K-pop septet BTS can add "Billboard top seller" to their list of achievements thanks to their May 18 release Love Yourself: Tear, which entered the Billboard 200 album chart for May 24 at No. 1. This makes BTS the first K-pop band ever and the first foreign-language album in more than 12 years to accomplish this feat.

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Driven in part by their enthusiastic BTS Army super fans, traditional album sales reached 100,000, augmented by streaming equivalents for 135,000 adjusted sales units. The previous top K-pop album in the U.S. was BTS' too, when Love Yourself: Her reached No. 7 in October 2017.

For years now, the young men of BTS have crafted personal stories and individual fantasies into alternate storylines that connect through their videos. While dancing, singing and bringing happiness will be enough for some new enthusiasts, inside BTS' music are seeds that can grow U.S. social support on a deeper level.

K-pop's recent success in the U.S. continues to expand. Some of BTS' uniqueness has been their directness addressing depression and hardship, topics that were themselves foreign to Korean idol groups' repertoire, except through metaphor.

"At the very heart of BTS's outstanding dancing and singing is sincerity," President of the Republic of Korea Moon Jae-in said in a statement. "This magical power turns grief into hope and differences into similarity. Each of the seven members sings in a way that is true to himself and the life he wants to live. ... The names of each member — Jin, Suga, J-Hope, RM, Jimin, V, and Jungkook — are going to be remembered for a long time. Thank you to BTS for spreading joy across Korea and the world with your great performances."

Looking ahead, Korean pop culture news Soompi.com has reported that BTS' single "Fake Love" entered the about-to-be-announced Billboard Hot 100 at No. 10, an additional goal of the group that has now been achieved.

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As fans look forward to the group's June 13 BTS Festa anniversary celebration, there will be so much to celebrate — as well as a new awareness that the world is watching.

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Editor’s Note: This article was originally published on May 10, 2023 and was updated on May 16, 2025 to reflect all of BTS' solo work from the original publish date through Jin's Echo EP.

No one can deny that South Korean boy group BTS is a phenomenon. Since their debut in 2013, the septet formed by Jin, Suga, j-hope, RM, Jimin, V and Jung Kook broke barriers and prejudices against Asian artists, reached notable milestones, and brought together one of the world's most devoted fandom, known as ARMY.

Their relatable lyrics talk about societal issues and the pressures of growing up. Their intricate storytelling blends art classics, pop culture, and Korean heritage into something entirely new. BTS also offer a wide-range of musical genres — from hip hop disses like "Mic Drop," to heartfelt ballads like "Spring Day," to feel-good bubblegum pop like "Butter," there's something for every music lover out there. Regardless of any opinions, it's impossible not to be in awe of their oeuvre.

Taking all of that into consideration, it's not surprising that they broke numerous records throughout their career — like becoming the first non-English-speaking, Asian artists to sell out Wembley Stadium and the Rose Bowl in 2019. BTS also won a slew of trophies at South Korean and American award shows, including five GRAMMY nominations. For all of their contributions to South Korea's culture, they also became the youngest recipients of the country's Order of Cultural Merit in 2018.

BTS is, in some ways, a symbol of something bigger than themselves. An entity capable of uniting people all over the world and transmitting much-needed messages in their music. However, that wouldn't be possible if the seven humans behind it weren't as interesting as the whole. Since the beginning, BTS always encouraged its members to develop their own artistry, and all of them have released several solos that spotlight their unique talents.

While 2022 brought in the news that BTS would take a break from group activities as they enlisted in the South Korean mandatory military service, that meant their solo careers would take on the spotlight, launching a new era for the group. With the arrival of Jin's latest project, Echo, GRAMMY.com breaks down all of BTS' solo releases so far.

Jin

Jin isn't just "Mr. Worldwide Handsome," as he became known for his good looks. The eldest member of BTS is also a competent vocalist, whose soothing voice gave life to three solo songs under the group's roster: 2016's "Awake," 2018's "Epiphany" and 2020's "Moon."

The Anyang-born singer also contributed to the band's SoundCloud with the co-written and co-composed tracks "Tonight" and "Abyss," revealing his sensitive mind. The former, released in 2019, was inspired by the deaths of Jin's dog and two sugar glider pets; 2020's "Abyss" dealt with his fears and anxieties. "My voice doesn't come out, I just circle around/ That dark place that I wanted to be locked in, I want to go there," he sings.

In 2021, Jin was chosen to sing "Yours," the main theme of TvN's drama "Jirisan." However, the real highlight of that year was "Super Tuna," a short song made for kicks and giggles that went viral on YouTube and TikTok.

As the eldest of the group, Jin was also the first to enlist in the military in December of 2022. Shortly before that, he graced fans with his official solo debut single, "The Astronaut." Co-written alongside Coldplay, the inspirational track and its soft rock sheen foreshadowed Jin's potential as a soloist. 

Following his discharge in June 2024, Jin participated as a torch bearer in the Paris 2024 Olympic Torch Relay, released a full music video for “Super Tuna,” and finally dropped his long-awaited first album, Happy. The six-track collection displays Jin’s affinity for British rock and uplifting melodies, developing the sounds in “The Astronaut” to form a fully-fledged artistry.

On May 16, 2025, Jin released his second EP, Echo, further exploring rock sounds and conveying “universal life experiences and emotions” through his “unique and charming perspective,” according to a press statement. To celebrate the release, Jin will embark on his first world tour, RunSeokjin Ep. Tour, starting on June 28 in Goyang, South Korea, and wrapping up on Aug. 10 in Amsterdam, the Netherlands.

Suga

One of BTS' main songwriters, producers and rappers, Suga is a prolific artist with a keen view about the world that we live in. Born in the city of Daegu, he began as an underground rapper and initially joined Big Hit Entertainment as a producer. Eventually, Suga became a trainee along with the other members.

Since BTS' debut in 2013, he has contributed as a songwriter to the majority of their material, as well as producing and featuring in tracks by other artists such as Halsey's "Suga's Interlude," PSY's "That That," and IU's "Eight." He released five solo tracks as part of the group's discography: 2015's "Intro: The Most Beautiful Moment in Life" and "Intro: Never Mind," 2016's "First Love," 2018's "Trivia: Seesaw," and 2019's "Interlude: Shadow." Each one revealed his talent as a poignant storyteller on the ups and downs of growing up, dealing with fame, and remaining hopeful amid storms.

Concomitantly, he formulated the alter ego Agust D and released two solo mixtapes, 2016's Agust D and 2020's D-2. His first studio album under the alias, April's D-Day, concluded the explosive trilogy that dealt with themes like anger, vengeance, and pain. 

After becoming the first BTS member to headline his own tour in the U.S. and Asia in 2023, Suga enlisted in the military in September of that year. He is due out on June 21, 2025.

j-hope

Rapper j-hope was born in the metropolis of Gwangju, where he became known for his dancing skills. His interest in rapping, though, only came once he moved to Seoul and became a trainee under Big Hit Entertainment, where felt inspired by teammates Suga, RM and producer Supreme Boi.

J-hope gradually developed his skills and became one of BTS' main songwriters, releasing three solo songs: 2016's "Intro: Boy Meets Evil" and "Mama" and 2018's "Trivia 起: Just Dance." Also in 2018, j-hope released his buoyant solo debut mixtape, Hope World. The album peaked at No. 38 on Billboard's 200 chart, turning him into the highest charting Korean soloist at the time. In 2019, he collaborated with Becky G on the hip hop track "Chicken Noodle Soup."

Following the announcement that BTS would be taking a break from group activities in 2022, j-hope was the first member to begin solo promotions. Jack in the Box, his first solo album, arrived that July, and just 16 days later, he became the first South Korean artist to headline Lollapalooza.

While serving military duty, j-hope left fans a few gifts. First came the special single "on the street," featuring rapper J. Cole, and the special album Hope on the Street Vol.1 in 2023. The album features collaborations with the likes of Jung Kook, Nile Rodgers and Benny Blanco, and is accompanied by a Prime Video docuseries, Hope on the Street. 

On Oct. 17, 2024, j-hope was officially discharged, and quickly resumed his solo career. He performed at the Paris charity event Le Gala des Pièces Jaunes in January 2025, and launched his first solo tour, Hope on the Street, across Asia and North America in February. J-hope is also set to headline Lollapalooza Berlin in July.

RM

RM has often been the group's main spokesperson and producer. Through his work, he earned a stellar reputation both inside and outside of South Korea, collaborating with artists such as Fall Out Boy, Lil Nas X, Younha, Tiger JK, and Erykah Badu.

Born in Seoul, RM was a trainee under Big Hit Entertainment for three years before debuting, where he honed his songwriting skills in pre-debut tracks and cuts for other K-pop groups. As part of BTS, the gifted singer and rapper released a few solos: 2013's "Intro: O!RUL8,2?," 2014's "Intro: What Am I to You?," 2016's "Reflection," and 2019's "Trivia: Love" and "Persona." 

He was also the first member of the group to release a solo mixtape, 2015's RM, which showcased his distinct flow and honest self-reflections about rage and the contradictions of fame. In 2018 came his introspective, minimalistic second mixtape, Mono. Although just as honest about his emotions as the first one, Mono showcased a more pensive, or rather matured, side of RM. 

In December 2022, RM unveiled his much-awaited debut studio album, Indigo. Described as "the last archive of my 20s," RM continued his thoughtful reflections on what it means to make art and to be human. 

Shortly after the release, he traveled to Spain to find inspiration for his yet-to-be-announced second album, as he told EFE in March 2023. Due to his enlistment, RM also revealed that he would "not be taking on any projects in the near future," which explains why he remained mostly quiet in 2023. Before departing to the military in December, though, he featured on the So!yoON! track "Smoke Sprite" and on Colde's "Don't Ever Say Love Me."

In May 2024, RM returned with a new album, Right Place, Wrong Person. Across 11 tracks, RM aimed to tell the nigh-universal story of a creature of habit who comes to find satisfaction exploring foreign places. Right Place, Wrong Person is an evolution not only of RM's inimitable artistry, but a signal that he's truly a musical chameleon.

Roughly a month before his military discharge on June 12, 2025, RM teamed up with Epik High’s TABLO for an exceptional collaboration in the special single “Stop the Rain.”

Jimin

Jimin always made an impression through his elegant dance moves and distinct falsettos, giving an aesthetic flair to all of BTS' releases. The Busan-born artist also showcased more of his talents through three solo tracks with the group: 2016's "Lie," 2017's "Serendipity" and 2020's "Filter."

In 2018, he released his first credited solo song, "Promise," followed by "Christmas Love" in 2020. That same year, Jimin collaborated with close friend and singer Ha Sung-woon on "With You" (the soundtrack to TvN's 2022 drama "Our Blues"), and in January 2023, he co-wrote and featured on Big Bang member Taeyang's single, "Vibe."

In March 2023, Jimin released his long-awaited debut EP, Face, and its lead single, the synth-pop tune "Like Crazy," topped the Billboard Hot 100 — becoming the first BTS member to score a Hot 100 No. 1 on their own, and the first South Korean solo act to lead the chart. After that feat, he featured on Kodak Black and NLE Choppa's "Angel Pt. 1" (alongside JVKE and Muni Long), as part of the soundtrack for the film Fast X, and released the documentary Jimin's Production Diary on HYBE's digital platform, Weverse.

Alongside Jung Kook, Jimin's enlistment began on Dec. 12, 2023. As a special send-off, he dropped the sweet song "Closer Than This" and dedicated it to ARMY. Seven months later, "Closer Than This" was revealed to be part of the tracklist for Jimin’s second solo album, MUSE.

Released in July 2024, MUSE was co-written and co-produced by the singer, including first-class collaborations from Jon Bellion, Ryan Tedder, Sofia Carson, and more. Showcasing a mixture of nostalgic 2000s pop with a dose of the Beatles, the album proves Jimin’s growing musical identity, placing him as a confident, hands-on auteur.

V

V's husky baritone voice is one of BTS' most prominent elements, giving depth and texture to their songs. Like Suga, he was born in Daegu and dreamed of becoming a singer. After debuting with BTS, he released three solos under their name: 2016's "Stigma," 2018's "Singularity" and 2020's "Inner Child."

On the group's SoundCloud, he has slowly developed his own tracks. In 2019, he issued the self-composed ballad "Scenery," and later the all-English "Winter Bear." He also contributed to a few Korean dramas' soundtracks along the years, most notably 2020's "Sweet Night," off JTBC's Itaewon Class, and 2021's "Christmas Tree," off Studio N's Our Beloved Summer.

Although it was rumored that V would release an official mixtape in 2022, he came through with a full solo album instead. September 2023's Layover brims with V's unique taste for jazz and lo-fi music, and posits him as a cool and confident soloist. 

Barely three months later, V began his military enlistment — but that doesn't mean he'll stop the music until his return. In March 2024, he dropped the special English single "FRI(END)S," and in December, he released a remix of Bing Crosby's 1942 classic "White Christmas," continuing to craft his sophisticated, vintage sound.

Jung Kook

At 26 years old, Jung Kook is the youngest member of BTS. Like Jimin, he was born in the coastal city of Busan, but moved to Seoul as a teenager to pursue his dreams of becoming a singer. In "Begin," his first solo song released on BTS' 2016 album, Wings, he sings about how the group was largely his introduction to life: "When I was 15 years old, I had nothing/ The world was too big and I was small."

Later came 2018's "Euphoria" and 2020's "My Time," off BTS' Love Yourself: Answer and Map of the Soul: 7, respectively. Also in 2020, he released "Stay Alive," the main soundtrack to BTS-based webtoon 7Fates: Chakho. He also published occasional solo work via Twitter, including the fan-loved "Decalcomanie," or SoundCloud, where he released "My You" and "Still With You" — the platform's Most-Streamed Pop Song in 2022, despite being released in 2020.

In 2022 and 2023, Jung Kook explored international collaborations as a primer to his upcoming solo releases. He participated in Charlie Puth's pop hit "Left and Right," and released "Dreamers" for the 2022 FIFA World Cup, later performing it at the opening ceremony of the event.

As Western audiences warmed up to his charismatic presence, Jung Kook released his official solo debut single "Seven" in July 2023. Featuring rapper Latto and sung entirely in English, the track consolidated Jung Kook's departure from cutie pie into mischievous stud: "I'll be f—in' you right seven days a week," he sings in the explicit version of the song. 

In September 2023, the singer dropped "3D" with Jack Harlow, and later announced that his debut studio album, Golden, would come out in November. Spearheaded by the marvelous disco-pop of "Standing Next to You," Golden features 10 charming tracks that place Jung Kook as a gilded star on his own. He also scored collaborations with Usher in a remix of "Standing Next to You," and with Justin Timberlake in a remix of "3D," further consolidating his global appeal. 

Just one month after the release, Jung Kook enrolled in the military, making him and Jimin the last BTS members to do so. Jung Kook is expected to be discharged on June 11, 2025. In the meantime, he released “Never Let Go” in June 2024 to celebrate BTS' 11th anniversary, and premiered a documentary film titled I Am Still in September.

Even as members of one of the biggest boy bands in the world, the BTS guys have undoubtedly proven to be compelling soloists as well. As the countdown for BTS' group return ticks on, their individual musical contributions keep the anticipation high — and ultimately prove that once they're back together, BTS will be stronger than ever.

The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will air live on CBS and Paramount+ on Sunday, Feb. 2. Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles. Donate to the Recording Academy's and MusiCares' Los Angeles Fire Relief Effort To Support Music Professionals.

Editor’s Note: This interview was conducted before the onset of the wildfires in Los Angeles.

Steve Cropper is still "selling energy" — putting forth what a younger generation might call blues rock "vibes" with his pals as if it were still 1970.

This ethos dates back to his time at the legendary Memphis label Stax Records, where Cropper served as a songwriter, producer, engineer and A&R. Crucially, Cropper was the guitarist in Stax's house band, Booker T. & The MGs — they of "Green Onions" fame — and backed artists including Otis Redding, Wilson Pickett, Sam & Dave, and Carla Thomas. Among his many bonafides, Cropper co-wrote Redding's "(Sittin’ On) The Dock Of The Bay."

In his post-Stax years, the two-time GRAMMY winner and nine-time nominee produced and played on sessions with Jeff Beck, Jose Feliciano, John Prine, John Cougar, and Tower Of Power. He later joined Levon Helm’s RCO All-Stars group and was among the original members in Dan Aykroyd and John Belushi's Blues Brothers band. Cropper resumed his solo career in the '80s, releasing several albums, while continuing to collaborate with leading lights like Paul Simon, Ringo Starr, Elton John and Steppenwolf.

Steve Cropper has stayed true to himself for over seven decades, thanks in no small part to advice from Stax founder Jim Stewart. "He said, 'Just play yourself and if they don't like it, they'll tell you,'" Cropper tells GRAMMY.com. "So I've been playing myself all my life and it's worked out. That's pretty cool."

At the 2025 GRAMMYs, Cropper is nominated in the Best Contemporary Blues Album Category for the aptly named Friendlytown, recorded with a mix of long-time collaborators and a few newer faces, together billed as Steve Cropper & the Midnight Hour. Friendlytown's 13 tracks are familiar, digestible and straight-ahead rockin' — the kind of tunes you'd be thrilled to hear in a local dive. Featuring ZZ Top's Billy Gibbons, Queen guitarist Brian May, singer Roger C Reale, and guitarist Tim Montana, Cropper co-wrote and co-produced all of Friendlytown with bassist Jon Tiven.

"Steve's guitar playing on the song 'Hurry Up Sundown' is probably some of his best solo work and rhythm work," Tiven says. "It's amazing that at this point in his career, he could still be creating some of the greatest music of his life. I think that's a wonderful testament to the strength of his talent."

Meet Me At The Friendlytown Trader Joe's

There was very little methodical music-making behind Friendlytown, which partially grew out of sessions Cropper put together for his 2021 album Fire It Up. "This record was just about a bunch of guys getting together and having some fun. It's just like, Let's have a blast and try to make the party come to the record, rather than the record come to the party," Tiven notes.

Cropper and Tiven had been working on songs for years with the hopes of finding friendly musicians to give them life. While some found homes, the duo sat on instrumentals for years — until Tiven ran into Billy Gibbons at Trader Joe's. When Tiven told the sharp-dressed man he was making a record with Steve Cropper, "He just lit up like a firecracker and said he'd like to bring us a song. I said, 'Well, it's only going on the record unless you play on it.' And he said, 'Well, that could be arranged.'"

Gibbons ended up on 11 tracks; Friendlytown marks the first time he and Cropper worked together in many years. The ZZ Top vocalist's influence is audible on the album, particularly the title track and Eliminator-esque "Lay It On Down."

In Session At Stax

While casual may be the name of Cropper's game these days, "it definitely wasn't 35, 40 years ago," he says. Back then (and largely before, as Cropper left the label in 1970), making music was "was very serious, and I don't even think the guys had a good time." With a laugh, Cropper recalls his best friend, the Stax bassist/MG Duck Dunn, pining for a world in which "Jim Stewart would've only smiled every now and then."  

While Cropper calls Stewart "the greatest guy I've ever met," the label head was known to be critical. "He knew if you fought for something, like a song, that it was a good song. And if you didn't fight for it, it wasn't worth nothing," Cropper says, chuckling. "He was right. I think about that all the time, but I don't use it. A songwriter could tell me how good a song they wrote is, but if I don't like it, I don't like it. I'm sorry!. I'm sure I've thrown away some good ones before." 

Read more: 1968: A Year Of Change For The World, Memphis & Stax Records

A young Cropper put up a couple of fights, and for good reason. He recalls stumping for Wilson Pickett's "Ninety-nine and a half": [Jim Stewart said] "You boys was out there woodsheddin’. That song ain't going to make it." Cropper pressed it, and Stewart relented. The track made the cut for Pickett's 1966 album The Exciting Wilson Pickett.

Another big Stax hit stayed on the shelf for nine months while Cropper and co. battled it out with Stax brass. "Finally Al Bell went to Jim and said, 'You got to put this record out. It's called ‘Knock on Wood.' And Jim says, 'Okay, but you got to use your own money,'" Cropper says. "He hated that record until it was a hit."

Reflecting on the hardest song he's ever played, Cropper quickly points to Sam and Dave's "Soul Man." But the 1967 smash isn't difficult for the reasons you might think: the guitarist had to balance a Zippo lighter on his leg during sessions and performances, which he used to mimic the song's opening horn line. "I always had to dance [when recording] with Sam and Dave, because they could hit a groove. A lot of guitar players don't know that I played with a Zippo lighter and I'd slide it," he recalls.

Cropper reportedly hated the sound and feel of new guitar strings — something, he says, is no longer the case in old age — and in a lip-smacking good tidbit of studio lore, explained how he managed his unique sound. "I carry a thing of ChapStick all the time and I would go up and down the strings; [that would] take about three months out of the string so it would sound like the rest of them."

Sittin' On A Legacy

After decades in the business, it seems as if Cropper – though ever a professional – doesn't take himself or the creative process too seriously. He jokingly shares a reccolation from a studio session during his Stax years: Once the session was finished, Cropper told the group "Damn, this sounds like a hit." "And Al Jackson said, 'Steve, they're all hits until they're released.' He's probably right."

One of Stax's reliable hitmakers was a close friend of Cropper's: Otis Redding. The two shared a deep musical bond and some shared history. Both musicians grew up on farms ("By the time I was 14, I was ready to leave the home. By the time I was 16, I was gone in my mind," Cropper notes) yet the guitarist describes Redding as "most streetwise person that I ever met. I think he just had it. It came natural to him."

Redding played guitar with one finger and you "never argued with Otis" — especially because he was never available for sessions for more than a day or two. Most Otis Redding albums, as a result, were compilations from different sessions.

"I remember we cut 'I Can't Turn You Loose' in 10 minutes," Cropper says. "[When we recorded] Otis Blue, we had everybody come back at 1 [a.m.] -- after they did their gig and they went home and had their shower – so we could cut it."

Cropper knew that  "(Sittin' On) The Dock Of The Bay" — arguably Redding's biggest hit, and Cropper's first GRAMMY win —  was a hit. "You know why I knew it was a hit? Because we had Otis the longest I'd had him; for two weeks."

The gentle lull of "Sittin'" was a radical departure from Redding's Southern soul bombast, and perhaps a sign of what was to come if the singer hadn't died tragically in a plane crash. "That one song, we searched for a long time. We call it crossover music; so it could go either way:, R&B, pop, whatever. That was the first one we ever had," Cropper says.

There's Always A Catch

Steve Cropper is still going strong at 83 years old. He reports that he enjoyed HBO's recent Stax Records docuseries, and has an unfinished instrumentals album in the can. He hasn't time for regrets, only dreams, but the name of the one person Cropper wishes he had worked with fires off like lightning: Tina Tuner.

Cropper saw the late legend three times. "I really did admire Tina. She was the closest person to Otis, I think, in the business. It's the yeller, screamer, but everybody loves their music. She was so good, it didn't matter how it was she's yelling and screaming," he says.

Tina Turner's loudest albums still have melody and something "people will walk away humming" — the very thing Cropper loved about  Stax records. "We were selling groove and all, rather than the music," Cropper says of his work with the MGs. "We don't care about the music. We just cared about melody and what's in the simplicity of the song."

In 2024, the K-pop industry continued to grow and absorb worldwide influences, spinning them into its one-of-a-kind culture. K-pop artists are more globalized and multifaceted than ever, securing opportunities that seemed inconceivable just a decade ago — BLACKPINK's ROSÉ scored a viral hit alongside Bruno Mars with "APT.," SEVENTEEN headlined Glastonbury in England, and TWICE teamed up with GRAMMY-winning rap star Megan Thee Stallion on "Strategy," just to name a few.

Of course, those kinds of accomplishments would've never been possible without the global explosion of K-pop that has occurred in the past several years. And while the genre had seen notable spurts of success prior to the 2020s — from PSY's "Gangnam Style" phenomenon in 2012 to BTS' chart-topping breakthrough in 2018 — it may not be where it is today without the year 2015.

At that point, "Gangnam Style" had helped the industry find new eyes and ears eager to consume its content. In turn, South Korea — confident of its cross-cultural powers — invested even more in global marketing strategies, like connecting with fans over social media.

"2015 was a very interesting year for K-pop," songwriter and producer Andreas Öberg, who has been working with K-pop names such as TWICE, NCT 127 and Red Velvet since 2012, tells GRAMMY.com via email. "At this point, the artists and labels weren't as focused on the U.S. market, and the song releases were not as heavily based on instrumental tracks to be toplined. Many of the songs were rather written from scratch, live in the room with instruments."

During that year, Öberg attended several songwriting camps in Seoul and worked with names like BoA, SHINee, f(x), VIXX, and Oh My Girl. "I think that the [2015] albums from EXO and SHINee will stand the test of time. [Their label] SM Entertainment was pushing the envelope with interesting releases, experimenting with many different sounds and styles but still with a lot of musicality," he adds.

Anchored by '70s and '80s sounds, brass-heavy synths, and moody hip-hop, the K-pop music of 2015 blessed us with countless classics: Wonder Girls' "I Feel You," Red Velvet's "Dumb Dumb Dumb," BTS' "I Need U," and many more. According to Öberg, the vibes of these songs lasted for some time, until the K-pop industry started changing: "The big wave of trap music coming from America started making its way, also the huge worldwide popularity of BTS made the labels aim more towards a Western audience and sound."

Add to that the expansion of social media in dictating musical trends, and K-pop is now arguably more streamlined, and less risk-taking. Though that has helped the genre boom, Öberg insists that the "unpredictable and experimental" music of 2015 is what made that year so special. But even if K-pop never returns to what it was then, it certainly wouldn't be the same without that remarkable era.

Ten years later, GRAMMY.com looks back at the boundless creativity of 2015, the defining K-pop releases and acts of that year, and how all of it still shapes the industry today.

Read More: 10 K-Pop Songs That Electrified 2024: From RIIZE's "Impossible" To KISS OF LIFE's "Igloo"

In 2015, the so-called "second generation" of K-pop (there is no precise consensus, but generally, it includes artists who debuted between 2003-2011) was still thriving — even though that meant the beginning of the end for some and a reinvention for others.

Legendary boy group BigBang was nearing a decade of existence, but hadn't released new music since 2012's Alive. As if to compensate, 2015 saw them release eight new singles, all of which hit the Top 3 of Billboard's World Digital Songs chart and South Korea's Circle charts (formerly Gaon), proving that they still had what it takes to be a top group. They incorporated trap beats and country guitars in the suggestive "Bae Bae"; revealed their deepest insecurities in the acoustic "Loser"; went all out in the jarring, unstoppable "Bang Bang Bang"; and plunged right into alt-punk rock in "Sober." These singles would later be compiled into 2016's LP, MADE, and overall represented a magnificent, trend-setting era for the band. 

For lauded veterans Girls' Generation, 2015 was a time of reinvention. In late 2014, vocalist Jessica's dismissal from the group was met with controversy, as she stated in a press release that her label, SM Entertainment, told her to leave the group after she started her fashion brand, Blanc & Eclare. With Jessica gone, Girls' Generation reorganized themselves as an eight-piece and released their fifth LP, Lion Heart, in August 2015. Spawning singles "Party," "You Think" and the jazzy title track, the album traversed through peppy pop songs, retro inspirations and bass-heavy hip-hop, hinting that lineup changes may have led to newfound strengths.

The K-pop queens of retro, Wonder Girls, also experienced a rebirth in 2015. Since their 2007 debut, they were pioneers in expanding K-pop internationally, even supporting the Jonas Brothers on a U.S. leg of the trio's 2009 World Tour. After a three-year hiatus that many believed was the end, in June 2015 the group announced the return of member Sunmi (absent since 2010) and released the masterful studio album Reboot. Showcasing the quartet's songwriting and composing talents, the '80s-themed record is a non-skip listen that recreates the mystifying aura of that time. Despite reaching No. 2 on Billboard's World Albums chart and lead single "I Feel You" achieving an "all-kill" (topping all the main Korean charts at the same time), the members decided to part ways in January 2017 and follow solo careers.

Other luminaries that released incredible music in 2015 include IU (Chat-Shire), BoA (Kiss My Lips), 2PM (No.5), Sistar (Shake It), and Miss A (Colors, their final EP).

While veteran acts proved they still had plenty to offer, the rising third generation of K-pop solidified its presence in 2015 with remarkable achievements — and some of the decade's finest music.

Boy group EXO had been a burgeoning name since their 2012 debut with Mama, but 2014 brought challenges when Chinese members Kris and Luhan terminated their contracts with SM Entertainment, citing health issues, differences in treatment, and unfair pay. Regardless, EXO released one of their best efforts yet with 2015's Exodus and its repackaged version, Love Me Right. Effortlessly sleek and absorbing, the album is a display of the group's brilliant voices and gigawatt charisma, mixing funk-pop bliss with swoon-worthy R&B moments.

Before they became a household name, BTS was also just beginning to spread their wings in 2015. Since their 2013 debut with single album 2 Cool 4 Skool, the septet put a heavy focus on rap and lyrics that reflected on South Korea's societal issues. With the release of 2015 EPs The Most Beautiful Moment in Life, Pt. 1 and Pt. 2, BTS ventured beyond their hard-hitting roots, crafting what would become their signature style: meaningful lore, poetic and relatable lyrics about life's struggles, and a blend of soft, sweet vocals with searing rap bars. These two EPs, later compiled into the 2016 album The Most Beautiful Moment in Life: Young Forever, remain quintessential to the group's identity, and the popularity of singles "I Need U" and "Run" spearheaded their exponential growth since then.

On the girl group front, 2014 debutantes Mamamoo found a sleeper hit in the chill R&B of "Um Oh Ah Yeh," the lead single off their third EP, Pink Funky, and solidified their place as vocal powerhouses.

Meanwhile, Red Velvet, another 2014 debut, had a career-defining year in 2015. With the addition of member Yeri that year, they released their first EP, Ice Cream Cake, and their first full-length album, The Red. These projects showcased the quintet's sonic duality — the playful "red" side and the sultry "velvet" side — with impressive skill, placing Red Velvet in an inimitable niche that would define them for the next nine years and counting.

One of 2015's most notable trends was the stark dichotomy between girl groups embracing sexy, self-empowering concepts and those adopting pure, innocent ideals in their music and visuals. Although both concepts existed since the beginnings of K-pop, 2015 saw a marked renaissance of the latter, becoming one of the year's trademarks.

A wave of youthful innocence swept through the industry, with a slew of girls dressed in white and singing with voices as crystalline as snowflakes. Groups like GFRIEND, Lovelyz (who debuted at the tail end of 2014), and Oh My Girl found immense popularity with concepts deemed bright, pure or whimsical — as if in response to the growing "sexy" concepts.

That didn't mean pure concepts were lacking in quality. Oh My Girl's enchanting "Closer" and GFRIEND's cotton candy pop "Me Gustas Tu" remain true classics, anchoring much of their future discography even as they have since explored different styles.

Of course, there were still a number of sexier outputs throughout the year. Groups like Brown Eyed Girls dropped dazzling albums like Basic and its provocative single, "Warm Hole"; EXID turned heads by challenging objectification with the trumpet-heavy "Ah Yeah"; 4Minute's Hyuna proudly declared herself "the female monster" on the group's hit single "Crazy."

But after the boom of cute concepts in 2015, the trend overtook the industry over the next few years. Nearly all girl groups debuting in 2016 or 2017, like I.O.I and Momoland, followed this general aesthetic — at least in their first releases. In the meantime, groups like BLACKPINK and (G)I-dle set forward with an iteration of the sexy concept: the "girl crush," where they present fierce and cool styles, often serving as inspiration for other women.

As Andreas Öberg mentioned, SM Entertainment was at the forefront of innovative music in 2015. Two of its most experimental acts, SHINee and f(x), played central roles in introducing a sonic trend that still runs strong today.

First came SHINee's fourth LP, Odd, and its sparkling single "View." Although K-pop had experimented with house music before — particularly electro, like in 2NE1's 2011 hit "I Am The Best" — "View" is widely considered as the genre's first foray into deep house.

Following this, f(x) took charge with their October studio album, 4 Walls, and its eponymous lead single. While "View" mixed deep house with more bright and carefree vibes, "4 Walls" was moodier and almost cryptic — an initiation ritual to f(x)'s new era as a quartet (member Sulli had left just two months prior).

Both Odd and 4 Walls depicted more mature, sophisticated versions of SHINee and f(x), attesting to their growth and commitment to pushing K-pop's boundaries further. Since then, deep house has become a staple in K-pop discographies, spawning hits from EXO's "Artificial Love" in 2016 to Jeon Somi's "Fast Forward" in 2023.

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As groups like EXO and BTS soared to new heights, the rookies of 2015 were trailblazing their paths, each showcasing distinct potential that would shape the future of K-pop.

SEVENTEEN, who in 2024 completed a sold-out stadium tour in the U.S., debuted under Pledis Entertainment as a 13-member, self-producing boy group. With their passion for performance and youthful ambition, they brought a refreshing vibrancy to K-pop with their debut EP, 17 Carat. Throughout the years, the group honed their talents and synchronicity, becoming one of the industry's most revered, accomplished acts. 

Another standout debut of 2015 was Starship Entertainment's Monsta X, who quickly carved a niche out of rough EDM and rap with their Trespass EP. Mostly self-produced, the group garnered a steady fan base with their powerful performances, embarked on global tours, and ventured into prolific solo careers. Like SEVENTEEN, Monsta X are still active, with new music anticipated in 2025 as all members complete their military conscriptions.

JYP Entertainment's TWICE was one of the most anticipated debuts of that year. Formed through the survival show "Sixteen," the nine-member group set themselves apart by avoiding the extremes of sexy or pure concepts and instead embracing a bubbly, cheerful sound that became their signature for years. TWICE went on to dominate charts worldwide, embark on massive stadium tours, and, most recently, collaborate with rapper Megan Thee Stallion on 2024's "Strategy." Other notable debuts included Day6, GFRIEND, and iKON, who each brought unique colors to the scene, along with R&B singer Dean and solo ventures by Girls' Generation's Taeyeon and BTS's RM.

2015 was a year that will go down in K-pop history as one of its most prolific and audacious, With many of its main players still dictating trends and inspiring younger generations, K-pop's fruitful 2015 marks a legacy that's still making an impact 10 years on — and will likely continue for years to come.

Editor's Note: This article was updated with a new photo and YouTube videos on Dec. 16, 2024.

When it comes to holiday music, you can never go wrong with the tried-and-true classics.

Who doesn't love Nat "King" Cole's "The Christmas Song," Elvis Presley's "Blue Christmas," Mariah Carey's "All I Want For Christmas Is You," Charles M. Schulz's GRAMMY-nominated A Charlie Brown Christmas soundtrack, or any new version of a festive favorite?

Even so, it's always good to get out of one's comfort zone. With that in mind, unwrap these 12 outside-the-box Christmas songs, spanning rock to rap and featuring everything from refreshing spins on the familiar to unexpected holiday thrills.

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This firsthand account of spending the most joyous holiday locked up and separated from the one you love offers a different kind of longing than the average lonesome Christmas tune. In signature John Prine style, "Christmas In Prison" contains plenty of romantic wit ("I dream of her always, even when I don't dream) and comedic hyperbole ("Her heart is as big as this whole goddamn jail"), with plenty of pining and hope to spare.

"Christmas In Prison" appeared on Prine's third album, 1973's Sweet Revenge, and again as a live version on his 1994 album, A John Prine Christmas, which makes for perfect further off-beat holiday exploration.

When it comes to gloriously tasty six-string instrumentals, no one does it better than GRAMMY-winning Texan Eric Johnson. For his take on this timeless Christmas carol, the "Cliffs Of Dover" guitarist intermingles acoustic-based lines, sublime clean guitar passages and Hendrix-y double-stops with his trademark creamy violin-like Strat lines. The result is a sonic equivalent on par with the majesty of the Rockefeller Christmas tree. (For more dazzling holiday guitar tomfoolery, look into the album it's featured on, 1997's Merry Axemas.)

Who doesn't want a large semiaquatic mammal for the holidays? For then-10-year-old child star Gayla Peevey, not only did she score with the catchy tune, she also got her wish.

The 1953 novelty hit, written by John Rox, rocketed up the pop charts and led to a fundraising campaign to buy Peevey an actual hippo for Christmas. Children donated their dimes to the cause, and the Oklahoma City native got her hippo, named Mathilda, which she donated to the Oklahoma City Zoo.

The song itself features plodding brass instrumentals and unforgettable lyrics such as, "Mom says a hippo would eat me up but then/ Teacher says a hippo is a vegetarian." It seems Peevey still has a fond legacy with the hippo activist community — she was on hand in 2017 when the Oklahoma City Zoo acquired a pygmy hippopotamus.

In a contemplative mood this Christmas? Try getting into the holiday spirit by way of meditating on the true meaning of the season with this brash, uptempo Southern California crust punk tune.

Now the best-known song from the Vandals' 1996 Christmas album of the same name, "Oi To The World!" remained a relatively obscure track by the Huntington Beach punkers until it was covered by a rising pop/ska crossover band from nearby Anaheim, Calif., in 1997. (Perhaps you have heard of them — they were called No Doubt.) Ever since, the song has been a mainstay of the Vandals' live sets, and they have also played the album Oi To The World! in its entirety every year since its release at their annual Winter Formal show in Anaheim, now in its 29th year.

Though it's best known from OutKast's 1994 debut album, Southernplayalisticadillacmuzik, the Christmas version of the track "Player's Ball" was released earlier on A LaFace Family Christmas, an L.A. Reid-led project to introduce new acts. The then-young Atlanta rapper duo took a Southern hip-hop spin on the season, which can come across as a little irreverent, but at least they're honest: "Ain't no chimneys in the ghetto so I won't be hangin' my socks on no chimneys." Though some people may not find it cheerful, OutKast's season's greetings give "a little somethin' for the players out there hustlin'."

You'd be hard-pressed to find a more heartbreaking Christmas story than this Tom Waits' masterpiece from 1978's Blue Valentine. "Charlie, I'm pregnant and living on 9th Street," begins the Christmas card narrative in which a woman writes to an old flame, reporting how much better things are going since she quit drugs and alcohol and found a trombone-playing husband.

Waits' signature early career piano-plinking and tall-tale-storytelling weaves through a dream world of hair grease and used car lots, even sneaking in a Little Anthony And The Imperials reference. In the end, our narrator comes clean with the sobering lyric, "I don't have a husband, he don't play the trombone" before pleading, "I need to borrow money to pay this lawyer and Charlie hey, I'll be eligible for parole come Valentine's Day." For the uninitiated, this is the off-beat genius of GRAMMY winner Waits at his finest.

Though they took some lumps in their '80s hair-metal heyday, few would dare deny Winger's talent and musicianship. Surely on display here, frontman Kip Winger (a GRAMMY-nominated classical musician) and his bandmates begin with a traditional unplugged reading of the Franz Xaver Gruber-penned holiday chestnut, complete with four-part harmony.

But then it gets really interesting: the boys get "funky" with an inside-out musical pivot that fuses percussive rhythmic accents, pentatonic-based acoustic riffing, Winger's gravely vocals, and some choice bluesy soloing (and high-pitched vocal responses) courtesy of lead guitarist Reb Beach.

With lyrics that include "I know I should have thought twice before I kissed her" in the opening, you know you're in for a sleigh ride like none other. It's therefore no surprise that Cyndi Lauper and Swedish rock band the Hives' unconventional Christmas duel describes many marital hiccups that might make some blush.

Yet, the raucous duet somehow comes out on a high note, concluding, "We should both just be glad/And spend this Christmas together." The 2008 track was the brainchild of the Hives, who always wanted to do a song with Lauper. "This is a Christmas song whose eggnog has been spiked with acid, and whose definition of holiday cheer comes with a complimentary kick below the belt," wrote Huffington Post in 2013. "It's also an absolute riot."

Leave it to LCD Soundsystem's producer/frontman James Murphy to pen a holiday song about the depressing side of the season. "If your world is feeling small/ There's no one on the phone/ You feel close enough to call," he sings, tapping into that seasonal weirdness that can creep up, especially as everything around you is incessant smiles, warmth and cheer, and pumpkin-spice lattes. While he doesn't shy away from examining the depressing side of surviving the holiday season as an aging 20-, 30-, 40-something, Murphy does at least give a glimmer of hope to grab onto, transient and fleeting though it may be, as he refrains, "But I'm still coming home to you."

As Snoop Dogg declares, "It's Christmas time and my rhyme's steady bumpin'." This track from the 1996 album Christmas On Death Row lets you know why "Santa Claus Goes Straight To The Ghetto." Church food, love between people, and happiness stand out as Christmas is "time to get together and give all you got; you got food, good moods and what's better than together with your people." Love in the hard hood might have to watch itself, but the various artists of Death Row contagiously testify to abundant love and seasonal joy.

Bypassing the urge to write new material on their rocking Christmas album, 2006's A Twisted Christmas, Twister Sister instead took the most recognizable holiday classics in the book and made them faster, louder and more aggressive. The result — which, to date, equate to the group's seventh and final album — is a supercharged concept collection of songs such as "Silver Bells," "Have Yourself A Merry Little Christmas" and "Deck The Halls" bludgeoned by chainsaw guitar riffs, thundering drums and lead singer Dee Snider's soaring screams. This unusual combination makes A Twisted Christmas the perfect soundtrack for any child of the '80s still hoping to tick off the neighbors this holiday season.

In anticipation of the 2025 NBA All-Star Game in San Francisco, P-Lo breathes new life into T.W.D.Y.'s classic "Players Holiday." Featuring Saweetie, Larry June, Kamaiyah, LaRussell, G-Eazy, thuy, and YMTK, the track celebrates Bay Area culture with its infectious energy and hometown pride. With its dynamic lineup and energetic vibe, "Players Holiday '25" is a love letter to the region's sound and legacy that bridges hip-hop and basketball culture.

This article features contributions from Nate Hertweck, Tim McPhate, Renée Fabian, Brian Haack, Philip Merrill, Nina Frazer and Taylor Weatherby.