Latest news with #BoyNextDoor
Korea Herald
03-06-2025
- Business
- Korea Herald
K-pop groups fade from charts — are solo artists the new trend?
Rise of solo artists reflects shifting tastes, diversified platforms and the waning impact of idol group comebacks The Korean music scene is undergoing a notable shift. Once dominated by idol groups, the nation's top streaming charts are now increasingly led by solo artists — signaling changing tastes, industry dynamics and the evolving behaviors of K-pop consumers. As of Tuesday, girl group aespa was the only idol act ranked in the top 10 of Melon, Korea's largest music streaming service. The monthly Melon chart for May showed aespa, Ive, and BoyNextDoor placing at No. 7, No. 9, and No. 10, respectively. In stark contrast, last May's chart was packed with K-pop groups: Illit landed at No. 2, followed by Ive, I-dle, QWER, TWS, aespa and Babymonster — collectively occupying seven of the top 10 spots. A similar pattern emerged on the April digital chart released by Circle Chart, run by the Korea Music Content Association. That month's top 10 included soloists G-Dragon, Jennie, Woodz, Zo Zazz, Hwang Garam and Rose. Only aespa's 'Supernova,' Ive's 'Heya' and Le Sserafim's 'Hot' represented idol groups. On the latest weekly chart, just three groups — aespa, BoyNextDoor and Riize — managed to stay in the top 10. Comebacks fall flat: A lack of impact from new idol songs Despite the sheer number of group comebacks this year, many new releases have failed to leave a lasting impression. NCT Wish, Le Sserafim, TWS, BoyNextDoor, Hearts2Hearts and Kiiikiii are among the teams that either returned or debuted in the first half of 2025. Yet few managed to maintain a stable presence on the charts. 'Frankly, K-pop groups aren't doing well right now,' said music critic Lim Hee-yun on Tuesday. 'Of course, artists like IU are consistently strong, and soloists like Woodz, Hwang Garam and Zo Zazz have made impressive rebounds or gradually built momentum with ballads. But when it comes to idol groups, there haven't been many new songs that truly capture the public's attention.' Many soloists dominating the local charts are former members of mega-popular groups such as Big Bang and Blackpink, whose brand recognition, fan bases and individual artistry contribute to their strong performance. Big Bang's G-Dragon, for instance, ranked No. 1 in Circle Chart's April 'Digital Top 400 Artist Index,' securing 12 songs in the top 400 and accounting for a 5.5 percent share of the entire chart. A format built for focus: Solo tracks resonate in the streaming age Lim believes part of the shift is rooted in the musical format itself. Idol music, often designed around choreographed performances and rap-heavy breaks, can be thrilling on stage but less appealing for passive listening. 'K-pop idol songs can be fun and dynamic with raps and powerful choreography. But as listening experiences, they're often less cohesive,' he said. 'Even if a group has strong vocalists, it can be jarring when a weaker member jumps in with a rap verse mid-song. Solo tracks, in contrast, are built around a single vocal tone and emotional arc — making them more immersive for listeners.' Lim also noted that K-pop fan behavior has changed. Younger fans, in particular, have drifted away from traditional streaming platforms. 'K-pop fans once played a central role in boosting their favorite groups on domestic charts. Now, with so many platforms — social media, fandom apps, exclusive content — their efforts are more spread out. Idol groups no longer dominate the charts like they used to,' he said. jaaykim@
Korea Herald
03-06-2025
- Entertainment
- Korea Herald
K-pop groups losing dominance? Solo acts take over Korean music charts
Rise of solo artists reflects shifting tastes, diversified platforms and the waning impact of idol group comebacks The Korean music scene is undergoing a notable shift. Once dominated by idol groups, the nation's top streaming charts are now increasingly led by solo artists — signaling changing tastes, industry dynamics and the evolving behaviors of K-pop consumers. As of Tuesday, girl group aespa was the only idol act ranked in the top 10 of Melon, Korea's largest music streaming service. The monthly Melon chart for May showed aespa, Ive, and BoyNextDoor placing at No. 7, No. 9, and No. 10, respectively. In stark contrast, last May's chart was packed with K-pop groups: Illit landed at No. 2, followed by Ive, I-dle, QWER, TWS, aespa and Babymonster — collectively occupying seven of the top 10 spots. A similar pattern emerged on the April digital chart released by Circle Chart, run by the Korea Music Content Association. That month's top 10 included soloists G-Dragon, Jennie, Woodz, Zo Zazz, Hwang Garam and Rose. Only aespa's 'Supernova,' Ive's 'Heya' and Le Sserafim's 'Hot' represented idol groups. On the latest weekly chart, just three groups — aespa, BoyNextDoor and Riize — managed to stay in the top 10. Comebacks fall flat: A lack of impact from new idol songs Despite the sheer number of group comebacks this year, many new releases have failed to leave a lasting impression. NCT Wish, Le Sserafim, TWS, BoyNextDoor, Hearts2Hearts and Kiiikiii are among the teams that either returned or debuted in the first half of 2025. Yet few managed to maintain a stable presence on the charts. 'Frankly, K-pop groups aren't doing well right now,' said music critic Lim Hee-yun on Tuesday. 'Of course, artists like IU are consistently strong, and soloists like Woodz, Hwang Garam and Zo Zazz have made impressive rebounds or gradually built momentum with ballads. But when it comes to idol groups, there haven't been many new songs that truly capture the public's attention.' Many soloists dominating the local charts are former members of mega-popular groups such as Big Bang and Blackpink, whose brand recognition, fan bases and individual artistry contribute to their strong performance. Big Bang's G-Dragon, for instance, ranked No. 1 in Circle Chart's April 'Digital Top 400 Artist Index,' securing 12 songs in the top 400 and accounting for a 5.5 percent share of the entire chart. A format built for focus: Solo tracks resonate in the streaming age Lim believes part of the shift is rooted in the musical format itself. Idol music, often designed around choreographed performances and rap-heavy breaks, can be thrilling on stage but less appealing for passive listening. 'K-pop idol songs can be fun and dynamic with raps and powerful choreography. But as listening experiences, they're often less cohesive,' he said. 'Even if a group has strong vocalists, it can be jarring when a weaker member jumps in with a rap verse mid-song. Solo tracks, in contrast, are built around a single vocal tone and emotional arc — making them more immersive for listeners.' Lim also noted that K-pop fan behavior has changed. Younger fans, in particular, have drifted away from traditional streaming platforms. 'K-pop fans once played a central role in boosting their favorite groups on domestic charts. Now, with so many platforms — social media, fandom apps, exclusive content — their efforts are more spread out. Idol groups no longer dominate the charts like they used to,' he said.
Korea Herald
20-05-2025
- Entertainment
- Korea Herald
Boynextdoor marks career high with 4th EP
The fourth EP from BoyNextDoor sold over 1.16 million copies in the first week, hitting a new high for the rookie boy band, agency KOZ Entertainment said Tuesday, citing a local tally. The EP 'No Genre' exceeded 1 million in sales in five days, and became its second million-seller after its previous album '19.99.' The mini album topped Oricon's Daily Album Ranking for two days, debuting atop the chart as did its four previous endeavors — three EPs released in Korea as well as its debut physical single in Japan, 'And.' The new album cinched the No. 1 spot on the iTunes Top Albums Chart in seven regions while the main track 'I Feel Good' made Melon's Top 100, joining the digital single 'If I Say, I Love You' from January. In the meantime, a pop-up store in Seoul to mark the album's release is running until May 25.
South China Morning Post
15-05-2025
- Entertainment
- South China Morning Post
K-pop's BoyNextDoor on new EP No Genre, coming Lollapalooza debut and connecting with fans
In today's K-pop scene, most idol groups focus on delivering flashy performances to tracks prepared by professional songwriters and producers, which, unfortunately, leaves little room for the idols themselves to participate in the creative process. Under the guidance of rapper and producer Zico – also the head of the group's agency KOZ Entertainment – BoyNextDoor have distinguished themselves from their peers by having all members take part in songwriting and production. From Jaehyun and Taesan to the youngest member, Woonhak, all have participated in writing the team's buzzy singles that include 'Earth, Wind & Fire', 'Nice Guy' and 'If I Say, I Love You'. Play 'What makes a song good is different for every artist,' Jaehyun said in an interview this week.
Korea Herald
14-05-2025
- Entertainment
- Korea Herald
BoyNextDoor breaks boundaries with 'No Genre'
With 'No Genre,' we will show that we are 'All Genre,' says BoyNextDoor After successfully wrapping up its first world tour, BoyNextDoor returned with new music. True to its name, the group's latest album, "No Genre," refuses to be confined to a single style, filled instead with infectious hooks, emotional storytelling and stylish homage to past musical legacies. At a group interview held in Mapo-gu, Seoul on Monday, six members shared their excitement and creative process behind the album. 'Since the album spans so many different genres, we wanted to show just how wide our musical spectrum is. The title is 'No Genre,' but we think of ourselves as 'all genre,'" said Jaehyun. The lead track, 'I Feel Good,' presents a punchy beat and vibrant guitar riffs, delivering a confident message about owning the stage and enjoying the moment. 'We started working on it from the beginning with the main track in mind. We wanted it to be powerful but also communicate with the audience,' said Taesan. Youngest member Woonhak, who participated in the songwriting process, added a clever twist by incorporating a familiar children's melody, 'Repeat after me,' to make the song more universally relatable. 'We always aim to create something new and challenging, but also something that connects,' he said. While the group embraces trends, they also place importance on musical references and homage. 'We have two big goals: to make music that only BoyNextDoor can make, and to create songs that people can really relate to,' said Jaehyun. 'For that, sometimes using quotes or paying homage to the past is essential.' The choreography for 'I Feel Good' includes a nod to Michael Jackson's legendary 'Billie Jean.' Leader Sungho noted that older references actually resonate quite well with young audiences as well. 'It's amazing that even younger fans like elementary and middle school students connect with these elements. We're learning a lot from how they react and engage with our music.' The group's recent world tour, "Knock on Vol. 1," proved to be a formative experience. 'We grew a lot as a team and as individuals,' Sungho said. 'We practiced every part of our past performances from scratch, and through that, we found things we had been missing. That process helped us improve everything from ad-libs to interacting with fans.' 'Concerts have a narrative. Understanding how to build and release energy during a show helped us deepen our musical approach,' added Jaehyun. When asked to define the group's musical identity, Jaehyun emphasized emotional connection. 'What we value most is what we call the 'BoyNextDoor vibe.' Straightforward lyrics, raw emotions, and the way our feelings resonate with listeners. That's what makes our music special,' he said. 'It's hard to categorize us into a single genre, and I think this album really shows that.' Looking ahead, BoyNextDoor will be taking the stage at Lollapalooza in Chicago this August. For Jaehyun, the experience holds a personal meaning. 'It's a dream stage I've wanted to visit since I was young, and now we're going as performers,' he said, adding that all the members are studying English to better communicate with fans. Woonhak closed with a bold vision for the future: 'Our goal is to make music that every generation can relate to -- and to become the voice of this generation. I think we're getting closer to that dream.' jy@
