As self-proclaimed girl group enthusiasts, we set out to listen to as many K-pop girl group title tracks from 2024 as possible. Jem got into K-pop as a Little Mix hiatus victim; Jiselle got into K-pop as said victim’s emotional support, intending to only stan one group—we all know how this story ends.
We set out on this journey, knowing the road ahead would be long and winding, yet determined to scour YouTube high and low to broaden our horizons. We messed up our algorithm, got dizzy from certain videos, made an extensive spreadsheet, and had the time of our lives. We ended up including pre-releases, OSTs, and a bunch of solos that caught our eye. Halfway through, we decided to put our yapping down on paper.
As a slight disclaimer, this was never meant to be a list of objective ranking, only a space to share what we were passionate about. Please tell us about your favorites, we want to hear what you loved and why!
Without further ado, here are our highlights:
As the great philosopher Megamind once said (and I would know, as I have a degree in philosophy), the difference between a villain and supervillain is presentation. And that is exactly what I find so entertaining with BADVILLAIN’s self-titled debut. The sinister piano and orchestral strings give an extra sense of swagger to both the harsh rap verses and the controlled melodic pre-chorus and chorus. Add in their tough personas and flair for the dramatic, and they’re no longer just bad girls but bona fide supervillains. —Jem
Just two months after MEOVV’s bold introduction with the eponymous “MEOW,” they dialed it back with “TOXIC,” a more understated electronic song. With Gawon and Narin having participated in the songwriting, the song shows off their versatility and the depth of the group’s talent. And with only minimalist instrumentation and no choreography, the vocals and lyrics beg for attention. Well, they definitely got mine. Their soaring, plaintive high notes tug at the heartstrings and remind me of the intensity of a first heartbreak. I suspect this is just a glimpse of what MEOVV are capable of. I, for one, can’t wait to see more. —Jiselle
ILLIT had the biggest girl group debut of the year with “Magnetic,” making a big splash with the viral hit, which I thought was alright. But “Cherish (My Love)”... this is it for me. The deceptively cutesy and catchy exterior contains a hilariously obsessive, almost yandere core—which I find as addictive as bubblegum lollipops. I wrongly spent half a year thinking there wasn’t anything in particular that made ILLIT stand out in an already oversaturated scene, but with this one release, they changed my mind with their minty fresh charm. Like they say, not even god can stop them. —Jem (again, yes)
“Birth” is a haunting, ethereal song that creeps in with airy vocals and eerie sound effects. It also marked the first of four pre-releases for ARTMS’ debut release, a full album at that. “Birth” was by far my favorite amongst them and serves as an amazing preview for what ARTMS is capable of: a force that really lingers and stays with you even after it’s done. —Jem
Whether or not you consider XG to be a K-pop group, you gotta admit that they’re doing something right. When I was putting this list together, “Something Ain’t Right” was shuffled between categories quite a few times. I wasn’t sure where it fit best, only that it was going to end up taking one of them.
“Something Ain’t Right” was a bit of a surprise—it’s more retro pop than hip hop and less rap-heavy than what XG usually delivers. It’s catchy as hell, and the wobbly bass combined with the bright outfits brings to mind what Dua Lipa must have meant with Future Nostalgia. If a DJ puts it on, you’re going to find yourself on the dancefloor with your friends, with or without liquid courage. As far as pre-releases go, it’s the perfect track to get you properly hyped up for the rest of the album. —Jiselle
Billlie released their fifth mini-album appendix: Of All We Have Lost, restored to a full group after over a year as Moon Sua and Suhyeon returned from their respective hiatuses. “trampoline” feels like a light reprieve from the world’s heaviness, like a nostalgic childhood memory of playing with friends under warm sunlight. To me, it represents a fitting welcome back for the members and fans alike, a greeting ahead of the reunion party. —Jem (again, I know)
This current trend of songs being less than three minutes long is my villain origin story. And yet, the two and a half minutes that is “Colors” is a gift that keeps on giving. Sure, it may seem like your typical club banger, but this catchy house anthem unapologetically encourages and celebrates our individuality and community.
In a capitalist culture that often uses queer culture as a prop, “Colors” stands out for Solar’s genuine effort in centering it. Though we have seen instances of voguing in K-pop, “Colors” is the first song that is pure voguing. Love Ran from House of Love choreographed the song, with members of the kiki house dancing in the performance video and on music shows. The dancers were more than just backup; each had their moment to shine. It was a great collaboration, with the dancers praising Solar for her dedication to learning the choreography faithfully.
I found Solar through Mamamoo, a group that has consistently lent their platform to LGBT visibility. This commitment extends to the members’ solo work, and Solar is no exception. “Colors” definitely feels like a continuation of the work that Mamamoo has done. Although the lack of group activities this past year has been disappointing, fans can at least take solace that the members are active and successful and, most importantly, staying true to everything that Mamamoo stands for. —Jiselle
(G)I-DLE has surely never been accused of being subtle or bashful, but with “Super Lady,” they take their brash confidence to a new level. “I am a god, super lady,” Soyeon proclaims in the opening intro. And it’s not an empty brag, as Soyeon and (G)I-DLE are unrivaled in what they have accomplished, having more contributions than any other girl group to their discography’s contents. “Super Lady” feels like both a celebration of the group’s members and another defiant stand against the misogyny of the industry and larger world.
I was one of those surprised by (G)I-DLE’s full group renewal with CUBE Entertainment, but it’s honestly welcome news to me. In a fast moving industry like K-pop where numerous girl groups debut and disband every year, each renewal is precious. (G)I-DLE has already overcome what others felt were insurmountable obstacles time and time again, and “Super Lady,” in all its glittery and shining metallic glory, further proves they should never be underestimated. —Jem
One of the first things I learned about K-pop was that it’s just as much a visual experience as a sonic one. And with Red Velvet, you can always expect them to deliver on both with every comeback. Even as veterans from one of the big four labels, being one of the most well-rounded and consistent groups is no easy feat, and Red Velvet is definitely that.
Inspired by the movie Midsommar, “Cosmic” offered stunning visuals, blending flowery, cheerful scenes with an eerie, culty vibe. As always, I’m not entirely sure what happens in the story, and perhaps someone was sacrificed at some point…? It’s classic Red Velvet, yet something new all the same. And let’s be real: in our house, we support women’s rights and wrongs, so even if they are often up to no good in their music videos, we’ll root for them anyway. —Jiselle
“Accendio” draws us into IVE’s unsettling world, ensnaring the viewer in a spell as the group comes into possession of a mystical wand. IVE transforms before our eyes, becoming sleek and luminous magical girls à la Sailor Moon, only to meet their dark doppelgangers who seek to reclaim the artifact. An epic showdown ensues between the two, complete with an attitude-filled dance-off and dynamic battle choreo. If you haven’t seen the conclusion yet, I highly recommend you watch it for yourself.
This song, the choreography, the lyrics, the music video, the styling—all hit my brain in exactly the right way. It’s everything I didn’t know I wanted from them. I’m probably the last person in the K-pop world to realize this, but wow, IVE are so damn good. They are rightfully one of the current girl group titans, delivering so much style and charisma in force. Though I’m sure they’ll continue to develop and change, I crave all the “Kitsch”-iness they are willing to serve. —Jem
“Gold” was everything I expected from ITZY—bold, brash, and colorful. “Imaginary Friend” was bold in that it was… not. Soft and restrained—though no less powerful—whatever I expected from an ITZY title track, “Imaginary Friend” was not it. I had been a casual listener until then, but “Imaginary Friend” made me pay attention.
“When there’s monsters on your ceiling, I’ll keep you safe,” ITZY sings. And indeed, the music video ends with Lia staring into the camera, then her members’ hands shielding her eyes. Notably, the Gold EP was the first comeback since her 10-month hiatus. Accompanying the new tracks were re-recorded tracks from Born to Be with all five members, dubbed the “final version.” The message was clear: ITZY is five and always will be.
As the last line of the song goes: “It's you and I until the end.” And with ITZY complete once again, it certainly feels that way. —Jiselle
I don’t know where to start, so I’ll begin with a quote from my co-author: “NMIXX songs are a plot twist on their own.” This can be a good or bad thing, depending on if you’re the type of person who likes a wildcard. I didn’t think I was. Welp.
I remember checking out NMIXX’s previous releases in 2023 and coming away not feeling particularly compelled, as I’d hoped for more melodic songs. Then “Dash” dropped, and the harmonies in the introduction immediately grabbed me. Their trademark change up, which often disoriented me in the past, serves as a nearly seamless bridge here. It felt like they’d built on and improved their original formula while staying true to their self-dubbed MIXX POP genre.
I decided to give their discography another chance, exploring patiently this time, and came to a better understanding of the unique space they want to carve for themselves in K-pop. Now, they’re one of my favorite girl groups of the year and a humbling reminder that I should be more open-minded and -hearted. —Jem
”Small Girl” was my introduction to Lee Young Ji, and I was surprised to learn that she was primarily a rapper when I looked her up. Not only did “Small Girl” earn Young Ji her first music show win; the song went on to win five more. While the number of wins aren’t the only indicator of a song’s quality, it did put the song on my radar. I enjoyed the song so much that I couldn’t believe she didn’t already have a bunch of similar songs in her discography for me to find.
The song is driven by a sweet dialogue, with Young Ji spilling her insecurities about her “big laugh, big voice, and big personality” and D.O.’s gentle counterpoint that he likes her just the way she is. Her worries take center stage in the song, but the lightness of their vocals creates a space for his reassuring words to be heard.
I’m excited to see what collaborations Young Ji has in store for us next year, but selfishly, I hope to see many more from this dream team. —Jiselle
Amongst all the surprises Blackpink had for us, Rosé and Bruno Mars still stood out as a truly unexpected combination. “APT.” released with an almost casual aplomb, a perfect encapsulation of their budding and playful friendship. I love truly everything about it—the retro MV style in black and pink, the drinking game chant, the yearning pre-chorus, Bruno in his oppa era saying “Geonbae, geonbae, girl, what's up?” Their appearance at the MAMA awards and continued banter on social media further showed how zany and entertaining this pair can be.
I know some were disappointed by the lack of Blackpink group activities in 2024, but I’m willing to be patient, as this past year proved to me that even apart they make me happy to be a fan. And in the meantime, “APT.” epitomizes the mixture and clash of differing cultures and worlds distilled into something familiar and yet still exciting; this is the reason why I fell in love with Blackpink and K-pop in the first place.
While “APT.” may become the next “Baby Shark” for toddlers around the world, I’m simply happy to see it bring others the same silly yet earnest joy it brings me. —Jem
Leaving your music app on shuffle is always a gamble. A good song might not be the right one, and the right song might be lost between all the skips and the skip-for-nows. I discovered H1-KEY during one of my commutes, and I appreciated how they fit into any part of my day. Whether I’m half-awake and needing a gentle boost in the morning or trying to wind down after a long day—when H1-KEY comes on, I listen.
Main vocalist Hwiseo has a unique vocal tone that makes her easily recognizable in K-pop. After her rendition of “Titanium” on Hello82’s Secret Duet, I was curious to see if H1-KEY had any English releases, and I was pleasantly surprised to find “Thinkin’ About You.” The vocally-focused song offered a mix of soft harmonies and impressive belts, and their voices are so soothing, it's like they're trying to draw you in the same way they are trying to do so with the lover they are singing about. One thing’s for sure, I’ll be thinkin’ about this song for a while. —Jiselle
A mantra is a word or phrase repeated over and over, in prayer or as a motivational tool. It’s only fitting then that I’ve had Jennie’s “Mantra” on loop since it dropped. I struggled to write this blurb because of how much I wanted to gush about it, from the Rush Hour reference at the beginning of the music video to the casual “make you wanna swing both ways.” I love the horns, the percussion that bounces back and forth, the cheeky L.A. girl vibe, the In-N-Out bags replaced with a J, and I could truly go on all day. The only thing I dislike about the song? It’s way too short, and I want so much more! —Jem
When I first got into K-pop, the thought of learning seven members whose hairstyles changed with every era seemed daunting. One can imagine how fast I tried to exit stage left the moment I learned there was a 24-member group. tripleS was one group I did not want to get into. I did not have the time! 24 is an entire class. Two The Last Supper paintings. Not to mention all the subunits! …But unless I wanted to live under a rock or perhaps stay completely off of K-pop Twitter, I was going to encounter them one way or another.
There were many Japanese releases on my radar this past year, but few of them held my attention like “Untitled.” While their pre-debut track, “###,” was undeniably cute, fun, and everything you’d expect from a J-pop song, “Untitled” deviated from that formula. Opting for a more laid-back approach, the song takes on a dreamy quality, leaving more of an impression with its shift in style. As far as Japanese debuts go, “Untitled” is a pretty solid one. 10 out of 10—or should I say, 24 out of 24. —Jiselle
My co-author and I both voted for Yena’s “DNA” in this category, but they kindly ceded it to me. I’m grateful because I’ve loved this type of J-rock since I was in middle school, and “DNA” transported me back to those days in the best way. This high energy love song reminded me of Japanese rock bands like One Ok Rock and Scandal without feeling derivative or unoriginal. Yena manages to balance her cute and endearing vocals with the aggressive instrumentation and heavier drums, weaving together a dynamic track. While I also enjoyed her Korean releases, “DNA” holds a special place in my heart, as if I found it off my favorite AMV back in the day. —Jem
I’m trying really hard to not fall victim to recency bias, but I think “Fireflies” might be my favorite Dreamcatcher b-side ever. Dreamcatcher has shown that they are always trying to improve and evolve in their artistry, and “Fireflies” in particular demonstrates their vocal growth. In it, sub-vocalist Handong receives the biggest line distribution for the first time—a remarkable milestone from the fleeting two seconds on their debut title track.
I admit I’m a sucker for a good ballad, but “Fireflies” is a ballad that has even wormed its way into the hearts of fans that don’t typically enjoy ballads. The song’s greatest strength lies in its vocal harmonies—it’s as if Oprah showed up on recording day and declared, “You get a harmony! You get a harmony! Everybody gets a harmony!”—allowing them to flex how well their voices blend together regardless of pairing. It’s even better performed live, with the members surrounded by the warm glow of phone lights swaying in the crowd—a thousand fireflies just as drawn to Dreamcatcher as they are to their fans. The magic remains even as the instrumental fades towards the end, leaving only seven voices—all that’s needed for fans to fall in love with them. —Jiselle
“Cotton Candy” is technically a subunit track with Vivi, Hyeju, and Yeojin participating. The trio’s voices are entrancing, especially on the chorus, drawing the listener in with an irresistible attraction. The weighty syncopated bass holds strong as the song shifts between syrupy sweetness and muddy desire. The music video definitely feels like Hyeju went in with a very flirty vision and Vivi and Yeojin are her accomplices in this purpose, which I wholly respect. Though Loossemble’s contract with CTDENM has ended, the members have hinted that this isn’t the end for them. Whatever form they will end up in next, I will definitely tune in. —Jem
Ningning doesn’t always get to showcase her vocals clearly and cleanly on aespa’s tracks. But in “Count On Me,” her first solo OST, her voice truly has the opportunity to shine with a bright warmth and relaxed delivery. I certainly didn’t expect her to fit the pop rock vibe so well, and if it means I get to hear the different facets to Ningning’s voice, then I find myself in the unexpected situation of wanting more OSTs from her. —Jem
“In my memory” is a perfect example of music transcending language. Seulgi’s dulcet tones evoke a sense of longing, captivating listeners regardless of their native tongue. The right music accompanying a pivotal scene can heighten its tension or emotion. With “In my memory,” Seulgi’s vocals offer a delicate charm and emotional depth that complement the heartfelt moments of Doctor Slump. —Jiselle
The way Swan conveys emotion through her voice always impresses me; her gentle strength feels nuanced and gripping at the same time. Her vocal timbre and tone are unconventional within K-pop, always allowing me to identify it even when I’m not paying attention. “In Some Dreams” invites us into the unceasing waves of heartbreak and abandonment, and Swan guides us tenderly through those waters. —Jem (yes, I have a lot to say)
There were some really strong solo debuts in 2024, among them Seola, the first of WJSN. Being late on a girl group train is rough, especially when said girl group hasn’t had new music in over a year. But “Without U” is an upbeat pop song that has you bopping your head from the first line. The chorus is so addictive, I instinctively tried to sing along despite not knowing the words. This solo project allowed Seola to explore her own sound, and I can’t wait to watch her grow as an artist. —Jiselle
“On My Bike” felt like a personal favor to me, someone who’d lamented the lack of similar tracks to “My Heart Skip a Beat,” a Purple Kiss pre-debut release. “On My Bike” delivers the exact type of rock I wanted, coming in with fallen angel motorcycle babes and spooky instrumentals before going full blast with the electric guitars. Purple Kiss give an alluring and powerful performance, offering deep introspection with lyrics like, “Car for the body, but a bike for the soul.” 100% worth the wait.
All kidding aside, I’d also like to mention my favorite Purple Kiss moment from 2024. In June, I had the chance to see them in concert where Swan read aloud a fan-submitted request to sing “Let It Go.” She walked to the fan’s side of the stage and serenaded her directly as Chaein pretended to sprinkle snow in the background. Chaein then took it upon herself to try out a self-proclaimed sexy version of “Love Is an Open Door. This bit of adorable goofiness had me and my friends laughing through the whole segment and will stay with me for a long time. So if they’re coming somewhere near you in 2025, I encourage you to take a little dive into their discography and get some tickets. —Jem
There’s no shortage of talent in K-pop, so naturally, there were so many more that we yapped about in private. In an effort to be concise (keyword: effort), these are the other songs we really wanted to include on the list in some way:
aespa - “Whiplash”: What an insane year for aespa; this is just the cherry on top.
ICHILLIN’ - “Bite Me”: The ideal track for walking somewhere purposefully.
Kep1er - “Shooting Star”: A heartfelt song that reassured Kep1ians during an uncertain time.
Kiss of Life - “Get Loud”: Kiss of Life doing what they’re best at, making us want to get up and dance.
Moonbyul - “Dark Romance”: If “Eclipse” had a sister, this would be it. When I grow up, I wanna be as cool as Moonbyul. [Jiselle]
Sorn - “Nobody”: Seductive and hypnotizing, the catchiest way you’ll ever get rejected.
VIVIZ - “Shhh!”: Their choreographer, Kany, is a genius, and VIVIZ’s hard work really shows.
Weeekly - “Stranger”: Sad, but hopeful—perfect for a rainy day.
That’s all, folks. See you next year!
Spotify playlist:
YouTube playlist:
