After nearly four years of military service hiatus and a lifetime of anticipation, BTS is officially back. Together again, they are unveiling new music this March that marks the revival of a worldwide sensation. But beyond the music, they’ve also unveiled a new BTS logo, with their latest “Three Red Circles” drawing widespread attention and sparking new fan theories.

It all started on Dec. 31, 2025, when BTS’s gold membership fans received a New Year’s postcard featuring a brand-new logo with three distinct red circles. Beneath them was a date, now etched into every fan’s calendar: March 20, 2026, the release date for their upcoming album.

If you’ve been following the K-pop scene or the global music industry at large over the last decade, you know that BTS has evolved from a boy band to a cultural phenomenon. Having grown up alongside their fans, the ARMY, their journey from “Bulletproof Boy Scouts” to “Beyond the Scene” perfectly captures the essence of an evolving brand identity. Every iteration of their logo has been a visual diary, a declaration of a new era and message, and a deeper connection with their audience. From the rugged detail of a bulletproof vest to the sleek, symbolic imagery of 2026, here’s how the Bangtan identity has shifted through the years.

2013–2016: The Bulletproof Era

Back when they released their debut album 2 Cool 4 Skool, BTS were underdogs with a serious message, using their music to speak about the pressures of their generation. And their old-school bulletproof vest logo perfectly captured this early grind. It was cluttered and rough around the edges, featuring a tactical vest flanked by a grenade, lightning bolts, and sharp rays. A visual manifestation of “Bangtan Sonyeondan” (Bulletproof Boy Scouts), it underlined the fire and power of their mission: to shield themselves and their generation from the bullets of social prejudice, scrutiny, criticism, and expectations. Perhaps the logo was less about branding and more about rebellion, almost like visual armor against a world filled with judgment. It screamed attitude, just like their music at the time.

2016-2017: The Wings Era

In this era, BTS ditched the bulletproof vest look for a more abstract design featuring four distinct circles, each with its own texture and mapped to songs from their Wings album. Far from random, the shapes represented the individual members, which changed and connected through the era’s iconic short films. For example, Jungkook’s circle from Begin eventually connected with RM’s circle from Reflection, just like Suga’s circle did with Jimin’s. Hermann Hesse’s novel Demian heavily inspired the design, reflecting themes of temptation, growing up, and lost innocence. The logo changed again slightly when the repackaged version of You Never Walk Alone was released in 2017, with the circles morphing into a fancy navy blue knot to signify their departure from the “Bulletproof Boy Scouts” to a more refined “Beyond the Scene” identity.

2017: The Doors—Beyond the Scene

Then came the significant rebrand in the summer of 2017, when BTS expanded its name to also signify “Beyond the Scene” and introduced a sleek, minimalist logo featuring two black trapezoids that resembled half-open doors. The design represented a meeting point between BTS and ARMY, symbolizing solidarity, progress, and the exploration of new horizons. Additionally, it evoked their origins, remaining true to the protective spirit embodied in their “bulletproof vest” logo.

2022: The Proof Period

The Proof anthology era acted as a bridge. While the 2017 “doors” remained the official brand identity, the Proof logo — a blocky, metallic typography — cemented their purpose. It was a visual anchor during their solo chapter, reminding everyone that their history was bulletproof even as they stepped into separate rooms for a while.

2026: The Comeback

Now that we’ve reached the 2026 comeback, the branding has shifted once more. To signal their fresh start after military discharge, BTS reset their digital presence and introduced a new visual language for their fifth studio album. Recent postcards sent to ARMY gold members and social media updates feature the new logo, described as vibrating waves of sound and harmonics. The design uses symbols like ⊙⊝⊜, with fan theories flying left and right, decoding the new logo as symbols of music, journey, and harmony, marked by a shift to red. This era is about resonance; after years of individual growth, the seven members are syncing together again to create a unified sound.

The post Decoding BTS’s Comeback: The Evolution of Their Iconic Logo appeared first on Rolling Stone India.

India’s K-pop explosion shows no signs of slowing down. What probably began with a BTS, Blackpink or EXO track in a cybercafé has now evolved into a full-blown cultural remix, sweeping across dorm rooms, school corridors and midnight bus rides nationwide. Fans are swapping lyrics, staging campus flash mobs and dreaming of seeing their idols perform live on home turf.  

In the 2025 Global Hallyu Survey (based on 2024 data), India recorded the third-highest affinity towards K-content globally at 84.5 percent, after the Philippines and Indonesia, according to the Financial Express. And at roughly 185 million users, India’s K‑pop streaming numbers are a beast in themselves. In fact, when Korean entertainment giant Hybe, the agency behind K-pop supergroup BTS, recently rolled out its Indian arm in Mumbai, they said India’s streaming market is the second‑largest in the world, and “the perfect market to implement our growth strategy,” especially given the “remarkable rise of K‑pop in India.” Not to be outdone, K-pop icon G‑Dragon’s agency Galaxy Corp. is reportedly scouting the subcontinent and plans to open an Indian branch by early next year. 

The influence of K-pop has also trickled down into fashion, food, beauty, language and everyday culture. Korean restaurants, beauty aisles and language classes are booming, with Korean Culture Centre (KCC) registrations jumping from 814 in 2020 to 4,680 in 2021, while KCCI-supported school programs reported a rising trend from 1,535 enrolments in 2023 to 2,572 in 2024.  

Yet, despite all this frenzy, the dream of a full-scale K-pop festival in India remains frustratingly out of reach. Physical festivals, the beating heart of the K-pop experience, keep getting stuck in a stuttering loop. Online, the craze is deafening, but live K-pop events on Indian ground remain a shaky, under‑cooked affair. It’s a crazy catch-22: everyone’s hyped, and the hype is off the charts, but the practical side just can’t keep up. 

The Infrastructural Choke Point 

India’s live‑event scene is unarguably on the rise — estimates based on a joint report by the Federation of Indian Chambers of Commerce & Industry (FICCI) and Ernst & Young (EY) say it’s expected to steadily grow from ₹88 billion in 2023 to a whopping ₹143 billion by 2026. It’s an exciting time for the concert economy in theory, but on ground, the country’s sheer scale and diversity can turn any big‑ticket festival into a Herculean puzzle. Outside the usual suspects — Delhi, Mumbai, and Bangalore — there are barely any venues that can handle the volume of sound, lighting, security, and crowd‑control gear that a world-class concert demands.  

Nikita Engheepi, a pioneer of India’s K-pop concert scene and Co-Founder of Pink Box Entertainment (a premier K-pop event agency) and Namaste Hallyu (Korean media website), says, “India has pulled off big concerts, but we don’t yet have enough venues for a country this massive. With faster permissions and more mid‑to‑large spaces, K-pop events could scale instantly. The demand is already huge, but the ecosystem just needs to catch up.”  

The ground reality of staging a K-pop show is that the whole production often has to be airlifted in, which spikes costs and makes organisers think twice. Jason Manners, CEO of Rockski and Festival Promoter of Shillong’s Cherry Blossom Festival, highlights, “Logistical and financial constraints are killing [these experiences]. Flying in international artists is expensive, and sponsors are hard to come by. India’s festival infrastructure isn’t exactly top-notch either.” The result is that fans are left scrolling through livestreams while the live experience remains just beyond our grasp. 

The market is still finding its feet. Most big domestic events happen in open-air spaces that aren’t actually designed for concerts and end up running short on creature comforts. Take the case of the Bryan Adams gig last year in Mumbai, where just three bathrooms were available to accommodate a thousand attendees, resulting in a spectacular screw-up. A bigger challenge is technical flexibility: adjustable decks, elaborate rigging, and premium audiovisual setups aren’t always easily available, so delivering the high-octane spectacle K-pop fans expect is a logistical nightmare. Traffic jams, unsafe parking spots, and insufficient safety precautions make the situation more difficult. Popular Indian singer and actor Diljit Dosanjh even called out some of these inadequacies during his December 2024 “Dil-Luminati” tour, saying there isn’t enough infrastructure to support live shows in India and urging authorities to act. His remarks definitely stirred the pot — some called him out for being a bit too harsh, given the success of Coldplay’s 2025 gigs, while others agreed he had a valid point about the urgent need for better venues. Bottom line: when you’re booking a big, international concert or music festival, the whole setup has to meet global standards. 
 
Sukanya Bandopadhyay, a longtime K-pop enthusiast, sums it up: “Korean entertainment companies work with a level of structure and predictability. They look for venues that can support heavy production, organizers who understand the pace of Korean concert routines, and a local ecosystem that can handle a crowd without losing control. India has the enthusiasm, no doubt, but the infrastructure is still catching up.” She points out how events like the K-Town Festival made that painfully clear—long lines, patchy communication, delays, and a sense that organizers underestimated what the audience needed. “For fans who’ve seen how Korean concerts run, even through videos, the difference was obvious,” she states. “And for Korean agencies watching from afar, these lapses don’t inspire confidence.” The broader issue is that India still lacks enough mid-sized, technically consistent venues. A K-pop show isn’t just a musical performance; it’s a tightly choreographed production with lighting cues, live screens, sound precision, and safety checks. Without that baseline, it becomes hard for international acts to commit and even harder for festivals to grow into something stable, she adds. 

The Economic Equation 

The economics of pulling off a K-pop show in India are a tough equation. K-pop has established itself as a global brand with a premium price tag, and that premium shows up the moment you start ticketing a concert. Bringing A-listers to the country means shelling out massive performance fees, flying in an entourage of dozens, and hiring state-of-the-art audiovisual setups that most Indian venues simply don’t have. Against a still-developing live event market, those costs push ticket prices into a range that easily outprices a big chunk of the young, passionate fanbase that fuels the hype. 

The primary hurdle, whispered in back-room meetings, is plain old financial viability.  Even a single established act can feel like an astronomical undertaking: artist fees that sit firmly in the big-league bracket, complex logistics for travel and security, and technical riders that demand gear you can’t just rent from the local shop.   

“Too often, ticket prices here make promises the event can’t keep,” Bandopadhyay notes. “Fans are willing to spend, but not to be shortchanged. When organisers charge global rates and deliver shaky execution, the devotion they rely on starts to feel exploited rather than celebrated.” The result is a tightrope walk between affordability and breaking even, and, more often than not, the rope snaps before the show even starts. 

Production costs pile up on top of the artist fees, which pushes the budget north of what a typical Indian festival spends. Venue scarcity doesn’t help either: India has few globally compliant arenas, so organizers end up converting stadiums or hiring makeshift spaces, then pouring money into extra infrastructure—public transport links, parking, toilets, waste management— just to make the venue work.  Plus, licensing is a bureaucratic maze, with over ten separate permissions required, from venue booking to security clearances. The whole process tends to be lengthy, unpredictable, and, at times, opaque, and an added 18 percent GST (Goods and Services Tax) squeezes margins even further.  

As Ashish Hemrajani, Co-founder & CEO of BookMyShow, told The Economic Times: We need a clear policy at the national and state level that makes it easier to host events, keeps people safe, maintains decent sanitation, and gets the logistics sorted. Audience spending power is another weak link. While India boasts a massive young population that lives for K-pop, the average fan’s disposable income is modest compared to fans in Japan, South Korea or even Southeast Asia. Ticket prices for a K-pop festival can start at ₹2,499 (as seen with the K-Wave Festival 2024 featuring Hyolyn and Suho of EXO) and keep spiking upwards, shutting out many would-be concertgoers. According to a Reddit user, going to a concert in India has become a status flex — tickets are sky-high because venues are scarce and the rich can overspend without hesitation. The top 0.1 percent hold about 40 percent of the wealth, so expensive tickets barely make a dent for them. That elite spending sets the bar, pushing K-pop concert and festival tickets far beyond what most fans can afford.  

But there’s a bigger narrative here: the contrast highlights the evolving dynamics of K-pop fandom in India. As Engheepi puts into perspective, “When we started in 2015, the real challenge wasn’t logistics, it was proving that India even had a K-pop fandom and getting fans used to paid experiences like fan meets and hi-touch sessions. Our goal has always been to put Indian fans on the map and grow the market.”

When you look at the actual shows that have happened, it’s a patchwork of trial runs. Jackson Wang (GOT7) performed at Lollapalooza Mumbai in 2023, but India wasn’t on his “Magic Man World Tour” at the time. KARD toured pre-2020, and Kim Woojin (ex-Stray Kids) played smaller venues. In late 2024, a slate of names—Suho, Hyolyn, Chen and Xiumin of EXO, B.I, and Bambam of GOT7—played at the K-Wave and K-Town festivals. This year, Taemin (of Shinee), Super Junior-D&E, Yedam, Jey, and OneWe headlined K-Town 3.0, and Everglow was one of the headline acts for the Orchid Music Festival in Sikkim. These multi-artist festivals are a safer bet, a way to spread the risk while still feeding the frenzy. Yet the underlying pattern remains: fans can’t afford the high prices, so big artists often stay away, and without regular big-ticket shows, the market never builds the concert culture that could justify those prices. And until that loop breaks, K-pop concerts in India will stay rare.  

An Indian event organizer, who requested anonymity to protect his privacy, reiterates, “Everyone talks about demand, but nobody mentions that the real barrier is affordability. We’d love to keep tickets at ₹2k or maybe even less, but with the exchange rate and the artists’ fees, we’re stuck between a rock and a hard place. At the end of the day, it’s a vicious cycle: high costs mean high ticket prices, and low attendance from the youth who drive the K-pop craze. Until the cost structure changes, these festivals will stay niche, no matter how loud the fans may scream.”

A Narrative of Unmet Demand 

The result? A passionate community that’s forced to live the love second-hand. Instead of waiting for a marquee name to show up, they’ve taken matters into their own hands, setting up meet‑ups, fan projects, and streaming bashes that turn the digital space into a lively subculture of its own to keep the hype alive. As Tanvi Lahiri, a member of a Kolkata-based K-pop fan club, says, “Honestly, we can’t wait for a big city K-pop festival — so we just create our own mini-fest every month. We rent a tiny community hall, set up LED lights, and stream the latest MVs together, celebrating our biases’ birthdays, and engaging in fun karaoke while we snack on our favorite ramen and kimbap. It’s our way of living our K-pop dreams without breaking the bank.” 

Elaborating on this narrative that speaks to the unmet demands of K-pop fans in India, Jason Manners points out that “language barrier, low buying power, and lack of emotional connection with the content” are some of the main reasons behind the struggle. He asserts, “Indian fans aren’t used to the fandom marketing strategies that work in other countries, and K-pop companies don’t have a strong presence here.” This one-sentence rundown sums up a whole lot of friction: language, money, and a feeling that the music is still just out of reach for most fans. There’s an eager audience, but the industry hasn’t quite figured out how to tap into this market effectively just yet. 

“To make K-pop festivals work, we need to get creative.” Manners theorizes and adds that collaborating with local artists, offering affordable tickets, and providing English subtitles or dubbing are key. “Most importantly, K-pop companies need to establish a presence in India and engage with fans.” In other words, the formula is part local flavor, part smart pricing, and a lot of genuine fan interaction. Having worked with artists like Kim Woojin, Alexa, Pixy, Lucas, and Everglow in cities ranging from Shillong to Bangkok, Sikkim, Delhi and Mizoram, Manners states, “I’ve seen firsthand what works and what doesn’t,” stressing that smaller K-pop companies are more likely to succeed here because “they’re willing to adapt and lower prices. Online events or streaming could also help reach a broader audience.” 

It makes sense that the struggle is a clash between a global cultural phenomenon and the gritty realities of Indian logistics, economics, and bureaucracy, causing the dream of a massive K-pop festival in India to remain a far-fetched one for millions of fans. At the same time, things are definitely shifting, with more and more K-pop idols and their agencies showing interest in India as a potential stop for performance and marketing. “Now, the landscape is unrecognisable,” admits Engheepi. “Everyone can see K-pop’s impact here, and watching Indian fans finally get the recognition they deserve has been incredibly fulfilling.”

The momentum is building with Jung Kook’s (of BTS) highly anticipated exhibition, Golden: The Moments, finally arriving in India — a clear signal that the exhibition is a trial run for larger events. Hybe’s statement underscores the strategic angle: “Our goal is to build meaningful cultural bridges, connecting our global artists with Indian fans, where the voices of India become global stories.” 

For now, however, until the big stage arrives, the fans are keeping the party alive in community halls, Discord channels, and cramped living rooms – proof that when the big stage is out of reach, the subculture simply builds its own. 

The post The Struggling Beat of K-Pop Festivals in India appeared first on Rolling Stone India.

2026 is a year of heavy hitters and legends reclaiming their thrones in K-pop. And it’s an unbelievable lineup at that. BTS is finally dropping their fifth studio album. And it’s going to be a culture-shifting moment. Not to be outdone, EXO is coming through with their eighth full-length album, Reverxe. And for the Blinks?  Blackpink is back “in your area” with their third studio album.

But the nostalgia doesn’t stop here.  BigBang is celebrating a massive two decades in the game, and they’re doing it on one of the world’s biggest stages at Coachella. Meanwhile, if you’re into the more cinematic side of K-pop, Enhypen is pulling us into a whole new universe, exploring the dark fantasy vibes of their upcoming album, The Sin: Vanish.

If anything, it’s going to be the year when K-pop takes over our lives again. Let’s break down the comebacks you absolutely cannot miss in 2026.

BTS

The countdown to BTS’s comeback begins with their fifth studio album, arriving on March 20, 2026. The announcement was made on Weverse, accompanied by special handwritten letters from each member to their fans in the Weverse community. The 14-track record promises to be a showcase of personal growth and gratitude for fans, with all members involved in the creative process. The release comes with an extensive promotional world tour, with over 65 stops globally, potentially including India; the exact details are expected to be announced on Jan. 14, 2026. Pre-orders for the album open on Jan. 16, 2026, accompanied by teaser images and promotional schedules.

EXO

EXO-Ls and K-pop stans are hyped about EXO’s new offering, Reverxe, their eighth full-length album, following Exist in 2023, releasing on January 19, 2026. But this time around, the group includes only six members: Suho, Chanyeol, D.O., Kai, Sehun, and Lay, as Chen, Baekhyun, and Xiumin won’t be participating due to contract issues with SM Entertainment. The album boasts nine tracks, including the pre-release single “I’m Home.” A world tour is likely in the works, and the fifth season of their reality show, Travel the World on a Ladder, will play a key role in promoting the album.

Blackpink

While Blackpink is on the verge of wrapping up their Deadline World Tour, the K-pop superstars are gearing up for their comeback with their third studio album set to drop in early 2026, as confirmed by YG Entertainment. It marks 10 years since the quartet’s debut in 2016 and will be their first physical release since Born Pink (2022), featuring the lead single “Jump,” which dropped in July 2025 and became one of our top K-pop songs of 2025. Reportedly, in its final stages, band member Lisa recently hinted at the new music, courtesy of an InMusic report, saying, “There’s something for you guys coming, but I won’t say anything because you know I hate spoilers.” Meanwhile, you can catch the Deadline tour’s final shows in Hong Kong (Jan. 24-25, 2026).

BigBang

The K-pop icons will be celebrating their 20th anniversary in style at Coachella on April 12 and 19, 2026, with G-Dragon, Taeyang, and Daesung taking the stage — their first major group performance since 2022’s “Still Life.” The Coachella performance is part of their year-long celebration. According to Korea JoongAng Daily, the band is also working on a new album, their first since 2016’s Made and leaving YG Entertainment.

Enhypen

Enhypen’s forbidden love saga continues with their seventh mini-album, The Sin: Vanish, launching a fresh narrative arc in the dark-fantasy universe. The album picks up where Desire: Unleash left off, with lovers forced into exile to keep their love alive amidst a vampire society’s rigid rules. The Sin: Vanish follows a vampire’s existential crisis — if he should cross the line for the one he loves — and hints at Enhypen’s signature blend of styles, rich vocals, a solid sound design, and darker textures. The EP drops on Jan. 16, 2026, at 2 PM KST (12 AM ET) digitally and physically.

The post The Biggest K-Pop Comebacks of 2026: BTS, EXO, and More appeared first on Rolling Stone India.

Joohoney returns with “Sting,” a new single that samples an iconic line from boxing legend Muhammad Ali. The pop-hip-hop track, fresh off his second mini-album, Insanity, is Joohoney’s statement of creative defiance and represents a creative rebirth for the Monsta X member. It’s built around the idea of embracing one’s inner madness to truly shine — something that also resonates with Joohoney’s own trajectory and is a more meaningful look into his personal musical identity, free from the constraints of a group dynamic.

The song rides on the rhythm of Ali’s legendary mantra: “I’m gonna float like a butterfly, sting like a bee.” Joohoney internalizes it; he takes Ali’s iconic words and makes them his own, infusing them into a narrative of self-discovery, artistic revival, embracing contradictions, finding strength in vulnerability, and transforming pain into light.

The lyrics, “I think dream is a marathon/Sweating on my body still not enough/I’m searching for who I am, what kind of character/The ego of passion that lit the fire…” express that determination. As a self-producing artist involved in the songwriting, composition, and production of the track, Joohoney is constantly chasing his vision, and Ali’s voice sample adds a layer of depth and history while also grounding the song in a larger-than-life spirit.

The music video is a vivid portrayal of the same, where gritty junk settings match a high-energy performance. The camera frames everything from Joohoney’s power moves to his rebellious gaze with a level of intensity that plays out like a portrait of a fearless artist, not shying away from peeling back the layers of the person he is. Images used in the video, like the Chinese character for light (光) and the bee motif, add to the narrative, while an intriguing chess sequence, where Joohoney is playing against himself in the mirror reflect how he’s battling himself as much as anything or anybody else.

“Sting” is pretty immersive, making the listener feel as if they’re right there in the ring, feeling the heat of the moment with the artist amidst the sweat, grit, and roar of the crowd. The production is heavy with percussive elements that push the song forward, highlighting the instinctive sides of Joohoney’s creative process in sync.

Both as a member of Monsta X as well as a solo artist, Joohoney has been bringing his edge to K-pop, one powerful verse at a time, fusing the unrestrained energy of hip-hop with a surprising emotional depth.

Often blending trap flows, catchy melodies, and hooks with a lot of attitude, he’s like a scientist in a studio, experimenting with diverse sounds that feel reminiscent of mixtapes like Out of Control, Psyche, and a bunch of hits he has produced for Monsta X and other groups. And with “Sting,” Joohoney takes things up a notch, unleashing sharper bars and delivering the punch, just like Ali.

The post Joohoney Drops Sharper Bars with ‘Sting’ appeared first on Rolling Stone India.

BTS is officially coming back on March 20, 2026, with their fifth studio album, featuring 14 brand new tracks. The announcement was made on January 1, 2026, via Weverse, the group’s official platform for connecting with fans worldwide. The album release will be followed by an extensive promotional world tour, whose details will be announced on January 14, 2026, at midnight KST.

Leading up to the announcement, BTS—in a token of appreciation and love—sent special handwritten letters to their fans, ARMY, who have been Weverse members thus far, announcing their comeback. Each member—RM, Jin, Suga, J-Hope, Jimin, V, and Jungkook—wrote their own letter, expressing gratitude to fans for their love and support over the years. The letters were delivered directly to their homes, like the first official notification—albeit with a personal touch—of their return to the music scene. For those who didn’t get a physical copy, it’ll be available on the platform at the end of January.

In his letter, V expressed excitement to reconnect with ARMY, hoping for a warm reception for their new music. RM, Jin, Suga, J-Hope, and Jung Kook also shared their thoughts, saying they’re stoked to finally share new music after a long wait and expressing their love for ARMY. According to a press release, the album promises to be a creative reset for BTS, showcasing their personal growth and gratitude towards their fans, with all members contributing to its creative process and reflecting their individual perspectives and emotions.

The world tour in question is the group’s first in approximately four years since BTS Permission to Dance on Stage, which concluded in Las Vegas in April 2022. Set to be a massive event with over 65 stops globally, the tour is anticipated to be a defining cultural moment, celebrating a reunion that’s expected to be etched in pop culture history. India is rumored to be one of the stops, especially with Hybe’s new wing opened in the country and Jung Kook’s Golden exhibition recently held in Mumbai.

The anticipation is building as we await further updates, while BTS has reset their Instagram account, further fueling fan theories and excitement. Pre-orders for the album will open on Jan. 16, 2026, followed by teaser images and promotional dates.

With BTS’s history as record-breaking hitmakers, this comeback is poised to mark a new era for the band, grounded in the years of connection and loyalty they’ve built with their fans and listeners. Meanwhile, BTS has launched their new official website, where you can access more information about the release and tour in the coming days.

The post BTS Is Back, and the World Is Listening appeared first on Rolling Stone India.

Christmas is here, and your K-pop playlists are begging for a festive makeover. You could do that with the winter wonderland EXO’s “First Snow” brings or maybe the chaotic, Grinch-like vibes of Stray Kids’ “Christmas EveL.” In keeping with the holiday spirit, we’ve curated a list of K-pop Christmas songs that capture the essence of this season in all its joy, chaos, and warmth. Whether you’re into romantic ballads, fun party numbers, or quirky holiday tunes, here’s our list of K-pop hits to get your playlist holiday-ready.

EXO – “The First Snow”

“The First Snow” is a K-pop Christmas classic that never gets old. Its gentle, soothing melody captures the magic of snowfall, with lyrics about making memories with your loved ones that really hit home. The piano accompaniment is soft, the harmonies are lush, and EXO’s vocals make everything come alive — the perfect soundtrack for cozy winters and Christmas festivities.

Stray Kids – “Christmas EveL”

This song may seem like an outlier among Christmas songs, but that’s precisely why it hits the spot for some. It’s about the chaos of the festive season, from the holiday rush, buzzing streets, extreme cold, the whole nine yards, layered over a funky hip-hop beat that captures Stray Kids’ edgy vibe, along with some festive bells and chimes that add to the mood. If you’ve ever felt a little Grinchy during the holidays, “Christmas EveL” is for you — a refreshing mix of humor, spirit, and heart that makes it a must-listen.

Jimin – “Christmas Love”

A holiday pop treat, “Christmas Love” is sweet-toned, blending traditional carol vibes with modern R&B beats. Jimin (of BTS) wrote it as a Christmas gift to fans, inspired by his childhood memories of snow falling on Christmas morning. Consider it an offering to help people tap back into that carefree, innocent feeling and remind them they’re loved through this feel-good music.

Twice – “Merry & Happy”

“Merry & Happy” is a holiday romance, written by J.Y. Park, a pop delight that turns the holidays into a celebration of love and connection. With its snappy charm and holiday sparkle, this track is surely Twice’s gift to your Christmas playlist.

BTS – “Dynamite” (Holiday Remix)

Vibe with this festive remix from BTS, which brings the original song into the holiday season with a fresh sound. The original’s upbeat mood, sassy style, and ease get a festive facelift where retro disco-pop meets Christmas magic, with a warm holiday vibe and jingle bells taking center stage. The vocals are intimate, making the song’s message of spreading joy, hope, and confidence as comforting as a hug from your best friend.

Girls’ Generation-TTS – “Dear Santa”

“Dear Santa” rewards close listening and repeated plays with its subtle fusion of pop, R&B, and jazz, where each layer reveals new depths and textures. The song’s emotional core is its message of romantic longing, perfectly captured in Taeyeon, Tiffany, and Seohyun’s soulful vocals and a soaring swing section.

NCT Dream – “Candy” 

“Candy” is the essence of winter romance in NCT Dream style, a revamp of the H.O.T. classic featuring R&B and pop elements alongside a dash of festive magic. The lyrics express the happiness of loving someone, and the band’s energetic performance is sure to leave you with a big smile on your face.

Super Junior – “Celebrate” 

“Celebrate” is like the perfect background music for a quaint coffee shop on a snowy night. The bright synth-pop, off Super Junior’s 11th studio album, is like a love letter to the festive spirit — the crunch of snow, the warmth of a cup of hot chocolate, and the laughter of friends and family — in a catchy, feel-good number that reminds you to slow down, appreciate the everyday miracles, and drink in the fun of being together.

Red Velvet X Aespa – “Beautiful Christmas”

A highlight from the SMTOWN winter album, 2022 Winter SM Town: SMCU Palace, “Beautiful Christmas” is a dance carol built on cheerful swing rhythms and piano hooks. The cute crossover showcases the versatility and chemistry of Red Velvet and Aespa, with a message that emphasizes the importance of appreciating the people and moments that make the holiday season special.

The post K-Pop Christmas Hits: Must-Add Songs to Your Holiday Playlist appeared first on Rolling Stone India.

Zico is back with his new song “Duet,” teaming up with solo artist Lilas, also the vocalist of popular Japanese duo Yoasobi, where she goes by Ikura. This collaboration is a fusion of contrasting styles, where Zico’s Korean hip-hop meets Lilas’s J-pop sensibilities, resulting in a sound that feels familiar yet refreshingly new all at once. It’s this quirkiness and joie de vivre that gives “Duet” its charm, a joyous pairing of music and movement.

The song’s genesis was a simple question — what if they recorded a duet together? The answer is a resounding yes. The track wins in its differences — Zico’s rapping and Lilas’s vocals create a distinct harmony, giving its upbeat sound some serious oomph. Lilas adds to the effect with her signature, vibrant, high-energy Yoasobi spark, as Zico’s relaxed flow glides over Japanese-Korean lyrics, giving the linguistic medley an extra cool factor.

The music video is a visual expression of the song’s playful character, where Zico and Lilas ignite a dance frenzy on a mundane day, which spreads like wildfire. Classrooms, offices, streets — no space is off-limits, and everyone’s suddenly moving, especially the kids, showing everyone how to let loose. Filmed in Japan, the video injects a simple message into Zico’s global vibe and sound: that music is a universal language and can turn ordinary moments into something unexpectedly fun.

The lyrics capture the essence, “It’s stuck in my head/A melody we build together/A magic that gets hotter as we sing…” highlighting the magic of artists from different cultures coming together. The song’s main highlight is its mix of K-pop, J-pop, and Korean hip-hop, which is as global as it is uniquely Asian.

Zico, the popular South Korean rapper, record producer, and singer-songwriter, known for hits like “Summer Hate,” “Human,” and “Any Song,” has consistently looked to push beyond — from working with Mino on “Okey Dokey” to collaborating with Jennie (of Blackpink) on “Spot!” And with his new collaboration, he continues to innovate and experiment while also exploring impact through a cross-border collaboration, and we’re here for it.

The post Zico Returns with a Vibrant Cross-Cultural ‘Duet’ appeared first on Rolling Stone India.

Seventeen members, DK and Seungkwan, are debuting a brand‑new unit under the name DxS, with their first mini‑album, Serenade, dropping on Jan. 12. DxS joins the band’s existing lineup of four subunits —BSS (featuring DK, Hoshi, and Seungkwan), JxW (Jeonghan and Wonwoo), HxW (Hoshi and Woozi), and CxM (S.Coups and Mingyu). The announcement arrives via a trailer titled “An Ordinary Love,” released recently on HYBE Labels’ official YouTube channel, offering a first taste of the duo’s cinematic storytelling.

The trailer opens with DK staring at a phone he can’t hang up, a frozen beat of longing that hangs in the air like a held breath. The scene then cuts to his apartment. Around him, wilted potted plants and a bowl of dried-out fruit sit in muted, desaturated tones, their gray‑washed leaves mirroring a love that’s slowly losing its spark. His everyday routine feels like a loop of endless, cloudy days, until an unexpected someone (without revealing her face) appears and snaps the scene into motion, hinting that the two lovers are about to drift onto separate tracks. The visual vibe is a warm yet melancholy mix of vintage Nineties and the nostalgia it brings: flip phones, grainy film stock, and a cozy comic‑book café. Every frame is drenched in soft, slightly desaturated colors, with a delicate color grade that gives the whole thing a short-film-like feel.

Seungkwan enters the scene behind the counter at a little comic‑book café, and when a customer pulls out a pile of books, his eyes light up like he’s just seen an old flame. A quick, wistful smile slides across his face, and he’s instantly back in that warm, fuzzy memory. Then, in a split second, he fumbles, misses one of the books off the pile, and rushes to hand it over, a tiny reminder of missed chances and those fleeting connections. The cover of that book flashes “Blue,” adding a sense of melancholy and also a hint of mystery to the sequence. On the other side, DK’s finger ring (possibly a wedding ring) glints in the low light, a subtle nod to a love that once felt forever, while the “Blue” comic acts as a symbolic key to the album’s heart. Together, their stories — DK’s static boredom and emotional distance, Seungkwan’s wistful recollections — weave an anthology of ordinary love: the encounters, the separations, the quiet moments, and the new beginnings. The trailer, titled “An Ordinary Love,” captures all that in a cinematic, almost poetic way, setting the stage for Serenade.

According to a press release, Serenade, meaning “a love song sung at night,” captures every little moment between meeting and parting through DK and Seungkwan’s raw storytelling. It’s got that cozy, wintertime feeling and paints the everyday ups and downs of love in a way anyone can relate to. The album promises to pull listeners into an emotional groove, while the two artists get a chance to explore their own identities and push their artistry further. Think of it as a blend of their complementary voices, polished technique, powerful delivery, and a whole lot of feeling.

The post DK & Seungkwan of Seventeen Tease a Nostalgic Love Story in Trailer for Upcoming Album appeared first on Rolling Stone India.

Enhypen, the K-pop supergroup, is releasing their seventh mini-album, The Sin: Vanish, coming hot on the heels of their previous offering, Desire: Unleash.

This new release launches “The Sin” series, a fresh narrative arc that plunges the group deeper into their dark‑fantasy universe—a bold continuation of the saga that began with the vampire-laced drama of the previous EP, now exploring an absolute taboo that the vampire society has condemned as unforgivable.

The album’s vibe is built around lovers who are forced into exile to keep their forbidden love alive. In Enhypen’s world, desire and sacrifice are up against an iron‑clad vampire code, so the boys have to make choices that could literally tear their world apart. It picks up right after Desire: Unleash, adding new characters, secret betrayals, and a looming threat that puts love and loyalty to the ultimate test.

In The Sin: Vanish, a vampire battles his inner demons over whether or not to change his beloved. He remains resolute and even takes extreme measures, such as withdrawing from everything and even sacrificing himself, to ensure that his love for another will never fade, even when his obsession reaches a breaking point. It’s a dark, raw look at the pain of letting go and the weight of choices that feel absolutely forbidden.

The EP promises a wider range of musical styles, with smooth, mature sounds that mix Enhypen’s genre-hopping style with darker, more atmospheric textures. No track titles are available yet, but expect polished beats, haunting melodies, and lyrics that echo the tragic romance in the story, along with a sound designed to match the high-concept visuals—cinematic, intimate, and totally immersive. The EP is sure to have that classic Enhypen vibe—melodic, easy on the ears, and layered enough to keep you hitting replay.

The Sin: Vanish will drop on Jan. 16, 2026, at 2 PM KST (12 AM ET) as a digital and physical EP. The full tracklist and detailed credits will be revealed in the weeks leading up to the release.

The post Enhypen to Return with Dark New EP ‘The Sin: Vanish’ appeared first on Rolling Stone India.

2025’s K‑pop scene has been one of stellar releases, and narrowing it down to the top 25 felt like a task. We let a mix of chart-topping power, virality, creativity, and the sheer “wow” factor of each track guide us. So when a song like Ejae, Audrey Nuna & Rei Ami’s “Golden” turns into a Golden‑Globe‑nominated anthem, you know it’s in. Jennie’s “Like Jennie” brought club fire to the K‑pop arena, while Katseye’s “Gabriela” swapped neon hyper‑pop for a Latin‑spiced R&B vibe looping in our minds like a pop chorus.

From Ateez’s citrus‑kissed “Lemon Drop” to TXT’s effortlessly snappy “Love Language,” each release pushed the envelope — whether it was Aespa’s gritty “Dirty Work,” Blackpink’s hard‑hitting “Jump,” or Stray Kids’ hip “Do It.” Even under‑the‑radar gems like Chen’s raw “Broken Party” or Jin’s moody “Don’t Say You Love Me” showed how emotional depth still cuts through. In essence, these 25 K-pop songs earned their spot because they didn’t just sound good — they sparked covers, conversations, and, most importantly, gave us a soundtrack for every high‑energy night out, late‑night introspection, and everything in between this year.

Ejae, Audrey Nuna, Rei Ami : “Golden”

“Golden” from the Netflix smash KPop Demon Hunters is the perfect hype track for heroes on a mission— an infectious electropop hit where the girls (of the fictional girl group Huntr/x) sing about the “Golden Honmoon” and their battle against demons. It’s got that old‑school vibe, with traditional instruments sneaking into a glossy pop hook, which really makes you feel the characters’ growth from novice recruits to guardians of the world. It even drops a nod to one of them, Rumi’s introspection about their complicated role. The song has racked up a Golden Globe nod for Best Original Song, topped multiple charts, and gone viral on TikTok and Instagram, spawning a flood of cover clips and a double‑platinum badge in the U.S. And let’s not forget the backstage legend — Ejae shared she saw a “grunge ghost” flicker in the studio when a knob went haywire, a spooky anecdote that only adds to the track’s mystical charm.

Jennie: “Like Jennie”

The song drops you straight into a metallic baile‑funk beat that feels like a club punch. Co‑produced by Diplo and Zico, Jennie’s sharp Korean rap slices through the synth storm, making it the draw of her debut album, Ruby, and one of 2025’s buzziest K‑pop releases. Critics raved that it’s a vibrant manifesto of Jennie’s identity, with a snarled confidence that futurizes the Blackpink sound, while the track’s relentless energy and unforgettable hook (“Who wanna rock with Jennie?”) has turned it into a global hit.

Katseye: “Gabriela”

“Gabriela” is like a breath of fresh Latin‑spiced air in the K‑pop scene, swapping Katseye’s neon‑hyperpop past for a sleek, emotionally charged R&B‑pop vibe. The production — courtesy of Andrew Watt and John Ryan — layers a snaking bassline with Latin-esque rhythms, while the six‑member vocal blend shines in a chorus that loops “Hands off, Gabriela‑la‑la” straight into your head. Daniela’s Spanish bridge adds an almost telenovela‑flair twist, turning the song’s jealousy‑meets‑empowerment narrative into a modern take on the classic “Jolene” vibe — like Dolly Parton’s iconic plea to a rival, but flipped into a fierce, “this is mine” anthem.

Ateez: “Lemon Drop”

Ateez’s “Lemon Drop” is a sun-drenched detour into breezy hip-hop and R&B, like a shot of citrus in the veins. Band member Hongjoong called it a “diversification, not a break” from their style, and the sugar-rush lyrics bear that out: “I keep getting drawn to you, too insidious,” “bitter-sweet luxury,” and that flirty “stop tempting me” vibe turns a simple confession into an earworm. The retro-summer video — spinning fans, lemon slices on an old TV, dripping clothes, slick choreo — amps up the heat, while the chorus (“Lemon drop… Tequila, tequila sunrise”) hits like a citrusy kick. Ditching the darker edge of “Hala Hala” for this lighter, more joyful sound, Ateez proves they’re as good at pure fun as they are at cinematic storytelling, making “Lemon Drop” the perfect, feel‑good song that cements their 2025 comeback as one of the year’s best K‑pop releases.

TXT: “Love Language”

“Love Language” comes with a crisp beat and a snappy synth line that meets a subtle Afro‑groove, as TXT’s voices slide right into the pocket, turning a simple “what’s your love language?” into a hook that sticks before you even realize it’s there. The production is clean, the chorus is playful, and the whole track oozes with a charm that makes it feel fresh and exactly the kind of K‑pop moment that stands out in 2025.

IVE: “Rebel Heart”

What hits you first in this song is the electric snap of the bass, and then the way IVE layers their brilliant harmonies over a chorus that’s part anthem, part whispered confession, turning the whole thing into a rebellious love‑letter you can’t help but sing along to. The production never feels over‑stuffed; instead, it balances slick synths with a raw drum feel that keeps the energy high without losing that polished IVE sheen.

Jisoo: “Earthquake”

Jisoo’s (of Blackpink) intimate, urgent delivery gives “Earthquake” its hook, mixing a retro‑disco vibe with sleek synth‑pop textures. The driving beat and her voice flipping from vulnerable to confident give the track a pulsating, roller‑coaster energy, while the lyrics paint love as a seismic tremor that rattles her heart. The lead single from the EP Amortage snagged rave reviews for its catchy melody and Jisoo’s vocal prowess, cementing it as a highlight in her discography.

Yeonjun: “Ghost Girl”

In “Ghost Girl,” Yeonjun (of TXT) delivers a punchy reggae‑rock mash-up built on a thumping bass line, crunchy guitars, and tight drums that lock into a hypnotic rhythm. The song has a sensual, poised character narrating a poignant tale of chasing a “ghost girl.” Its pre-chorus has this eerie feel, setting the stage for a chorus that bursts into the spotlight while Yeonjun’s emotive voice glides over the rugged-but-polished fusion for a sound that’s distinctly husky and highly magnetic.

Blackpink: “Jump”

One of the biggest K-pop comebacks in 2025, Blackpink released “Jump,” breaking a two-year silence since “The Girls” (the 2023 mobile‑game OST). The track swaps the group’s usual glossy pop for an edgier, hard-style intensity that collides with catchy beats and Western-style guitar licks, letting Jisoo, Jennie, Rosé, and Lisa each flex their uniqueness. YG Entertainment called it “blending Blackpink’s signature style with fearless experimentation,” and the song is surely a statement of independence. Co‑written by Teddy, Diplo and the members, Rosé and Jisoo proudly declare, “I’m not that easy to tame.” Jennie and Lisa’s rallying “jump” call drives the tempo, celebrating sisterhood and breaking out of the system, bursting with city‑street energy until the iconic “Blackpink in your area” sign‑off perfectly rounds out the song.

Stray Kids: “Do It”

A banger of a single, in “Do It,” the group’s bold vocals and smooth flow dance over a relaxed reggaeton beat, complete with an addictive refrain and a groovy bassline that says, “Don’t hesitate—trust your instincts and keep moving.” The song integrates hip-hop and rock elements with a cowboy‑themed aesthetic, a perfect snapshot of the Stray Kids’ vibe and artistry.

J-Hope, GloRilla: “Killin’ It Girl”

J‑Hope (of BTS) and GloRilla bring the heat in “Killin’ It Girl,” a pop‑hip‑hop fusion about embracing your confidence and owning the moment. The track’s got that unmistakably infectious beat, synth tones, and a star-studded collab that turns it into a fun, upbeat dance number. The ultra‑cool, punk‑styled video —starting in greyscale before exploding into color — adds a visual punch to the song’s energy and attitude, making it more of what it is: a very stylish piece of music that’s one of our favorite K-pop collabs of the year.

Hwasa: “Good Goodbye”

“Good Goodbye” is Hwasa’s (of Mamamoo) breakup song wrapped in a friendly farewell. Co-written with An Shinae, the track lets her powerful voice shine over a chorus that repeats, “Goodbye will hurt us, but we’ll keep it beautiful/Smile even brighter…,” turning pain into something hopeful. The cinematic memory‑reel video, featuring waves crashing, vintage suitcases, a “US”‑carved lock, and that dim‑lit blues dance with Korean star Park Jeong‑min playing her love interest, underscores the bittersweet tension between past love and a graceful goodbye. Hwasa’s relaxed vibe in the video further punctuates a more thoughtful side, while her words add more depth to the song’s message: “Goodbyes are never easy… I hope listeners find comfort in a ‘good goodbye’ and remember how beautifully we live, even in farewell.”

Katseye: “Gnarley”

“Gnarley” drags you into Katseye’s chaotic playground of hyper‑pop, razor sharp electro‑pop beats, and whole lot of oomph and cool moves rolled into one hyper‑experimental cocktail. “Gnarley” is unapologetic in its choreography, confidence and tone, while its love-hate duality makes a playful dig at the relentless, material-driven online world. Some critics may have labelled it “intentionally unpleasant,” but that’s exactly the point: the song’s polarizing nature made it a fresh, well‑received track that speaks to anyone tired of cookie-cutter flows.

Le Sserafim: “Hot”

The final chapter of Le Sserafim’s albums “Easy, Crazy, Hot” saga, “Hot” — a pop track with a dash of rock and a hint of disco — lets their lofty harmonies pierce the percussion and deep bass line. The song pushes you to pursue your passion with a dance routine that remains stylishly minimal, accentuated by a subtle moonwalk step in the chorus that injects personality without stealing the spotlight from the singers.

Andrew Choi, Neckwav, Danny Chung, Kevin Woo, Samuil Lee: “Soda Pop”

“Soda Pop” kept blowing up on socials — Jay from Enhypen and several artists and a swarm of Instagram Reels and TikTok videos couldn’t get enough of it. And it makes sense: this bubblegum-esque, super-catchy pop track makes for the perfect intro for the Saja Boys, the demonic K-pop boy group from KPop Demon Hunters. When they abruptly pop out of a marketplace and launch into the song, their flower‑boy looks and slick moves wow the crowd, a clever façade that hides their dark secret. All that hype and the retro‑fresh vibe cement “Soda Pop” as not just a viral hit but one of K-pop’s best this year.

Hearts2Hearts: “The Chase”

Hearts2Hearts — SM Entertainment’s newest rookie girl group since Aespa and the first multi-member girl group since Girls’ Generation — burst onto the scene with their debut single “The Chase,” off the album of the same name. A package of dreamy sound, solid vocals, a thumping bass synth, and a progressive build-up, the song has a beautifully textured feel that fits the album’s “Dreams and new beginnings” theme. Its lyrics add emotional depth, the composition adds a fresh R&B flair, and as a whole, it feels like a glimpse into the girls’ quest for identity, moving from carefree excursions to an urban maze where they evolve into “their own unique blueprint.”

Chen: “Broken Party”

“Broken Party,” Chen’s pop‑rock single, flips his usual ballad vibe with a full‑band sound that lets his massive, powerhouse vocals shine once more. The track dives into loneliness, longing, and self-reflection, with Chen calling it his darkest, most autobiographical song to date. The haunting hook “Welcome to my broken party,” invites you to sit with vulnerability and start healing. And though the song’s digital-only and understated release prevented it from getting the success it deserved, it’s still a gem by one of the most acclaimed singers in Korean entertainment.

Jin: “Don’t Say You Love Me”

This moody pop lead from Jin’s (of BTS) second mini‑album Echo, nails the ache of a love that’s falling apart. Its lyrics (“Faking a smile while we’re breaking apart…”) and soft vocals cut deep, while a movie‑like video (Jin co-starring popular Korean actress Shin Sae‑kyung, Singapore backdrops, monochrome reality vs. colorful flashbacks) brings the drama. Jin challenged himself to fully embrace the angst in the song. He acknowledged feeling nervous about working with Shin but expressed gratitude for her acting skills, a raw honesty that shows in this melancholic pop track.

Junhee: “Supernova”

“Supernova” is Junhee’s (of A.C.E) solo debut, a retro‑disco pop tune and the pre-release single for his first mini‑album, The First Day & Night. The track features vintage synth grooves alongside modern pop elements, highlighting his vocal prowess, especially on that bright, groovy chorus that lives up to the title. In short, it’s a supernova of sound that feels perfect for a karaoke session on repeat.

Super Junior: “Express Mode”

A euphoric club-pop track that hits the nostalgia button while barreling full-speed into the future, “Express Mode” pairs retro K-pop beats with gorgeous electronic drops, capturing Super Junior‘s no-holds-barred determination to keep pushing toward new goals and never hitting the brakes. And the icons do that just right in this song, bringing back their signature charisma and choreography, still on point even after two decades.

Andrew Choi, Neckwav, Danny Chung, Kevin Woo, Samuil Lee: “Your Idol”

The Saja Boys stage “Your Idol” like a hypnotic portrayal, subverting their initial pretty boy “Soda Pop” image. Haunting and surreal, the song is a biting critique of fame’s darker side while laying bare the group’s manipulative nature. Its dark yet infectious melodies prove the Saja Boys are as wickedly entertaining as they are talented artists, cementing “Your Idol” as both a movie moment and a K-pop hit of the year.

Zerobaseone: “Blue”

“Blue” showcases Zerobaseone’s signature breezy alt-pop sound, blending airy guitar riffs with bright, uplifting vocals. The color of the title is a cozy metaphor for those timeless moments when you lock eyes with someone special, and the band members’ nostalgic memories in the lyrics “Can you remember days/When we found each other/When the sky so blue/When seasons pass/And everything begins to change and disappear,” adds a sweet, feel-good layer that makes the song resonate right from the start.

Aespa: “Dirty Work”

This one’s a dance hit that leans into hip‑hop and a moody, industrial aesthetic. The beat is gritty, the bass hits hard, and the members deliver a slightly edgy performance that feels charismatic, fresh yet unmistakably Aespa. The “dirty” concept — complete with muddy visuals — gives the track a rebellious, streak that sets it apart.

Onew: “Winner”

Onew’s (of Shinee) “Winner” is a beautiful R&B ballad that reads like a line from a personal diary set to music. He wrote and produced the piece, letting his expressive voice do the rest. With lyrics like “even if I fall, I’ll get up,” it’s a cry for self‑acceptance wrapped in a tune whose core is simple: every struggle is a badge, and we’re all winners in our own story.

StayC: “Bebe”

In “Bebe,” StayC trades their candy‑colored “Teen Fresh” formula for a darker, more assertive sound, pairing relentless house beats with lush R&B elements. The line “Don’t wanna be a bebe” lands like a short but sharp statement of self-worth, making the track one of our top K-pop songs of this year.

The post The 25 Best K-Pop Songs of 2025 appeared first on Rolling Stone India.