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| ▲ SG Wannabe performs a congratulatory stage at the 2024 Paris Summer Olympics send-off ceremony held at Olympic Hall in Olympic Park, Songpa-gu, Seoul, on July 9, 2024. (Yonhap) |
SEOUL, May 15 (Yonhap) -- SG Wannabe’s 2004 ballad “Timeless” has topped music charts 6,300 days after its release, highlighting the growing trend of “reverse-run” songs — tracks that rise to No. 1 long after their debut — in the domestic music industry.
According to a report released Thursday by KT Genie Music, 21 songs achieved daily No. 1 status on its platform between 2016 and 2025 after an initial lull in performance, meeting the criteria for “reverse-run” hits. The company defined these as songs that reached the top of the daily chart more than 30 days after their release.
Notable examples include Brave Girls’ “Rollin’,” which reached No. 1 four years after its release, and Younha’s “Event Horizon,” which held the top spot for 47 days in 2022, the longest duration among reverse-run songs.
Other tracks that achieved similar success include Han Dong-geun’s “Making a New Ending for This Story”; Yoon Jong-shin’s “Like It,” MeloMance’s “Gift,” MoonMoon’s “Contrail”; Jang Deok-cheol’s “Good Old Days”; Nilo’s “Pass By” and MeloMance’s “You."
Other such cases are N.Flying’s “Rooftop”; Anne-Marie’s “2002;” Lim Jae-hyun’s “If There Was Practice in Love”; Gaho’s “Start” and Younha’s “Event Horizon.”
In fact, “Timeless” holds the record for the longest time taken to reach No. 1, doing so more than 17 years after its January 2004 release. The track resurfaced in popularity after being featured on the MBC variety program Hangout with Yoo in 2021 and went on to dominate the chart for 15 consecutive days.
Brave Girls’ “Rollin’” followed as the second-longest climber, taking 1,456 days to reach No. 1. Younha’s “Event Horizon” proved the most resilient, maintaining its top ranking for 47 days.
The peak year for reverse-run No. 1s was 2021, which saw five such tracks. No songs met the criteria in 2023.
“While achieving high chart rankings immediately after release is ideal, the industry is no longer discouraged by slow starts,” said an industry insider. “If a song resonates with listeners, it can gradually climb the charts and enjoy long-term success.”
◇ B-sides gain ground as reverse-run success shifts focus from title tracks
Another notable trend is the growing popularity of non-title tracks climbing to No. 1 through reverse-run momentum. (G)I-DLE’s “Because I Hate Being Sick,” DAY6’s “Happy,” and WOODZ’s “Drowning” — all released after 2024 — are examples of B-sides achieving chart-topping success without official music videos or traditional promotional campaigns.
“Because I Hate Being Sick” resonated with fans for its relatable lyrics about daily life, while “Happy” was praised for its comforting melody and hopeful message. “Drowning,” performed by WOODZ during a military-themed special on KBS 2TV’s Immortal Songs in October, garnered renewed attention on YouTube.
Critic Lim Hee-yoon attributes this trend to evolving consumption habits: “Korean music charts are shifting from visual-oriented platforms to listening-centered ones,” he said. “While music videos, TV performances, and dance challenges remain effective on platforms like TikTok and YouTube, traditional streaming services are dominated by songs with strong melodies and emotional depth.”
He added that such B-sides often outperform flashy title tracks due to their structure and musical flow: “Songs with a clear beginning, middle, and end, and melodies that don’t tire easily, have an edge in today’s market.”
Label insiders also note that the diversification of audiences has encouraged fans to find their own favorites beyond the promoted tracks. “Listeners enjoy discovering their own ‘hidden gems’ among album tracks, often identifying personal highlights that align with their preferences,” one executive said.
Agencies are responding to the trend by investing more in content such as B-side music videos and short-form challenges. These efforts also serve as insurance when title tracks underperform.
LE SSERAFIM’s “Eve, Psyche and the Bluebeard’s Wife,” a B-side from the group’s studio album, earned music show wins even after official promotions ended. ILLIT’s “Tick-Tack,” a B-side from their second mini album, became a viral sensation with its game-inspired sound, particularly on short-form platforms.
“Since album promotion periods are shorter than in the past, highlighting B-sides is an effective way to raise group recognition,” another industry source said.
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