Japanese Idols Take the Korean Stage: A New Path to Global Success
Japanese idol groups are increasingly making their way to Korean music shows, marking a significant trend in the entertainment industry. Recently, JO1's leader, Yoshiiro Sho, shared insights after filming for Mnet's music program, M Countdown, at CJ ENM's headquarters in Sangam-dong, Seoul. JO1, formed through the joint project PRODUCE 101 JAPAN, consists of 11 members, all hailing from Japan.
Yoshiiro emphasized the allure of K-pop and Korean music broadcasts, stating, "The biggest charm of K-pop and Korean music shows is the opportunity they provide to reach a global stage." Despite only having a brief appearance of 2-3 minutes on these shows, Japanese groups like JO1, ME:I, and INI are making frequent trips to Korea, often at the expense of their local activities.
The trend began with the girl group NiziU, which became the first Japanese group to top a Korean music show in 2023. Since then, the number of Japanese idol groups participating in Korean music broadcasts has surged, with appearances becoming a customary part of their promotional activities. Notably, groups like NCT WISH from SM Entertainment and JYP's NEX7 have also released simultaneous debut albums in both Japan and Korea.
JO1, which debuted in 2020, has consistently topped the Oricon charts with every album release, while INI made headlines as a million-seller in Japan. ME:I, which debuted in 2024, also achieved significant recognition, winning the New Artist Award at the Japan Record Awards. Despite their success, these groups are dedicated to appearing on Korean music shows, as CJ ENM's producer Jeong Yu-jin noted, "For Japanese musicians, Korean music broadcasts are a crucial stepping stone to meet global fandoms."
The evolution of K-pop into what some are calling 'KJ-pop' reflects a blending of styles and practices. Yoshiiro shared his rigorous training experience in Korea, stating, "I practiced dancing from 7 AM to 11 PM, a level of training that is hard to find in Japan." He expressed a desire to merge the strengths of K-pop and J-pop to create a unique sound for JO1.
As the interaction between K-pop and J-pop deepens, both industries stand to benefit. Jeong noted the differences in audition standards between Korean and Japanese producers, highlighting the structured skill focus in Korea versus the emphasis on individuality in Japan. Yoshiiro pointed out that Japan lacks the regular music stages that Korea offers, making the experience of performing in Korea invaluable.
The rapid growth of locally nurtured groups in Japan contrasts with the slower development seen in other markets. While the U.S. has seen significant investment from local entertainment companies, successful cases remain fewer compared to Japan. In China, K-pop's localization efforts have faced challenges post-Korean Wave restrictions. Jeong remarked that while there were attempts to reduce K-pop appearances at Japanese award shows, the stigma around the 'K-pop label' is diminishing.
Critics like Cha Woo-jin highlight Japan's position as the second-largest music market globally, with an exceptionally loyal fanbase. Once a genre takes root, it tends to sustain its popularity for a long time, creating a favorable environment for continued success.
