Rounding out our year-end reviews here at Seoulbeats, writers Celina and Chelsea reflect on the year’s best comebacks. It was a year of returns to the scene, change-ups in sound, and challenging what makes a comeback successful when metrics seem all over the place. Don’t hesitate to let us know your favorite comebacks of 2025 in the comments below!
Celina: Excited to do another chat with you, Chelsea. For this review, I went through the whole year, and was surprised by how many comebacks I loved in 2025. It definitely took me time to go through them again and look at the aspects surrounding a comeback, including the song, the concept, the MV, and any accompanying albums.
Since their debut, Illit has embraced their signature style of catchy choruses with an equally adorable dance routine. As girl groups start to show their maturity, I think they tend to lose what made them popular in the first place. However, Illit has evolved with their music while remaining true to their origins. This comeback is their first step towards a more mature style while taking a sarcastic jab at their own previous concepts. I love that they took a chance, and that is why they made it to my top 5.
The song itself may not be as loud and high-pitched as their previous comebacks, but the melody still rings in your head. Their deadpan facial expressions, and their almost monotone delivery of the lyrics comes together perfectly for this theme. Even their dance routine, while similar to previous ones with the hand-movements, is a more relaxed version of their trademark. They also still used many details throughout the MV, like in previous comebacks to further elaborate on their metaphors. All together with the concept, made me thoroughly enjoy this comeback.
What about it did you like?
Chelsea: For me, this year has been more of a mixed bag. As can be seen in my SB Mid-Year Review, very few releases in the first half of this year really stuck for me, nor did I see a lot of major general public reaction or chart power. However, I am happy to say that several releases from the second half of the year not only caught my attention, but reminded me of the power of good concepts and challenging perceptions in pulling listeners in.
Illit is exactly one such group. I’ve been a fan of Illit’s concepts and releases since debut, and “I’m Not Cute Anymore” feels like a perfect balance between a departure from what was expected and just enough magic to keep the concept consistent. Like you said, true to their origins, but not afraid of changing things up a little. They’re at a point in their career where that little bit of variety is necessary, and Belift Lab hit it out of the park for this one.
I think the MV does a great job from start to finish of showing the faux boredom of the members who want to be so unaffected and mature while still showing they are undeniably cute. Perhaps just in a different, more mature way. The members’ expressions paired with the choreo felt very clever, and it made the song stand out. The song, too, is catchy — tragically short, but catchy. I find myself still having it stuck in my head a month after release, along with flashes of the choreography. Although it was just a single, it feels like “I’m Not Cute Anymore” both as a sound and a concept promises an interesting new direction for the group.
Thinking of concepts that were a change for the artist but a major success this year, I have to give my props to the sleeper hit that was Hwasa’s “Good Goodbye.” The track is heartbreaking but self-assuring in its vagueness of the reasons for a breakup, and the MV is one of the most bittersweet and healing of the year. It showed off a more subtle side of Hwasa as a soloist with a concept that was universal: an impactful end to a relationship, but not necessarily a tragic one. The pain Hwasa carries is her own, but she won’t allow herself to be bitter about it because she was lucky enough to know the love she is leaving behind.
I also love that she cast her TV crush Park Jeong-min as the love interest in the MV, and that he later joined her onstage at the Blue Dragon Film Awards to bring the song to life. It was that performance that made the song blow up domestically. With how much genuineness was conveyed on that stage between the two, I can see why. Since, it has dominated charts and become a proper public friendly hit – as well as a meme. It feels long overdue for Hwasa, who has had a string of catchy solo releases with bombast, but very few releases that show off a softer side to her musicality. Overall, it was a solid release and a solid conceptual direction that I’d love to see her pick up again. (But, I also wouldn’t mind another “Maria.”)
I see you also have a third-gen girl group soloist on your list. What about Jisoo stood out for you?
Celina: I get what you mean when it comes to seeing a different side to someone you love as an artist. To be honest, I did not expect a comeback from Jisoo since I figured she would be focusing on her acting career. I think she also gets a lot of flak as a vocalist just because she has a lower tone with a shorter range. Not that she even has the opportunity to show the audience anything more with how little verses she receives in Blackpink.
When it comes to the music with the group, the ladies stick with songs that are about being confident, cool, and edgy. However, I believe it was intentional that Jisoo’s comeback was centered on the concept of love. “Earthquake” is the perfect bubblegum single that has a catchy melody, along with a fun dance routine. It also completely sets her apart from her persona in Blackpink.
Additionally, the rest of her album brought together different tones and music, while gushing about love, showing us a sweeter and more vulnerable side to Jisoo. When it comes to her voice, I think she and her agency chose the best songs to show off what she can do vocally. While it may not have had the impact that the other members of Blackpink had with their comebacks, I think Jisoo’s solo was a step in the right direction for her music career.
While Nmixx is not my cup of tea, I applaud them for always being brave when it comes to their sound. What about this comeback for you made the list?
Chelsea On paper, Nmixx also seem like they wouldn’t be my cup of tea. Yet, they’ve managed to surprise me with almost every release and draw me in. They’re one of only two acts on my year-end list that was also on my Mid-Year Review list. For the first half of the year, it was the smooth vocals of “Know About Me” and the unique marketing and packaging of Fe:304 that earned my praises. In the second half, it is the runaway success of “Blue Valentine.”
This is another track that has dominated domestic charts since release, and I think the vulnerability embedded in every note of the song contrasted with the whimsy and strength of the MV had a lot to do with that. From the track we get a bittersweet ending of a love story, and Nmixx vocals knock it out of the park. Then from the MV we’re served two parallel worlds: one warm, sunny and filled with smiles, and its cold counterpart set mostly in outer space. I still can’t say I 100% get what the MV is getting at, but it does make me feel some kind of nostalgic ache that resonates through the song.
Unlike many releases this year, “Blue Valentine” was not one that had to grow on me. I felt it from first listen, and that’s why Nmixx have twice earned spots on my lists this year.
I see we’ve both got Hybe artists on our lists, and it’s safe to say it was a big year for its subsidiaries. What set J-Hope’s solo apart for you?
Celina: For me, it was everything. I think when it comes to any member of BTS, they are never scared to explore genres. I liked how different all of their solo comebacks were, but when it came to J-Hope he managed to release banger after banger this year.
For his last comeback, prior to military service, J-Hope released “Arson” which was an introspective song that focuses on the level of his success thus far. However, with this year’s comeback, you can tell J-Hope was more interested in just having fun. He released more romantic and sultry singles like “Killin’ It Girl”, “Mona Lisa” and “Sweet Dreams.” On top of these hits, he included choreography that was not simple and thus not Tiktok friendly. It really reminded me that part of the reason I loved BTS to begin with was how dynamic and intricate their dance routines were. J-hope did not hold back for this comeback. His choreography with Alyssa Santos in “Killin’ It Girl” is absolutely insane with the speed and chemistry.
Along with the accompanying concert movie, J-hope really showed the world that he was worth waiting for after coming back from his military enlistment.
Enhypen is another Hybe group that I follow too despite them not making it to my list. What about this comeback helped push them to your final list?
Chelsea: I really appreciate when choreography is challenging and not made for TikTok challenges, so I agree that J-Hope’s releases stood out!
As for Enhypen, though they don’t have as much domestic buzz compared to international, they have remained one of the most consistent groups since debut in regards to quality, sound, and concept. Their branding is so solid, but with each comeback they manage to surprise me with just how much I like every track on the album. That was the case for June’s Desire: Unleash release and its title track “Bad Desire.”
Much like for you with J-Hope, a major stand-out point for me was the choreography shots in the MV. Yes, there are dragons and members levitating and teleporting, but the core of the MV is the dance sequences. They’re shot from unconventional angles, and the camera is always moving, which when combined with the formations makes the dance feel dynamic and edgier than if they were dancing toward a stationary camera. It’s the kind of MV I want to rewatch just to be immersed in the vibes. Though I will admit, some segments (like Sunoo floating away) do make me giggle even now.
Overall, I adore the dark edge of all their releases. “Bad Desire” is in many ways a love song, but it’s a tortured, dark sort of love that suits their vampire concept. The comeback fits right in with their overall discography yet still challenges the members and pushes them towards more mature concepts of love and desire.
Unlike Enhypen who it feels like are always promoting or touring, this year had a long-awaited return in the form of Got7. What about their reunion put them on your top comebacks of the year list?
Celina: I am such a big Got7 fan, and I was absolutely thrilled that they were finally having a post-JYP comeback with an album. Their last JYP album was underwhelming for me, but with Python it was like a re-awakening for them.
I loved everything about this comeback which included the album, concept, choreography, and MV. The theme is sexy and cool, which reminded me a lot of my favorite single from them which is, “You Calling My Name.” “Python” pretty much took that theme again, and based their whole album on it.. As an older group, and one that recently left their former label, I think it was a great way to come back out with a more mature sound. Overall, I love how versatile they are and the fact that they explore genres and concepts with every comeback. I remain hopeful that they continue to make new music as a group but I know they are all busy with their solo projects.
So now let us get to what we both chose as number one, Mr. G-Dragon himself. I would love to hear about why he made it to the top of your list!
Chelsea: G-Dragon topped my mid-year review list, and he managed to retain that position by year end. This isn’t because his album was my favorite of 2025, but because his comeback proved the endurance of his celebrity and the quality of his collaborations. I have heard B-sides from this album playing in restaurants and convenience stores since February, and the two title tracks are just about everywhere.
The hype was huge for G-Dragon’s return after years outside of the industry and, as I said in June, he didn’t just return with the expected sound, he pulled in K-pop artists across generations to make it contemporary. While he can be stronger in the studio than on stage (yes, I watched the year-end stages), I think he deserves his kudos for collaborating with artists that could make his early 2010s style compatible with the modern trends for a full album that showcases creativity and freedom.
He pulled in Anderson Paak for “Too Bad,” which was in many ways a dated gamble, but with the addition of Karina in the MV paid off; He attempted a Big Bang style ballad for “Drama” on his own, and somehow made soundbites that trended with GenZ on TikTok; and then he struck the mega-punch of “Home Sweet Home” with Big Bang bandmates Taeyang and Daesung. Even if it wasn’t my style, he hit every note with Ubermensch — and I do still hate that title — in terms of balancing nostalgia and putting out something fun to listen to in 2025. I saw people streaming it on the subway year-round, and that really means something in these days when comebacks are a two week period and songs fade into obscurity.
We are clearly in agreement here on G-Dragon’s dominance, but what made him stand out for you?
Celina: Let me tell you, I was a bitter lady! I cannot believe how long this man made me wait for his comeback. With how fast-moving the industry is, even 6 months is a long break for any K-pop act. I thought G-Dragon would hit the floor running with a comeback when he finished his military enlistment in 2019. However, he waited about five more years which made me think he had unofficially retired. I wrongly thought if he ever made a return, his music would be outdated. But boy, did he prove me wrong.
I love that his lead single, “Power,” is unapologetically hip-hop without any need to feel like he has to change his signature sound. His funky attire, and bratty way of rapping his lyrics all brought me back to the height of his career. While I thought he was wasting time, it was clear that G-Dragon was keeping with the trends, and still working on evolving his craft.
I was also pleased that he did a world tour to promote this album which I was able to watch in theatres. It was such a delight to see him perform again with his mix of erratic and unpredictable dance moves. It was a trip down memory lane to see him performing again with CL, and his other BigBang members. I hope we get to see more collaborations, and with other more modern artists as well.
It was great to chat with you about our favorites of the year, and I am excited for 2026!
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