Plus Magazine

| Written by Son minhyun (Editor for the music webzine IZM)

K-POP makes its way to Japan, as Korea finds itself increasingly drawn to J-POP. This observation neatly encapsulates the shifting dynamics of East Asian pop music today. Historically, South Korea and Japan have enjoyed a rich tradition of cultural exchange. Yet, the recent surge in mutual interest is unparalleled. Previously, Korean culture, celebrated in Japan through the Korean wave, or Hallyu, and the Japanese culture that found a niche among Korean aficionados, were simply aspects of each country's subculture. However, thanks to K-POP's rise on the global stage and the expansion of subcultures fueled by platforms like TikTok, K-POP and J-POP now prominently mark their presence in the mainstream culture of the other's country.
 

In the year 2023, with artists like aimyon, YOASOBI, and imase achieving successive hits, there was a marked surge in Korea's interest in J-POP. imase's track ‘NIGHT DANCER’ not only topped Korean music charts but also saw a remix version featuring Big Naughty, amplifying its popularity. The <2023 Incheon Pentaport Rock Festival>, one of the biggest music events in the country, showcased the beloved Japanese band Ellegarden, known for their hit ‘Marry Me’. Following this, they continued to connect with Korean audiences through a dedicated concert in Korea.

The sporadic interest converged around YOASOBI's ‘Idol’ short-form challenge. As a defining trendsetter, YOASOBI graced the stage of M COUNTDOWN and swiftly sold out their December concert in Korea, marking their territory on foreign soil. Their triumph set the stage for the J-POP concert scene, which, filled with excitement and anticipation, began preparations for 2024. Following the footsteps of Ado, who successfully wrapped up her February show, artists like Hitsujibungaku, King Gnu, and ZUTOMAYO, who also enjoy significant popularity in Japan, are slated for upcoming performances in Korea.

In Japan, the engagement was more pronounced. The 2023 ＜SUMMER SONIC＞, Japan's premier urban music festival in Tokyo and Osaka, saw Korean girl group NewJeans ascend the main stage. Their performance, without an official local debut, on the same platform as top artists like Kendrick Lamar, and to a full house at 12:30 PM in temperatures surpassing 35 degrees Celsius, represented a notable shift. Similarly, ＜KCON JAPAN 2023＞ hosted in Tokyo, saw an unprecedented turnout of around 120,000 attendees. This figure is particularly impressive when compared to the 300,000 visitors at ＜SUMMER SONIC＞, which featured a lineup of global artists. Local media highlighted this shift, noting:
 

ZOZO Marine Stadium, the main venue for SUMMER SONIC, was filled to capacity, reminiscent of past performances by headliners like Red Hot Chili Peppers or Radiohead. NewJeans elicited loud cheers with the electronic buzz of ‘Ditto’s' opening and the horn sounds of ‘ETA’. The performance by the Korean artist was undeniably headline-worthy." - The Japan Times

More striking visual evidence can be observed. In Fukuoka City, a popular destination for Korean tourists, the differences in appeal between K-POP and J-POP are starkly displayed at the ‘Tower Records’ store. At the entrance, albums by artists like aimyon, YOASOBI, and Kenshi Yonezu, who enjoy high recognition in Korea, are prominently placed to attract tourists, while a section dedicated to K-POP, aimed at domestic consumers, stretches across a large display on the opposite side. The same trend is evident on the streets. At Seven-Eleven, Japan's iconic convenience store, Korean male idol groups SEVENTEEN is featured, while girl group TWICE models for FamilyMart. That Korean idol groups are chosen for convenience store advertisements, frequented by a wide demographic, underscores the fervent enthusiasm surrounding them.

The phenomenon of musical exchange between Korea and Japan might seem straightforward, yet the nature of this relationship is quite diverse. The reasons behind the J-POP wave in Korea have been widely discussed. The proliferation of OTT services has exposed the general public to Japanese culture, leading with anime like and , and has sparked significant buzz around cultural products and their associated ‘tie-up songs’. The battlefield of viral marketing on short-form platforms has also played a role in establishing a few Japanese artists in Korea. Small efforts are met with enthusiastic responses from Koreans, suggesting that J-POP has smoothly sailed into Korean hearts on favorable winds.
 

In contrast to Korea, where the K-POP movement began as a gentle breeze, Japan faces a contrasting dynamic with the K-POP phenomenon sweeping through like a powerful storm. K-POP has always strategically targeted Japan, not only because it is Asia's biggest and the world's second-largest music market but also as a key importer of K-POP, employing a meticulous industry-focused approach. The year 2023 witnessed an explosive growth in this trend. K-POP album sales in Japan saw a 37% increase from the previous year, and the number of Japanese fans attending K-POP concerts in the first half alone reached 2.75 million, a figure three times that of the previous year. This surge is attributed to the leading role of global K-POP groups and the diversity of K-POP acts within Japan, which differs significantly in its orientation and characteristics from the K-POP scene in Korea.
 

The presence of major global K-POP idol groups is as pronounced as ever. Big-name idols from major labels, such as BTS, BLACKPINK, and aespa, dominate the market, contributing to its overall growth. Japan represented 31% of HYBE's sales in 2023, surpassing the 26% from the United States. LE SSERAFIM, returning with [EASY], continues to build on their momentum from their IZ*ONE days. Their albums have not missed topping the weekly album chart on Japan's Oricon music service, thanks to the strong reception of the members. SM Entertainment experiences a similar trend. Their ＜SMTOWN LIVE 2024 SMCU PALACE＞ concert at Tokyo Dome attracted an audience of 100,000, underscoring the enduring appeal of the trailblazers of the Hallyu.
 

Korean male idol groups have also established a firm presence in Japan. Last year, both Stray Kids and SEVENTEEN hosted large-scale dome tours in major Japanese cities, with ticket demands reaching the tens of thousands, underscoring their broad appeal. Their dominance is further highlighted in album sales. SEVENTEEN's [SEVENTEENTH HEAVEN], released in October, claimed the number one spot on the Oricon weekly album chart, achieving a record-breaking number of first-place finishes for a foreign artist. Their junior group, TWS, which debuted less than a year ago, also made a significant impact with their debut album [TWS 1st Mini Album 'Sparkling Blue'] landing in the top 10 of the Oricon monthly rankings for February 2024.
 

Idol groups that include Japanese members and target the local market have established unique positions for themselves. With the Chinese market becoming less accessible due to geopolitical shifts, these groups are strategically leveraging their Japanese members to deeply penetrate the Japanese market. An exemplary case is Kep1er, featuring one of the most adored Japanese members, Mashiro, among K-POP fans in Japan. They debuted at the top of the Oricon annual rookie chart in 2022 and placed their song ‘Fly-High’ at number two on the singles chart in November of the same year. Similarly, Billlie, with Japanese members like Tsuki and Haruna, mirrored this pattern by making their Japanese debut with [Knock-on Effect] just a month earlier.
 

Idol groups that are fully localized and originate from Japan have also begun their significant operations. &TEAM from HYBE has made its Japan-centric orientation clear right from the start. In a similar vein, both JYP Entertainment's NiziU and SM's NCT WISH consist solely of Japanese members. These groups symbolize the new directions K-POP is poised to explore, as depicted in . It suggests that understanding the present and future of K-POP now requires a dual focus on both Korea and Japan.
 

The expansion and triumph of K-POP in Japan isn't a phenomenon that only emerged recently. Nevertheless, the data from 2023 underscores that K-POP has reached an industrial zenith. The ongoing efforts to charm the neighboring nation have continuously refined K-POP's hallmarks of adaptability and diversity, enabling a systematic encroachment into the expansive Japanese market. This success extends beyond music alone. It's the triumph of a Japan-specific strategy that emphasizes K-POP's core feature: fostering connections with fans. This strategy has been effectively implemented through actions such as covering Japanese artists' songs in concerts and releasing collaboration tracks, thus capturing the local culture accurately. Furthermore, the effective generational transition of the Hallyu, where a mother's fandom for BIGBANG leads to her daughter's support for TREASURE, has significantly contributed to this success.
 

Consequently, K-POP has secured its place within Japan's ‘popular culture’. This also indicates its triumph in capturing the hearts of teens and young adults, who have been nurtured within the realms of social media and online communities. Amidst the controversy surrounding the founder of Japan's prominent entertainment agency ‘Johnny & Associates,’ and as J-POP's inward-looking, conservative tendencies persisted, K-POP's rapid international expansion enabled it to transcend its status as a subculture and emerge as an enticing counter-culture. Boasting worldwide recognition, grounded in the universally appealing Western pop sound, and further enriched by the inclusion of local members and releases in Japanese, K-POP has irresistibly presented itself as an appealing ‘pop’ choice for the youthful demographic engaged in cultural consumption.
 

This collaborative spirit between K-POP and J-POP manifested vividly during last year's NHK's year-end music celebration, ＜Kohaku Uta Gassen＞. A collaborative performance by artists from both nations was set to YOASOBI's hit, ‘Idol’—a song that encapsulates the essence of idol culture, which is pivotal to both Korean and Japanese music scenes. This act served as a poignant recap of 2023, symbolizing the mutual admiration between the two countries. Despite some confusion among fans from both sides about the spotlight due to the participation of artists from the opposing country in five acts, it underscored the strong, tangible connections between the music industries of Korea and Japan.

Looking at this musical exchange between Korea and Japan, there's much to be optimistic about. Korea is openly embracing J-POP's rich variety, from King Gnu's avant-garde band music to ZUTOMAYO's blend of funky rock and black music, and aimyon's mellow folk rock. This openness promises fresh inspiration for Korean fans and artists alike, hinting at a plethora of intriguing developments ahead. It's akin to the recent collaboration seen in BOBBY's album [Sir.Robert], which featured CHANMINA, a Korean-Japanese rapper working in Japan. The innovative collaboration between K-POP and J-POP, poised to reveal unique musical fusions, seems just around the corner.
 

 ※ Manuscripts from outside writers may not reflect the editorial direction of this magazine.