On December 10, 2025, HYBE's rising girl group ILLIT brought holiday magic to Fuji TV's prestigious 2025 FNS Song Festival, marking their second consecutive year gracing one of Japan's biggest year-end music events. Clad in sparkling white and red ensembles reminiscent of a winter wonderland, the five members – Yunah, Minju, Moka, Wonhee, and Iroha – kicked off the show as the opening act, sharing the stage with established Japanese acts in a collaborative rendition of Yumi Matsutoya's classic carol "Koibito ga Santa Claus" (Lover is Santa Claus). They followed with their bubbly Japan-original track "Almond Chocolate" and a heartfelt cover of Every Little Thing's 1996 ballad "Deatta Koro no Yō ni" (Like When We First Met).
Korean media echoed the positivity, with over 19 Naver articles celebrating their dominance – headlines such as "ILLIT Dominates FNS Opening, Shaking Up Japanese Trends" and MyDaily's piece praising their "refined vocal capabilities" and "overflowing freshness in vocals." The group’s invite to additional holiday specials, including TBS's CDTV Live! Live! Christmas Special (Dec. 15), Japan Record Awards (Dec. 30), and NHK's Kohaku Uta Gassen (Dec. 31), underscores their solidified foothold in Japan, built on hits like "Almond Chocolate" charting across Billboard Japan and Apple Music.
ngl they sound horrible + moka sings like she’s about to cry it’s getting worse https://t.co/fx1FI3ZFV2 pic.twitter.com/Rh8rYydPCY
— !? (@meowlloud) December 11, 2025
they just recovered from ill*t bad encore and now they have to deal with this mess... If you keep tolerating goat vocals of ill*t they will make it their habit and their vocals will get worse with each performance.pic.twitter.com/pYIHVVB4ZS https://t.co/DuCRBfvMgA
— 𓆩♱𓆪 (@asaccelerator) December 11, 2025
ILLIT's fan account deletes live performance on FNS due to poor reactionhttps://t.co/9txmrcn2QR pic.twitter.com/Oqsso4KBce
— pannchoa (@pannchoa) December 11, 2025
Critics pointed out the minimal choreography – members largely standing still – as evidence that vocal instability wasn't due to dance demands. Some tied it to broader discussions of ILLIT's live abilities, referencing past encore stages. Defenders countered that nerves on a major stage or live band setup could play a role, and Japanese audiences focused more on charm and effort.
This split reaction highlights the polarized nature of K-pop fandom: Korean media and locals embraced ILLIT's youthful energy and cultural respect, while online international discourse amplified vocal critiques common in the genre's high-stakes live expectations. At just over a year since debut, ILLIT continues to navigate growth under scrutiny – their global chart successes and packed Japan schedule suggest the positives are outweighing the noise for now.
As the holiday season ramps up, ILLIT's FNS appearance reminds us that in K-pop, every note is dissected, but stage presence and fan connection often carry the day.
(This article draws from public social media trends, media reports, and performance broadcasts as of December 11, 2025. All views are observational; vocal performance is subjective and part of idols' ongoing development. No intent to defame – just reporting the buzz!)
