The Top 100 K-Pop Songs of 2020 (40 – 31)

It’s time to countdown my top 100 songs of 2020! 10 songs, everyday, for the next 10 days. The rules for the countdown are as follows:

  1. To be eligible for this list, the song must have been released between the 1st of January 2020 and 15th December 2020.
  2. Song must be paired with a full music video and be promoted to some extent. 
  3. Performance video’s (Gfriend’s Labyrinth and ONF’s New World) will unfortunately not be considered for the singles list and will make their appearance in the Top 100 B-sides of the year list.
  4. Songs must be by a Korean artist and be in either Korean or English (Japanese / Chinese singles will get their own seperate countdown)
  5. And finally, this is all just my opinion. There is much bias to be found and if you’re unhappy with any of the placements, just remember that this is not meant to be a purely objective list.

For your viewing pleasure:

Honourable mentions // 100-91 // 90 – 81 // 80 – 71 // 70 – 61 // 60 – 51 // 50 – 41 //


40. UNVS – Sand Castle

UNVS released a number of strong singles during their debut year but the hazy, dream like Sand Castle was easily their strongest effort. Its laidback dance pop groove is incredibly refreshing, built upon layers of vocal processing which actually help elevate the track’s otherworldly atmosphere.


39. With Woolim – Relay 

Easily one of the strongest company songs ever, Relay brought together some of my favourite vocal lines in the industry for a feel good pop anthem for the ages. Its warm melody is immensely satisfying and is further enhanced when Sungkyu’s soaring vocals cut through during the chorus, marking the return of an industry legend.


38. SuperM – One (Monster & Infinity) (review)

Carried by the immense chorus at its core, SuperM cemented their super group status with the glorious (and incredibly cheesy) One (Monster& Infinity). It’s a track that isn’t subtle in the slightest and is all the more better for it.


37. StayC – So Bad 

Given the hands behind So Bad, it was no surprise that it proved to be a fantastic debut effort from StayC. Its synth fuelled instrumental is absolutely gorgeous, perfectly complementing the endless number of addictive hooks found within the tracks endlessly addictive brew.


36. The Midnight Romance – Midnight Romance (review)

Hazy synth rock has always been a soft spot of mine and The Midnight Romance’s self titled debut effort perfectly encapsulated what I love about the genre into one tight and endlessly repayable package. It’s a track that baths in the glory of its production but frontman Minue’s unique vocal tone is what really sells the show.


35. BerryGood – Accio (review)

A perfect throwback to the upbeat girl group fare that characterised much of the mid 2010’s BerryGood’s hushed return to the k-pop scene, Accio should really have gained more traction. It’s a deliriously fun track filled to the brim with synth work and a hook that sticks almost immediately. And while it has its more generic moments, few tracks will ever reach the pure perfection that is Accio‘s final minute.


34. TOO – Count 1,2 (review

While their debut painted TOO in a more generic light, followup Count 1,2 proved that the boys were much more versatile than originally thought. The track harnesses a classic summer bounce, elevated by some extremely fun freewheeling verses and a harmony rich hook that just bounds with optimism. Summer just doesn’t get better than this folks.


33. Dreamcatcher – Boca (review)

A perfect sequel to Februrary’s Scream, Boca remains one of the more unique singles within Dreamcatcher’s ever consistent discography. Its fusion of moombhaton influenced verses with a more rock influenced hook is sure to be a little disorientating but its sheer ambition and verve is sure to excite.


32. YooA – Bon Voyage (review)

When debuting, it’s vital that one carves out something unique to them, and if anything YooA’s Bon Voyage did exactly that. As Oh My Girl’s first solo release, the track had a lot to live up to and its percussive, tribal inspired production did exactly that. YooA’s distinctive tone lends Bon Voyage with a sense of familiarity while its soaring centrepiece feels like the aural equivalent of a warm hug.


31. Imfact – Lie (review)

Imfact have leaned heavily into deep house as their signature soundscape ever since 2018’s NaNaNa and Lie is yet another slam dunk effort from the boys. It’s a gorgeous piece of emotive dance pop that knows exactly when to pull back and when to hit the listener with an instantly affecting hook.

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