J-pop gains traction among young Korean listeners

When Japanese girl group Cutie Street appeared on Mnet’s music program “M Countdown” in March, performing its viral song “Can’t We Just be Cute?” the response was immediate.

While appearances by Japanese artists on Korean music programs are no longer unusual, the eight-member group drew particular attention for its unapologetically cute concept, complete with pastel-colored outfits, bubbly choreography and exaggerated styling.

The performance video has since surpassed 11 million views on YouTube, while several clips focusing on individual members crossed the 1 million-view mark. Online, fans described the group spotted wearing puffy, colorful dresses on the show as “happy shower balls” and “dancing cupcakes,” embracing the distinctly Japanese style of cuteness that might once have been dismissed by Korean audiences as overly childish or niche.

Following strong local demand after its first visit to Korea in March, the Japanese girl group is now scheduled to return for another performance in July.

Cutie Street’s growing popularity reflects a broader rise of J-pop in Korea, particularly among young listeners.

Once regarded in Korea as a niche interest enjoyed mostly by a handful number of fans, J-pop has steadily expanded its audience since the pandemic years of 2022 to 2023, aided by the rise of social media-driven music consumption.

Industry watchers often point to singer-songwriter Imase has the turning point. In 2023, his song “Night Dancer” became the first J-pop track to enter Melon’s Top 100 chart. Since then, other Japanese artists such as Yoasobi and Aimyon have gained broad popularity in Korea, while Japanese city pop from the 1980s and 1990s has also resurfaced through streaming algorithms and short-form content.

Live performances have further demonstrated J-pop’s expanding presence in Korea. Kenshi Yonezu sold out 22,000 seats across two days during his first Korea concerts last year, while Korea’s first large-scale J-pop festival, Wonderlivet, grew from a 25,000-person event in 2024 to one drawing more than 40,000 attendees in 2025.

Japanese band Back Number is also set to perform at Kintex in Goyang, Gyeonggi Province between Sept. 12 and 13, while Vaundy will take the stage at Inspire Arena in Incheon on Sept. 19 and 20. All four shows are currently sold out.

Critics say the recent wave differs from past J-pop trends in Korea because Japanese artists are now actively localizing their content for Korean audiences. Cutie Street, for example, released a Korean-language version of its song “Can’t we just be cute?” and produced a Korean-language music video for the particular as part of its promotions in the country. Cutie Street has also been creating short-form content and vlogs that cater to Korean audiences while speaking short, brief sentences in Korean.

“It is similar to how Korean artists promote themselves in Japan by releasing Japanese-language songs and starring in Japanese reality TV,” culture critic Kim Sung-soo told The Korea Herald on Friday. “Now, it seems that Japanese artists are using localized strategies to enter the Korean market and appeal to a broader audience, including those that weren’t avid listeners of Japanese music.”

Using Cutie Street’s performance and song releases in Korean as an example, Kim added that the Korean audience are seen to respond positively to Japanese artists for their “sincerity shown in trying to connect with Korean fans,” predicting that the trend would continue to grow.

“Until now, J-pop in Korea was mainly associated with bands and rock music,” culture critic Lee Moon-won told The Korea Herald. “But now, idol music and dance pop are beginning to enter the Korean music market as well. Considering how Japanese animation is also becoming more popular than expected in Korea, the outlook for J-pop in Korea also seems quite bright.”