TWICE spent the first half of 2026 on the road and the back half closing a chapter. On August 26, the nine-member group released #BEST 2015-2025 in Japan, a four-disc, fifty-track compilation that gathers a decade of singles into a single package. It is the group's sixth Japanese best-of album, and by some distance the most comprehensive thing they have put their name on.
The structure of the set explains the ambition. Disc one runs from 2015 to 2019 and collects thirteen Korean title tracks, beginning with the debut single “Like OOH-AHH” and moving through “CHEER UP,” “TT,” “LIKEY,” “What is Love?” and “Feel Special.” Disc two picks up in 2020 with “MORE & MORE” and carries through “I CAN'T STOP ME,” “The Feels,” “SET ME FREE,” “ONE SPARK,” “Strategy” and “THIS IS FOR,” ending on “ME + YOU” from last year's anniversary record. Discs three and four mirror the first two in Japanese, drawing on the #TWICE series that the group has released in parallel since 2017.
Two editions are available. The regular version carries the audio; the limited edition adds exclusive packaging, collectibles, and a Blu-ray compiling performances from TWICE LIVE COLLECTION 2017-2024. Both include an entry into a linked lottery for the Japanese leg of the THIS IS FOR World Tour, which is the detail most likely to move physical sales in a market where album purchases and ticket access have long been intertwined.
The release was announced on July 15 through TWICE's official Japanese social accounts, three days after the group closed the THIS IS FOR World Tour at Seoul's KSPO Dome on July 12. That run covered 81 shows across 44 cities in 19 countries, which makes the timing less a coincidence than a handoff: the tour ends, the archive arrives.
Why It Matters
A best-of album in Japan is a specific commercial object rather than a sentimental one. The domestic market still sustains physical formats at a scale that most territories abandoned a decade ago, and compilations function as both a catalog reset and a distribution event. For international acts in particular, a Japanese greatest-hits package tends to arrive at the point where a label believes the back catalog has enough weight to stand on its own.
TWICE reached that point unusually fast. Their Japanese debut album #TWICE arrived on June 28, 2017, roughly eighteen months after the group formed. It entered the Oricon daily albums chart at No. 2 and climbed to No. 1 after a debut showcase on July 2. The record passed 100,000 units within four days, cleared 260,000 in under two months, and was certified Platinum by the Recording Industry Association of Japan. Within eight months of that debut, TWICE had sold more than a million albums in the country.
What #BEST 2015-2025 does differently is refuse to separate the two catalogs. By running the Korean titles and their Japanese counterparts as parallel halves of the same set, the compilation treats a decade of bilingual releases as one continuous body of work rather than a domestic career with an export arm attached. That is a quiet argument about how the group sees itself, and it lands at a moment when the industry is still working out whether localized versions are promotional tools or legitimate entries in an artist's discography.
There is also a practical dimension. Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung and Tzuyu have all pursued solo and subunit work in recent years, and the group renewed together rather than fragmenting at the seven-year mark that has ended many of their contemporaries. A fifty-track summation of the first decade is, among other things, a way of drawing a line under it before whatever comes next begins.
Reaction
Fan discussion in the weeks between announcement and release settled quickly into two threads: what made the cut, and what the Blu-ray contains. The first is inevitable with any compilation. Restricting disc one and two to title tracks means well-loved album cuts and B-sides are absent, and the omission of certain Japanese original singles in favor of Korean-track translations drew its share of complaints from listeners who follow the Japanese releases most closely.
The second thread was warmer. TWICE LIVE COLLECTION 2017-2024 spans a period that includes the group's first Japanese arena and dome shows, and a good deal of that footage has circulated only in fragments or in region-locked releases. For a fandom that has spent a decade collecting physical editions, a consolidated live disc reads less like a bonus and more like the reason to buy the limited version.
The tour lottery complicates the reaction in a familiar way. Tying ticket access to physical purchase is standard practice in Japan and it reliably inflates first-week figures, but it also draws criticism from fans who would rather buy an album because they want the album. That tension has followed Japanese releases for years and this one is no exception.
What's Next
The immediate answer is the Japanese leg of the THIS IS FOR World Tour, which the compilation is explicitly built to feed. The lottery entries bundled with both editions point toward dates that will bring the group back to the country where their non-Korean career began, and where dome-scale shows have become a standard measure of an act's staying power.
Beyond that, the group's schedule is genuinely open for the first time in a while. The 81-show tour ended in July, last October's TEN: The Story Goes On closed out the tenth-anniversary cycle, and this compilation closes the Japanese catalog through 2025. What follows is a second decade with no announced shape, which is a more interesting position than it sounds. Groups that survive their first ten years usually spend the eleventh deciding whether to consolidate or to reinvent, and TWICE have made a habit of doing both at once.
Closing Thoughts
Compilation albums are easy to dismiss. They are, structurally, a label reissuing material it already owns. But a fifty-track set that runs from a 2015 debut single to a 2025 anniversary track does something that individual releases cannot: it makes the shape of a career visible in one sitting. Listening to disc one give way to disc two is listening to a group move from bright, hook-forward pop into something more textured, and then decide, repeatedly, not to abandon the first thing in favor of the second.
The Japanese discs add a second reading. Hearing “TT” and “Dance The Night Away” in translation, sequenced in the same order as their originals, is a reminder that this group built two audiences in two languages more or less simultaneously, and that the effort involved in that has mostly gone unremarked. Ten years is long enough for the improbable to look inevitable. #BEST 2015-2025 is a useful correction to that, arriving at exactly the moment the story could otherwise be filed away as settled.
한글 요약
트와이스가 8월 26일 일본에서 베스트 앨범 #BEST 2015-2025를 발매했습니다. 4장의 디스크에 50곡을 담은 이번 앨범은 그룹의 여섯 번째 일본 베스트 앨범으로, 1·2번 디스크에는 2015년 데뷔곡 ‘Like OOH-AHH’부터 지난해 ‘ME + YOU’까지 한국 타이틀곡 27곡이, 3·4번 디스크에는 #TWICE 시리즈에서 가져온 일본어 버전 23곡이 수록됐습니다. 한정반에는 TWICE LIVE COLLECTION 2017-2024 공연 영상을 담은 블루레이와 전용 패키지가 포함되며, 두 버전 모두 일본 투어 응모권이 들어 있습니다.
이번 발매는 7월 15일 일본 공식 계정을 통해 예고됐습니다. 그룹은 사흘 전인 7월 12일 서울 KSPO돔에서 19개국 44개 도시 81회 공연으로 이어진 THIS IS FOR 월드투어를 마무리한 참이었습니다. 트와이스는 2017년 6월 일본 데뷔 앨범 #TWICE로 오리콘 정상에 오른 뒤 8개월 만에 현지 누적 100만 장을 넘겼고, 이번 베스트반은 한국어 곡과 일본어 곡을 분리하지 않고 하나의 세트로 묶었다는 점에서 기존 컴필레이션과 결이 다릅니다.
팬들 사이에서는 타이틀곡 위주 구성 탓에 수록곡이 빠졌다는 아쉬움과, 그동안 조각으로만 공개됐던 라이브 영상이 한데 모였다는 반가움이 함께 나왔습니다. 투어 응모권을 앨범에 묶는 일본식 판매 방식에 대한 지적도 여전합니다. 나연·정연·모모·사나·지효·미나·다현·채영·쯔위 아홉 명은 데뷔 10년을 정리하는 이 앨범을 끝으로, 아직 형태가 정해지지 않은 두 번째 10년에 들어섭니다.
참고: Billboard Philippines · Soompi · TWICE JAPAN