J-pop (ジェイポップ, jeipoppu), short for Japanese Pop Music and called simply pops (ポップス, poppusu) in Japan, is a term created in the early 1990s by Komuro Tetsuya, regarded as the “father of J-pop”, to refer to all types of Popular Japanese Music genres in Japan, in opposition to Traditional Japanese Music called Enka. Modern Jpop derives from the 1960s pop and rock music scene such as The Beatles and The Beach Boys, and has replaced Kayōkyoku (“Lyric Singing Music”), the prevailing style of Japanese popular music from the 1920s to the 1980s in Japan.
Origins of J-pop and its Evolution from Traditional Japanese Popular Music
Traditional Roots
1920s–1960s: Ryūkōka
Japanese popular music, historically known as ryūkōka and later branching into enka and poppusu, has its roots stretching back to the Meiji period. However, it gained significant traction during the Taishō period, marking its true beginning. This era saw the integration of Western musical techniques and instruments, introduced during the Meiji period, into traditional Japanese music. Ryūkōka evolved under the influence of Western genres like jazz and blues, utilizing instruments such as the violin, harmonica, and guitar, while melodies often adhered to the traditional Japanese pentatonic scale.
In the 1930s, the genre was significantly shaped by Ichiro Fujiyama, whose tenor vocals popularized the crooning technique in Japan. During the same period, jazz musician Ryoichi Hattori infused Japanese music with a bluesy essence, composing hits like Noriko Awaya’s “Wakare no Blues” (“Farewell Blues”), earning Awaya the title “Queen of Blues” in Japan. World War II brought a temporary halt to jazz performances due to Imperial Army pressures, but post-war, the occupation by U.S. forces and the Far East Network played a pivotal role in introducing new musical styles, including boogie-woogie, mambo, and country.
The post-war period also saw the popularity of venues like Jazz kissa (“Jazz cafes”), which were crucial for live jazz performances, though jazz itself never became a mainstream genre in Japan. This era’s musical scene also featured a polarization between urban kayō and modern enka. Furthermore, the influence of Chinese immigrant jazz musicians fleeing communist China in 1949 helped establish the foundations of modern J-pop, as they collaborated with American soldiers, introducing a plethora of Western musical genres to Japan and setting the stage for what would eventually be known as kayōkyoku (歌謡曲, lit. ”Pop Tune”).
1960s: Rokabirī and Wasei pops
During the 1950s and 60s, the Japanese music scene experienced a transformative period, particularly influenced by the interactions between Kayōkyoku artists and U.S. military bases in Japan. This exposure led to a significant reorganization of the concert touring industry by yakuza manager Kazuo Taoka, who professionalized the performers, setting the stage for the future of J-pop.
The rock and roll fever in Japan ignited in 1956, sparked by Kosaka Kazuya and the Wagon Masters’ rendition of Elvis Presley’s “Heartbreak Hotel.” This marked the beginning of Japan’s rockabilly craze, referred to as “rokabirī” by the local media. The movement was characterized by Japanese performers adapting and covering popular American songs, which became known as Cover Pops (カヴァーポップス, Kavā poppusu). The rockabilly trend reached its zenith at the first Nichigeki Western Carnival in 1958, attracting 45,000 attendees in just one week.
Kyu Sakamoto, an ardent fan of Elvis, made his stage debut at the same carnival and went on to achieve international fame with his 1961 hit “Ue wo Muite Arukō” (“Let’s Look Up and Walk”), famously known abroad as “Sukiyaki.” This song topped the charts in the United States and earned a gold record. During this era, The Peanuts also gained popularity with their music featured in the movie Mothra and were part of the genre known as Wasei Pops (和製ポップス, “Japan-made pop”).
The Drifters, who frequently changed members, reformed in 1964 and even opened for The Beatles in 1966, though they faced initial resistance from the audience. They eventually found fame, particularly with the release of “Zundoko-Bushi” (“Echoic word tune”) in 1969 and became well-known television personalities. They introduced many idols, including Momoe Yamaguchi and Candies, on their TV show, further cementing their influence in the Japanese entertainment industry. Keiko Fuji, an enka singer, also rose to prominence during this period, setting a record on the Oricon chart with her album “Shinjuku no Onna/’Enka no Hoshi’ Fuji Keiko no Subete” (“Woman in Shinjuku/’Star of Enka’ All of Keiko Fuji”) by staying at Number One for 20 consecutive weeks, a testament to the massive popularity and evolving nature of Japanese popular music during this transformative era.
Ereki and group sounds
The electric guitar became a cultural phenomenon in Japan following the 1962 visit by The Ventures, sparking what was known as the “Ereki boom.” Esteemed guitarists like Yūzō Kayama and Takeshi Terauchi rode the wave of this boom, gaining widespread recognition. The Beatles’ 1966 concert at the Nippon Budokan marked a pivotal moment for rock music in Japan, being the first rock band to perform there despite initial public fears that their presence might incite juvenile delinquency. The event was heavily policed, reflecting the tense atmosphere surrounding rock music at the time. Despite these challenges, Beatlemania persisted in Japan, profoundly influencing the local music scene and contributing to the creation of the group sounds genre.
The Beatles’ influence also sparked a significant debate within the Japanese music community regarding the language of rock music—whether it should be performed in Japanese or English. This debate, known as the “Japanese-language rock controversy” (日本語ロック論争, Nihongo Rokku Ronsō), involved notable figures like Happy End and Yuya Uchida. Happy End was instrumental in demonstrating that rock music could indeed be sung in Japanese, a milestone that is considered one of the foundations of modern J-pop.
Prominent musicians like Eikichi Yazawa, Keisuke Kuwata, and Yōsui Inoue were also influenced by The Beatles, each incorporating elements of their music in different ways into their careers. After Happy End disbanded in 1973, Haruomi Hosono, a former member, embarked on a solo career and later formed the influential group Yellow Magic Orchestra, further shaping the landscape of Japanese music influenced by Western rock.
Adaptation to modern styles
1970s: Fōku and new music
In the early 1960s, the American folk music revival heavily influenced Japanese music, giving rise to a local version known as fōku (フォーク, “folk”). Initially, this genre was dominated by Japanese covers of American folk songs. By the late 1960s, the Folk Crusaders popularized fōku, which started to evolve with artists like Wataru Takada, who infused the genre with social satire, similar to its enka counterparts.
The 1970s marked a significant shift in the folk music scene, transitioning from the simple, guitar-accompanied songs to a more sophisticated style dubbed new music (ニューミュージック, nyū myūjikku). This new genre moved away from social commentary, focusing instead on personal themes such as love. Takuro Yoshida was a pivotal figure during this time, achieving a hit with his song “Kekkon Shiyouyo” (“Let’s marry”) in 1972, despite criticism from folk purists who viewed his simpler musical style as low effort.
During this period, the enka song “Onna no Michi” by Shiro Miya and the Pinkara Trio became the highest-selling single of the year, moving over 3.25 million copies. Yōsui Inoue also made significant contributions with his album “Kōri no Sekai” released in December 1973, which topped the Oricon charts and remained in the Top 10 for 113 weeks, including a record-breaking 35 weeks at number one.
Yumi Matsutoya, formerly known as Yumi Arai, emerged as a prominent singer-songwriter during this era. Her 1975 single “Ano Hi ni Kaeritai” (“I want to return to that day”) marked her first number-one hit on the Oricon charts. Alongside her, Miyuki Nakajima, Amii Ozaki, and Junko Yagami also rose to fame as popular singer-songwriters of the time. Initially, only Matsutoya was labeled a new music artist, but soon, the definition of Japanese fōku music broadened to include a wider array of artists and styles.
By the late 1970s, the music scene saw new additions like Chage and Aska, and the folk band Off Course, led by Kazumasa Oda, who achieved success with their hit song “Sayonara” (“Good-bye”). This period marked a rich era of evolution and diversification in Japanese music, reflecting broader shifts in musical tastes and cultural expressions.
Japanese rock, Synth-pop & Electronic Music scene
In the early 1970s, rock music in Japan largely remained an underground genre. However, bands like Happy End were significant for breaking into the mainstream by blending rock with traditional Japanese music elements. This period also saw Japanese musicians start to experiment with electronic music, leading to notable developments in the genre.
Isao Tomita was particularly influential with his 1972 album “Electric Samurai: Switched on Rock,” which featured electronic synthesizer versions of contemporary rock and pop songs. This pioneering effort was followed by artists like Yousui Inoue and Osamu Kitajima, who collaborated with Haruomi Hosono on albums that combined folk rock, pop rock, and progressive psychedelic rock with electronic elements. Hosono would later found the influential electronic music group Yellow Magic Orchestra (YMO) in 1977, further cementing his role in the evolution of electronic music in Japan.
Rock music continued to gain momentum with Eikichi Yazawa’s 1978 hit single “Jikan yo Tomare” (“Time, Stop”), which sold over 639,000 copies. Yazawa’s attempts at international success included signing with Warner Pioneer and moving to the U.S. to record albums, though these were not as successful commercially. Concurrently, Keisuke Kuwata formed the Southern All Stars, debuting in 1978 and maintaining popularity in Japan to this day.
1978 also marked the debut of YMO, which included members Haruomi Hosono, Yukihiro Takahashi, and Ryuichi Sakamoto. The band played a crucial role in developing electropop and synthpop and were pioneers in the electro music scene. Their 1979 album “Solid State Survivor” was particularly successful, topping the Oricon charts and selling two million records worldwide. YMO’s influence was profound, both in Japan and globally, as they helped popularize electronic music. Their success on the Oricon charts and the emergence of the “YMO Generation” underscored their impact.
The late 1970s through YMO and Southern All Stars marked a transitional period in Japanese music, setting the stage for the shift from New Music to the more modern J-pop genre that would dominate the 1980s. Both groups’ legacies were later recognized by HMV Japan, ranking them among the top 100 Japanese musicians of all time. This era not only highlighted a change in musical styles but also indicated a broader acceptance and integration of Western musical influences, shaping the future landscape of Japanese pop music.
Japanese Country
Country and western music began developing a following in Japan prior to World War II, but it was after the war that the genre really took root, largely due to exposure from the Far East Network. Early Japanese country acts such as Biji Kuroda & The Chuck Wagon Boys, Jimmie Tokita and His Mountain Playboys, The Blue Rangers, Wagon Aces, and Tomi Fujiyama emerged during this time. While most of these musicians performed in English, artists like Fujiyama and Kazuya Kosaka also sang in Japanese, which helped broaden the genre’s appeal within Japan.
The genre has maintained a dedicated fan base over the years, thanks to artists like Charlie Nagatani, Katsuoshi Suga, J.T. Kanehira, Dicky Kitano, and Manami Sekiya, who have continued to promote and perform country and western music. The scene is supported by venues and events dedicated to the genre, including the now-defunct annual Country Gold, organized by Charlie Nagatani, and modern honky tonks such as Little Texas in Tokyo and Armadillo in Nagoya. These venues and artists play a crucial role in keeping the country and western tradition alive in Japan, illustrating the genre’s lasting influence and unique adaptation within Japanese culture.
1980s: Fusion with and replacement of “kayōkyoku” music genre
City pop & Technopop
In the early 1980s, the proliferation of car stereos contributed to the rise of a genre known as city pop (シティーポップ, shitī poppu), which encapsulated the essence of urban life, particularly in Tokyo. The genre was influenced by album-oriented rock, specifically from the adult contemporary sector, and by jazz fusion, reflecting the sophisticated tastes of its audience.
City pop’s development can be linked to the mid-1970s with notable contributions from the Japanese rock band Happy End and its former member Haruomi Hosono, along with Tatsuro Yamashita. These artists were instrumental in shaping the genre’s distinctive blend of rock, jazz, and funk, which mirrored the dynamic and cosmopolitan nature of Japanese urban centers.
The genre’s popularity waned with the collapse of Japan’s asset price bubble in 1990. Nonetheless, the musical stylings of city pop were carried forward by artists in the Shibuya-kei movement during the 1990s, such as Pizzicato Five and Flipper’s Guitar, who adapted its core elements while infusing them with their unique cultural interpretations, ensuring the enduring influence of city pop in the broader landscape of Japanese music.
Rock, Metal & Visual kei
During the 1980s, Japanese rock music saw the rise of several prominent bands including Southern All Stars, RC Succession, Anzen Chitai, The Checkers, The Alfee, and The Blue Hearts. Anzen Chitai, originally the backup band for Yosui Inoue, carved out its own niche in the music scene. A notable milestone was reached by The Alfee in 1986 when they performed in front of a record-breaking audience of 100,000 people, a first in Japan.
This era also witnessed the influence of New Romanticism on Japanese musicians, with bands like Boøwy, TM Network, and Buck-Tick adopting this style. Boøwy, in particular, became a seminal force in Japanese rock; in 1988, members Kyosuke Himuro and Tomoyasu Hotei led the band to achieve three number-one albums within a single year, setting a precedent for male artists in Japan. Influenced by this success, guitarist Tak Matsumoto went on to form the rock duo B’z with singer Koshi Inaba that same year.
The late 1980s also marked the success of the girl band Princess Princess, who became known for their pop-rock style. Their singles “Diamonds” and “Sekai de Ichiban Atsui Natsu” (“World’s Hottest Summer”) dominated the 1989 Oricon Yearly Single Charts, securing the top two spots.
Additionally, the late 1980s saw the emergence of visual kei, a genre characterized by its artists’ use of makeup, extravagant hairstyles, and androgynous costumes. Bands like X Japan (originally “X”) and Buck-Tick were at the forefront of this movement. X Japan made significant strides with their albums, notably “Blue Blood” which was released on CBS Sony in 1989 and sold 712,000 copies, and “Jealousy” in 1991, which sold over 1.11 million copies. X Japan’s guitarist hide, influenced by alternative rock, embarked on a successful solo career starting with his 1994 album “Hide Your Face.”
This period was rich with diversity in rock music, demonstrating both the evolution of established genres and the birth of new ones within the Japanese music industry.
Birth of the Idol scene
The 1970s marked a significant increase in the popularity of female idol singers in Japan, with notable figures such as Mari Amachi, Saori Minami, Momoe Yamaguchi, and the duo Candies. Momoe Yamaguchi was particularly influential, being one of the first kayōkyoku singers to adopt the distinct pronunciation characteristic of J-pop. In 1972, Hiromi Go made his debut with the song “Otokonoko Onnanoko” (“Boy and Girl”), originating from Johnny & Associates. By 1976, the female duo Pink Lady emerged, debuting with “Pepper Keibu” and achieving an impressive record of nine consecutive number-one singles.
Transitioning into the 1980s, the idol scene evolved from the New Music trend, although the term itself faded from regular use. Seiko Matsuda was a prominent figure during this time, inheriting song producers from previous generations and achieving her own success with the 1980 hit “Kaze wa Aki Iro” (“Wind is Autumn Color”). She broke Pink Lady’s record by becoming the first artist to achieve 24 consecutive number-one singles. The decade also saw other female idols like Akina Nakamori, Yukiko Okada, and Kyōko Koizumi gaining substantial popularity. Yukiko Okada, in particular, won the Best New Artist award in 1984 but tragically committed suicide in 1986 after her hit “Kuchibiru Network” (“Lips’ Network”).
The mid-1980s also witnessed the debut of Onyanko Club, which challenged and changed the traditional image of Japanese idols, producing popular singers like Shizuka Kudō. The boy band Hikaru Genji, introduced by Johnny & Associates in 1987, became known for their rollerskating performances and influential music, including “Paradise Ginga,” which won the Grand Prix award at the 30th Japan Record Awards.
The late 1980s brought about the rise of the female duo Wink, who became known for their serious demeanor, contrasting with the typically cheerful Japanese idol image. Wink’s song “Samishii Nettaigyo” won the grand prix at the 31st Japan Record Awards in 1989. That same year, popular singer Hibari Misora passed away, leading to the closure of several kayōkyoku programs. Also in 1989, Tetsuya Komuro from TM Network broke Seiko Matsuda’s record streak with his single “Gravity of Love,” which debuted at number one.
This era of Japanese music was characterized by a mix of continued traditions and innovative changes that influenced the shape of the idol industry and the broader music scene in Japan.
1990s: Birth of the term “J-pop”
In the 1990s, the term J-pop was created to refer to all Japanese popular music excluding enka (Traditional Japanese music), marking a shift in the Japanese music industry towards heightened marketing strategies. During this era, the agency Being and Tetsuya Komuro’s disco productions were particularly influential. Between 1990 and 1993, artists from the Being agency, such as B’z, Tube, and Zard, under what was known as the Being System, dominated the charts, setting new sales records. B’z, in particular, became the best-selling atrtist in Japan according to Oricon charts and RIAJ certifications, even surpassing Seiko Matsuda’s record for consecutive number-one singles.
The 1990s were marked by several mega-hits, with songs like Kazumasa Oda’s “Oh! Yeah!/Love Story wa Totsuzen ni” and Mr. Children’s “Tomorrow Never Knows” selling over two million copies each. Additionally, Dreams Come True’s album “The Swinging Star” set a milestone by becoming the first album to sell over three million copies in Japan.
Post-1994, after the disbandment of TM Network, Tetsuya Komuro became a pivotal music producer, driving the success of the “Komuro family,” which included artists like Namie Amuro and the band Globe. This period was characterized by a dominance of dance and techno acts, with Komuro’s projects frequently topping the charts. Notably, Namie Amuro’s 1997 hit “Can You Celebrate?” became the best-selling single by a female solo artist in J-pop history, showcasing the massive influence of Komuro’s production during this time. However, by the late 1990s, the popularity of Komuro’s music began to wane, and his later financial troubles culminated in legal issues over the sale of his song catalog.
Namie Amuro, initially a part of the Komuro Family and a major figure in dance music, gradually transitioned to contemporary R&B and eventually severed her professional ties with Komuro. Meanwhile, Globe shifted towards trance music with their 2001 album “Outernet,” reflecting broader changes in the music scene as artists evolved and adapted to new styles and trends. This dynamic period in J-pop was not only a time of remarkable musical output and innovation but also of significant shifts in the industry’s landscape and artist trajectories.
2000s: Marketing and diversification into different genres
Chaku-uta
In December 2002, the Japanese digital-download market was revolutionized with the introduction of ringtone songs (着うた, chaku-uta) by the mobile-phone company au. This innovation marked the beginning of rapid growth in the market for digital music downloads. By 2007, this market had significantly expanded, evidenced by the success of Hikaru Utada’s song “Flavor of Life,” which sold over 7 million downloaded copies, showcasing the burgeoning popularity of digital music in Japan.
In October 2007, EMI Music Japan made a significant announcement regarding Hikaru Utada, proclaiming her the world’s first artist to achieve over 10 million digital sales in a single year. This milestone highlighted not only Utada’s global influence but also the massive potential of digital music distribution.
Further underscoring the impact of digital downloads, the International Federation of the Phonographic Industry’s 2009 report highlighted exceptional sales figures for digital singles in Japan. Thelma Aoyama’s “Soba ni Iru ne” and Greeeen’s “Kiseki” dominated the 2008 download rankings, selling 8.2 million and 6.2 million copies respectively. These figures illustrate the significant shift in how music was consumed in Japan, moving from traditional physical media to digital platforms, reshaping the music industry’s landscape during the late 2000s.
Japanese Hip Hop & R&B
In the early 2000s, the Japanese music scene witnessed a notable influx of hip hop and contemporary R&B influences, marking a significant evolution in mainstream music preferences. In November 2001, the R&B duo Chemistry made a spectacular debut with their album “The Way We Are,” which sold over 1.14 million copies in its first week and secured the number-one spot on the Oricon weekly album charts.
Hip hop also saw a rise in popularity, with bands like Rip Slyme and Ketsumeishi achieving top positions on the Oricon charts. The rock band Orange Range incorporated elements of hip hop into their music, and their album “musiQ” became a major hit, selling over 2.6 million copies and becoming the top album of 2005 according to the Oricon charts.
Ken Hirai, a Pop/R&B singer, saw significant success with his greatest hits album “10th Anniversary Complete Single Collection ’95-’05 Utabaka,” which topped the Oricon yearly album chart in 2006, selling over 2 million copies. Halcali, a pop/hip-hop duo, made history as the first Japanese female hip-hop artists to enter the Oricon top 10 charts. They gained international exposure by performing at the Anime Central festival in Chicago and Japan Day in Central Park, NYC, both in 2008.
The dance-vocal group Exile, under Avex’s sublabel Rhythm Zone, achieved multiple million-seller albums during this period. Their album “Exile Love” was the top album of 2008 according to the Oricon yearly album chart. Veteran rapper Dohzi-T’s album “12 Love Stories” in 2008 featured collaborations with popular artists such as Shota Shimizu and Thelma Aoyama, contributing to its success.
The overall number of new artists in Japan grew significantly from 132 in 2001 to 512 in 2008, according to the Recording Industry Association of Japan, indicating a vibrant and expanding music industry. In 2008, 14 new artists including Thelma Aoyama made their first appearance at the prestigious NHK Kōhaku Uta Gassen, underscoring a year of notable debuts and breakthroughs in the Japanese music scene. This era highlighted a broadening of musical styles and an increasing acceptance of diverse genres in the mainstream music market.
Lyrics covers and classical pop
In February 2001, Ulfuls released a cover of Kyu Sakamoto’s 1963 song “Ashita Ga Arusa,” debuting at number five on the Oricon charts, while Yoshimoto Kogyo’s “Re: Japan” also released their version in March, which topped the charts, surpassing Ulfuls’ version.
In 2003, Man Arai released “Sen no Kaze ni Natte” (“As A Thousand Winds”), a song inspired by a Western poem famously read at Kyu Sakamoto’s funeral. A cover by tenor Masafumi Akikawa in 2006 became the first classical music single to top the Oricon charts, selling over a million copies and becoming the best-selling single of 2007, even outselling Hikaru Utada’s “Flavor of Life.”
Hideaki Tokunaga’s “Vocalist” series, starting in 2005 and continuing through 2012, featured covers of songs by female artists and achieved notable success, with “Vocalist 3” and “Vocalist 4” reaching number one on Oricon’s weekly and monthly charts, respectively.
In 2010, other artists like Juju and Kumi Koda released cover albums, and Superfly’s single accompanied by a cover album of Western rock songs became their third consecutive album to debut at number one on the Oricon weekly charts. This trend underscored the enduring popularity and commercial viability of cover versions in the Japanese music industry during this period.
Neofolk and Neo Shibuya-kei
During the early 2000s, folk duos like 19, Yuzu, and Kobukuro gained popularity in Japan, defining the “neofolk” genre. Kobukuro, in particular, achieved significant success with their double-album “All Singles Best,” which in October 2007 became the first male album to ship three million copies in the 21st century in Japan. Their subsequent album, “5296,” released in January 2008, surpassed Ayumi Hamasaki’s “Guilty” on the Oricon charts, ending her streak of eight consecutive number-one studio albums.
The period also saw the rise of “neo Shibuya-kei” electronic music bands such as Plus-Tech Squeeze Box and Capsule. Yasutaka Nakata of Capsule became a prominent figure in the music industry as the producer for the girl group Perfume. In April 2008, Perfume’s album “Game” became the first technopop album to top the Oricon charts in 25 years since Yellow Magic Orchestra’s “Naughty Boys” in 1983. A few months later, their single “Love the World” debuted at number one, marking the first time a technopop song achieved this status in Oricon’s history. This success helped pave the way for other female technopop artists such as Aira Mitsuki, immi, Mizca, SAWA, Saoriiiii, and Sweet Vacation, highlighting a revival and modern reinterpretation of the technopop genre in Japan.
Anime music, image song and Vocaloid
In the late 2000s and early 2010s, the anime music industry, including contributions from voice actors and Vocaloids like Hatsune Miku, began to significantly shape the Japanese music scene. Initially influenced by J-pop and visual kei, the genre later incorporated elements from Japanese indie music. Key developments included the release of Vocaloid Hatsune Miku in 2007, who became a viral sensation on Nico Nico Douga and inspired musicians like Livetune and Supercell to release albums through major labels, while circumventing traditional copyright systems.
The period also marked milestones for voice actors in music charts: Nana Mizuki’s album “Ultimate Diamond” became the first voice actor album to top the Oricon charts in 2009, and the fictional band Hōkago Tea Time from “K-On!” was the first anime character band to achieve a number-one album later that same year. Additionally, “Exit Tunes Presents Vocalogenesis feat. Hatsune Miku” became the first Vocaloid-themed album to top the charts in 2010, illustrating the growing commercial and cultural impact of anime music in Japan.
2010s: Rise of the Idol Group scene
Since the late 2000s, Japan has seen a surge in the number of idol groups, a phenomenon often referred to as the “Warring Idols Period” (アイドル戦国時代, aidoru sengoku jidai), likening it to the historical Sengoku period due to its competitive nature. Some of the most prominent groups of the 2010s include Hey! Say! JUMP, AKB48, Arashi, Kanjani Eight, Morning Musume, and Momoiro Clover Z.
Kyary Pamyu Pamyu, initially a fashion model from Harajuku, launched her music career in 2011. She quickly gained international attention with her debut single “Pon Pon Pon,” which caught the eye of Western celebrities like Katy Perry and Ariana Grande. Produced by Yasutaka Nakata, who also works with Perfume, Kyary continued to find success with hits like “Ninja Re Bang Bang” and “Fashion Monster.” In 2014, Momoiro Clover Z set a record for the highest concert attendance by a female musician in Japan, drawing about 486,000 people.
In significant developments from 2019, AKB48 announced the postponement of its general election, a key event for the group, and Arashi revealed plans for a hiatus, marking a pivotal moment for the group and their fans.
2020s: International reconnaissance
In the 2020s, idol groups continue to play a significant role in Japan’s music scene. As of 2024, popular groups include ME:I, Number i, Naniwa Danshi, Snow Man, Fruits Zipper, and NiziU. Noteworthy solo artists and duos such as Yoasobi, Mrs. Green Apple, Creepy Nuts, and Ado have also gained prominence.
J-pop has started to make notable inroads on global music charts, a level of international popularity previously unachieved. Yoasobi’s track “Idol” marked a significant milestone by becoming the first Japanese song to top the Billboard Global Excl. U.S. chart. It also reached number one on the Apple Music and YouTube Music charts. Additionally, Showa retro and other Japanese music styles have become increasingly popular in South Korea.
Leading figures in this global expansion of J-pop include Yoasobi, Creepy Nuts, Ado, Fujii Kaze, LiSA, and King Gnu, who are recognized as key international artists representing the genre in this decade.
Popular J-pop groups, Artists & Japanese Idols
AKB48
AKB48 is a massively popular female idol group known for its large rotating cast of members. Founded by Yasushi Akimoto in 2005, the group performs at its own theater in Akihabara, Tokyo, and has spawned several sister groups across Asia. They are famous for their concept of “idols you can meet,” allowing fans to interact directly through events and theater performances.
SMAP
SMAP was one of the most successful boy bands in Japan, active from 1988 until their disbandment in 2016. They were known for their music, variety shows, and numerous endorsements, becoming cultural icons in Japan. Their wide appeal bridged the gap between pop music and entertainment, making them household names.
Hikaru Utada
Often simply known as Utada, she is one of Japan’s most influential artists, known for her powerful vocals and emotionally charged songs. She debuted in 1999 and gained international fame with her album “First Love,” which remains one of Japan’s all-time best-selling albums.
Kyary Pamyu Pamyu
Known for her kawaii and eccentric fashion, Kyary Pamyu Pamyu is a pop singer and a fashion icon whose music and unique visual style epitomize the Harajuku culture. She gained global recognition with her hit single “PonPonPon” and has continued to influence the fashion and music industries both in Japan and internationally.
Babymetal
Babymetal has gained international fame by fusing heavy metal with idol music. The group’s unique style, which they call “kawaii metal,” along with their dynamic live performances, has garnered a significant following worldwide, challenging traditional genre boundaries.
Perfume
Formed in Hiroshima, Perfume is a techno-pop trio known for their futuristic concept and synchronized dancing. Since their major debut in 2005, they have become one of Japan’s most prominent electronic acts, praised for their innovative use of technology in music and performances.
Hatsune Miku
Hatsune Miku is a Vocaloid software voicebank and a virtual pop star who has performed at concerts onstage as an animated projection. Her synthesized singing and persona have earned her a massive fan base, making her one of the most recognized Vocaloid characters.
Wotagei
Wotagei refers to the enthusiastic dance and cheering routines performed by fans of idol singers, particularly during concerts. This subculture of fandom is known for its highly coordinated chants and glowstick performances, adding a vibrant layer to the live music experience in Japan.
Nogizaka46
As another prominent idol group produced by Yasushi Akimoto, Nogizaka46 was designed as the “official rival” to AKB48. Since their formation in 2011, they have gained a substantial following with their elegant image and catchy pop tunes.
King & Prince
This boy band, formed by Johnny & Associates, debuted in 2018 and quickly rose to prominence in the Japanese pop music scene. Their blend of pop, dance, and R&B, along with their charismatic performances, has endeared them to a broad audience.
Arashi
Arashi is one of Japan’s most enduring and beloved boy bands, known for their catchy pop songs, harmonious vocals, and charismatic presence in various media, including television dramas and movies. Since their debut in 1999, they have amassed a massive fan base, with numerous chart-topping albums and singles.
Morning Musume
An iconic female idol group formed in 1997 by producer Tsunku, Morning Musume is famous for its ever-changing lineup, with members “graduating” and new ones being added regularly. The group has maintained popularity through its catchy tunes and innovative approach to the idol concept.
EXILE
EXILE is a dance and vocal group known for their powerful performances and R&B-influenced tracks. Since their debut in 2001, they have become one of Japan’s most successful music acts, with a large following and significant influence over the Japanese music scene.
Sakurazaka46
Formerly known as Keyakizaka46, Sakurazaka46 is a female idol group known for their powerful performances and distinctive music videos. They have a passionate fan base and are known for songs that often feature strong, empowering themes.
Impact on Japanese Culture
Popularity in Asia
Japanese idols and J-pop have significantly influenced cultural trends across Asia, creating a robust fanbase in countries like South Korea, China, Thailand, and Indonesia. The appeal of Japanese music and fashion styles, characterized by unique and diverse subcultures, has spread widely, leading to collaborations and adaptations within other Asian pop cultures.
TV Presence
Idols and J-pop artists often have a strong presence on Japanese television, appearing not only in music-related programs but also in dramas, variety shows, and commercials. This multi-platform visibility helps idols to maintain a high profile and engage with a broader audience, reinforcing their image and increasing their marketability.
Anime Presence
The integration of J-pop into anime has been profound. Many anime opening and closing themes are performed by popular idols or J-pop artists, which helps to drive the popularity of both the music and the anime series itself. This synergy has also helped Japanese music gain international exposure, as anime continues to be popular globally.
Streaming and CD Market
Despite the global shift towards digital streaming, Japan’s CD market remains robust, partly due to the marketing strategies of idol groups, who often release singles and albums with collectible items, encouraging physical sales. However, streaming services are increasingly becoming a significant aspect of the music industry in Japan, catering to the growing demand for digital access while also expanding international reach.
These aspects highlight how deeply embedded idols and J-pop are in Japanese culture, influencing entertainment, fashion, technology, and international relations.
J-pop vs K-pop
Cultural Foundations and Musical Styles
J-pop and K-pop are both influential music genres in Asia, each rooted in their unique cultural and historical contexts. J-pop evolved from traditional Japanese music and was later influenced by Western pop, rock, and electronic music, leading to a diverse array of styles within the genre. It tends to emphasize melody and often incorporates a mix of traditional Japanese instruments with modern pop music elements.
K-pop, on the other hand, has been heavily influenced by a variety of music genres including hip-hop, R&B, and electronic dance music (EDM). It is characterized by its highly polished production, complex choreography, and an integration of visual and musical elements. K-pop artists often train for years in singing, dancing, and acting before debuting, which contributes to highly synchronized dance routines and well-rounded public personas.
Marketing and Global Reach
The marketing strategies of J-pop and K-pop also differ significantly. J-pop has traditionally focused on the Japanese market, with a strong emphasis on CD sales and local television appearances. This approach is tied closely to Japan’s robust physical media market, where CD sales are boosted through tie-ins with merchandise and concert tickets.
K-pop, by contrast, has been engineered for global appeal. Agencies like SM Entertainment, YG Entertainment, and JYP Entertainment employ aggressive online marketing strategies, utilizing social media and YouTube to reach international audiences. K-pop’s global strategy also includes training idols in multiple languages and customizing content to appeal to diverse global markets, which has led to a widespread international fanbase.
Fan Interaction and Industry Practices
Fan culture in J-pop and K-pop also varies. J-pop fans often support their favorite idols through purchasing CDs and attending concerts and handshake events. K-pop fan interactions extend into global online communities, where fans actively participate in streaming parties, social media promotions, and international fan projects.
In terms of industry practices, the K-pop industry is notable for its “trainee system,” where aspiring idols undergo rigorous training in a variety of skills for an indefinite period before debuting. This system has been both praised for producing polished performers and criticized for its intense demands on young trainees. J-pop idols also train before debuting, but the system is generally less structured and rigorous compared to Korea.
Influence and Innovation
Both J-pop and K-pop have significantly influenced global music and culture. K-pop has made notable inroads in Western markets, exemplified by the success of groups like BTS and BLACKPINK. J-pop, while more focused on its domestic market, has influenced the global music scene through its unique blend of traditional and modern musical elements and has been instrumental in the spread of Japanese culture through anime and other media.