalla Dalla”’s ridiculous energy and pull it together into a cohesive musical package that turned out to be one of the best singles of the summer. With an irreverent music video and lyrics like Ryujin’s iconic “shout out to 내 엄마 / thank you to 우리 papa,” “Icy” has earned the right to be as overwhelming as it feels. That being said, it still knows when to rein things in, ending on a cool note rather than an ostentatious one.
5. Mamamoo — “Hip”
Like many female celebrities, Mamamoo have received their fair share of scrutiny and time in the public eye. “Hip” is a flippant and direct response to those criticisms (like Hwasa wearing her jeans unzipped at the airport), proclaiming that “if I do it, it’s hip.” Messaging aside, “Hip” is a bop in Mamamoo’s iconic, vocal-heavy style, leaning away from the EDM influences that tend to dominate pop music nowadays. While there’s no big climax, there doesn’t need to be one here — the single’s self-assured nature makes for a well-earned smooth ride.
4. LOONA — “Butterfly”
LOONA’s sophomore release, “Butterfly” felt like it finally delivered on the promise set by the group’s extensive pre-debut project. A future bass-esque track that harkens back to some of the group’s more electronic solo releases like “Singing in the Rain,” “Butterfly” never builds to an epic climax. Rather, it’s steady, lending itself to the heavy choreography not frequently seen performed by girl groups (a.k.a. why LOONA wore pants during 90% of their 2019 promotions). However, it’s the little things that make “Butterfly” as a single, ranging from the open, watery snare that hits just before the chorus to the flighty vocal licks scattered throughout the song. With a focus turned outwards — this comeback’s slogan was “to all LOONA’s around the world” in a play on the group’s Korean name, 이달의소녀 (girl of the month) — “Butterfly” was cinematic and moving.
3. Apink — “%%(Eung Eung)”
“Eung Eung” is, for all intents and purposes, a nigh-perfect song. With a tantalizing, 80s inspired vibe and an instrumental comprised of lush pads and a pervasive plucky synth, it feels almost wholly unique amongst the 2019 K-pop landscape. Setting aside Apink’s penchant for power vocals in favor of a more delicate sound, “Eung Eung” is airy and smooth, with a stellar pre-chorus that strips things down before diving back into the song’s full instrumental. What makes it ultimately so good is its unique flavor, seamless transitions, and recurring musical and visual “응” motif. Overall, “Eung Eung” is nuanced, clever, and groovy, and with a Jan. 2, 2019 release, it set a standard for the rest of the year.
2. Twice — “Fancy”
It would be wholly incorrect to call “Fancy” a breakout single given that Twice was already one of the most popular active K-pop girl groups. That being said, the song’s massive popularity and staying power made it feel like Twice’s first hit all over again. The lynchpin of the group’s 2019 style shift, “Fancy” was a delicate balancing act between Twice’s trademark cute style and a more daring, mature sound. Ultimately though, it still feels like a Twice song both in vibe and cultural impact, yielding a chorus that was stuck in everyone’s heads for months and a dance craze that was a mainstay on the K-pop side of TikTok over the summer. For a few months, “Fancy,” with it’s reverb-y synths and playful dance beat, was completely inescapable.
1. BTS — “Boy With Luv (feat. Halsey)”
Putting BTS at number one on this list is, in many ways, an easy choice. However, no K-pop single traveled farther or stuck around longer in 2019 than “Boy With Luv,” the latest poppy addition to BTS’ incredibly varied discography. That’s not to say that renown or Western popularity is a strict measure of how good a single is, but on the flip side, I think I’d be remiss in how integral “Boy With Luv” was in finally making K-pop feel somewhat mainstream in the United States.
Popularity aside, “Boy With Luv” is one of BTS’ strongest singles, catchier and sweeter and more genuine than any of the three title tracks from the group’s preceding Love Yourself series. While it’s absolutely BTS at their poppiest, it doesn’t feel like a compromise of the group’s musical identity, bringing in many of the youthful, optimistic flavors that are pervasive throughout BTS’ discography while referencing the group’s 2014 single “Boy in Luv.” While not as concept-heavy as other releases, that doesn’t make “Boy With Luv” any less of a standout.
Thanks, and until next year,
Palmer