Bollywood singer Neha Kakkar is facing a wave of criticism across social media after releasing her latest song Candy Shop, with many listeners accusing her of mimicking K-pop artists and chiding the track as a derivative, uninspired effort. What was meant to be an upbeat, vibrant addition to her musical repertoire instead sparked a fierce debate online about originality, influence and how global pop trends intersect with Indian music.
The backlash picked up momentum after several fans and viewers pointed out striking similarities between Candy Shop and recent K-pop releases by prominent groups. Users on X (formerly Twitter), Instagram and YouTube drew comparisons, some suggesting that certain musical elements, choreography shots and visual styling in the song’s promotional content evoked familiar K-pop signatures. These users labelled the resemblance uncomfortably close, with comments ranging from “cringe copy” to “wannabe K-pop” flooding comment threads under the song’s posts.
One widely shared comment insisted, “THIS KPOP COPY…” reflecting the broader sentiment among critics who felt the song lacked a distinct identity of its own. Several voices questioned whether the track was an attempt to tap into global pop culture without putting enough creative distance between inspiration and imitation.
Neha Kakkar, who has long been one of India’s most popular and commercially successful singers, did not directly address the comparison in public statements. However, fans of the singer rushed to her defence, arguing that pop music has always evolved through inter-genre influence, and that Candy Shop should be seen as part of that organic fusion rather than a blatant copy. Supporters highlighted that global trends in choreography, beats and production styles naturally permeate music industries worldwide, often making genre lines appear blurred.
“This happens in every music industry,” one fan wrote. “K-pop borrows Western pop elements; Bollywood has always borrowed global sounds. Candy Shop is fun, not theft.” Another observer noted that critics might be overlooking the hard work and creative input behind the song, choosing instead to reduce it to comparison culture.
Industry analysts also weighed in, noting that pop music, by its nature, thrives on shared aesthetics, trends and visual cues. Elements like colourful sets, synchronised moves and catchy hooks are part of the global pop playbook, seen everywhere from New York to Seoul to Mumbai. A trend that originates in one part of the world often filters into others, making absolute originality increasingly rare. This doesn’t necessarily undermine creativity, but it does invite discussion about how artists integrate global influences into local music ecosystems.
Nevertheless, the intensity of the online backlash indicates a growing sensitivity among Indian audiences toward perceived mimicry of foreign music cultures. As K-pop’s global footprint expands, comparisons with local pop productions have become more common, and artists like Neha Kakkar find themselves navigating a fanbase that is both highly engaged and highly opinionated.
The Candy Shop controversy also reflects broader shifts in how music is consumed and evaluated in the digital age. Fans no longer passively receive new releases; they dissect, contextualise, and debate every beat and frame in real time. A release that might once have quietly entered the market now becomes instant fodder for cultural commentary and viral opinion.
As the discourse continues to unfold online, it remains to be seen whether Neha Kakkar’s song will find its enduring audience or be remembered primarily for the criticism it sparked. What is clear is that music criticism in 2025 is global, instantaneous, and unforgiving and artists today must reckon with reactions that span continents and genres.
