It’s that time of year again! Before I make my 2023 K-pop resolutions (ie: wishes) tomorrow, I’d like to rewind one year and see how well 2022 fulfilled those hopes. This is usually a pretty disappointing reflection, but maybe this year will be different?

Make sure to look back at 2022’s resolutions before continuing!

1. Comebacks and Stages that Feel Genuinely Fun

Did 2022 deliver? — Honestly, it was more of the same

While there were definitely a few fun, goofy comebacks in 2022, the standard for most performances (especially boy groups) remains the same: choreo-heavy with plenty of posturing. I don’t see this changing anytime soon since the industry itself is built upon a veneer of perfection and polish.

2. Lasting Producer/Artist Partnerships

Did 2022 deliver? — not really

Much of my favorite 2022 music came from artists who found a great producer and stuck with them. I’m thinking OnlyOneOf, DRIPPIN, RoaD-B, etc. But, the overwhelming trend in K-pop remains the same. Artists hop from producer to producer without a ton of continuity.

3. No. More. Shouting.

Did 2022 deliver? — Oh, definitely not

This was a particularly frustrating issue with boy groups in 2022. Some tracks built their entire chorus around chanted shouts. Others shouted their way through the verses or bridge. It was another shouty year, for sure.

4. Onomatopoeia No No

Did 2022 deliver? — It’s getting much better!

There were still Wa Da Das and Gratatas here and there, but this trend seems to be on its way out. Even groups who embraced it in the past have moved on. Thank goodness!

5. An Exciting New Crop of Rookies

Did 2022 deliver? — Definitely! At least on the girl group side

This was very lopsided, with far more notable girl groups debuting than boy groups. But, many of my favorite songs from 2022 came from rookies. Better yet, many of them seem to be ushering in new sounds and ideas.

6. Cut it with the Competition

Did 2022 deliver? — Not really

I think we just have to accept that competition (especially in our streaming era) is a central component of K-pop fandom. It’s probably not getting any better, so it’s best to ignore the bragging and boasting (and fan wars).

7. The Return of Classic Producers

Did 2022 deliver? — Nope, though there were slivers of hope

While 2022 didn’t see a resurgence of 2nd-gen producers, I was happy to get a couple excellent Sweetune tracks. Brave Brothers was oddly quiet after his huge 2021 success, while other creators from this era were simple MIA.

8. Big Songs that Stay Big

Did 2022 deliver? — No

Apart from a couple big standouts (basically, most of my top ten of the year), K-pop remained allergic to big dance tracks that don’t swerve into some half-time breakdown or slow, mopey verses. On the plus side, a couple of the year’s biggest hits (After Like and Forever 1) hinted at the possibility of more upbeat dance music in the future.

9. The Return of Cheering Songs (ie: less “I,” more “You”)

Did 2022 deliver? — Not really

Most K-pop songs continue to place the “I” front and center, acting as delivery methods for boasting and braggadocio. This seems to be what sells, so I don’t imagine it changing any time soon.

10. Loving More “Big” Groups

Did 2022 deliver? — No

My dilemma remains the same. Most of my favorite music comes from lesser-known artists. This is fine, but it can make me feel like I’m missing out on big part of the K-pop experience. I’d love to see some of my favorite songs performed at the year-end festivals, for example. But, that’s just not in the cards right now. When it comes to music, I found almost every “big name” group to be pretty underwhelming this year.