There was a time when mentioning the No.1 K-pop girl group meant TWICE, not SNSD, not BLACKPINK. Formed through JYP’s survival show Sixteen in 2015, the nine-member act became a cultural phenomenon — dominating music charts, endorsements, and public affection across Asia.
But ten years later, TWICE is facing a harsh reality: half-empty concert venues and album sales dropping below 1,000 copies a day.
The Rise: When TWICE Defined an Era
TWICE’s rise began with Cheer Up (2016), a bubbly anthem that became more than just a hit — it was a social craze. Sana’s “Shy Shy Shy” went viral, and the group swept every major award show, winning Song of the Year at MAMA and establishing an unbeatable three-year streak of Daesang wins.
From TT to Likey and What Is Love?, each comeback felt like an event. Their sound — sugar-sweet hooks, addictive repetition, and pure optimism — became the blueprint for K-pop’s “cute concept” generation.
At their peak between 2016 and 2018, TWICE reigned over both digital charts and album sales, outpacing BLACKPINK, Red Velvet, and GFRIEND. They weren’t just idols; they were Korea’s national sweethearts.
Each member represented a different charm — Nayeon’s cheerful brightness, Tzuyu’s top-tier visuals, Sana and Mina’s Japanese appeal, and Dahyun and Chaeyoung’s youthful energy. The formula worked flawlessly.
Endorsements poured in: cosmetics, beverages, smartphones. TWICE appeared on every major variety show, their names topping Naver’s search trends weekly. For a time, it seemed no one could dethrone them.
The Plateau: When the Industry Moved On
But K-pop evolves fast — and TWICE didn’t.
As the industry pivoted toward bolder, globalized styles emphasizing individuality and attitude, TWICE stayed loyal to their cheerful, pastel-toned image. What was once their strength became a creative cage.
While BLACKPINK’s DDU-DU DDU-DU and Kill This Love stormed global charts, TWICE’s releases like Fancy and Feel Special felt safe and polished — but no longer revolutionary.
By 2019, the fourth generation of girl groups — ITZY, (G)I-DLE, EVERGLOW — had redefined femininity with “girl crush” energy, while newer acts like IVE, LE SSERAFIM, and aespa brought futuristic visuals and powerful storytelling. TWICE’s attempts to adapt came too late.
Their U.S. crossover efforts under JYP’s Republic Records partnership also failed to replicate the success of BTS or BLACKPINK. Meanwhile, their digital presence in Korea plummeted — a sign that the group’s “national darling” status had faded.
The Fall: Half-Empty Arenas, Underwhelming Sales
The turning point came this October. During their This Is For world tour stop at Malaysia’s National Hockey Stadium (capacity: 18,000), fans were shocked to see half the venue empty, despite JYP’s claims of a full sell-out. Photos showed a sparse standing zone and patchy seating across stands — a stark contrast to their once sold-out shows.
“It looked barely half full,” one attendee posted on X. “Even ONCEs near the stage were trying to move closer to fill the gaps.”
Then came another blow. Their 10th-anniversary album, Ten: The Story Goes On, opened with just 166,000 copies sold on day one — a sharp decline even compared to JYP’s younger acts. By day three, sales had dropped below 1,000 units, an almost unthinkable number for a group that once led Korea’s physical album charts.
To date, the album has yet to surpass 300,000 copies, making it one of TWICE’s weakest performances since debut.
The Reflection: Legacy vs. Longevity
Ten years after their debut, TWICE remains a respected name — but their glory days are behind them. In an industry that demands constant reinvention, the group that once defined “cute pop perfection” now struggles to find its place among the fierce Gen 4 landscape.
The nostalgia remains. TWICE’s songs still echo in karaoke rooms; their impact on K-pop’s aesthetics is undeniable. But the market has moved on.
As one fan commented online: “TWICE didn’t fail — the world just changed.”
And perhaps that’s the most bittersweet truth for any idol group that once ruled the world.
Sources: kenh14
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