Japanese singer-songwriter Kenshi Yonezu performs his first concert in Korea at Inspire Arena in Incheon on Mar. 22. During the show, he delighted fans by filming himself with a handheld camera and projecting close-up footage on screen as he sang. Courtesy of Live Nation Korea

The area in front of Inspire Arena on Yeongjong Island, Incheon, was packed with fans in their 20s eagerly waiting for the first Korean concert of Japanese superstar Kenshi Yonezu on March 22. Tickets for the two-day event, totaling 22,000 seats, sold out immediately when they opened in October, a clear indication of J-pop's growing presence in Korea's music market.

Yonezu, who began as a Vocaloid producer in 2009 and officially debuted in 2012, is known for his artistic versatility — writing, composing, arranging, mixing, performing and even creating visuals for his work.

His Korean fanbase has grown steadily, drawn to his emotionally charged rock-influenced pop sound. During the two-hour concert, he performed hit songs like "Lemon," which became the first J-pop music video to surpass 900 million views on YouTube, "Lady" and "Kick Back," accompanied by stunning visuals and lighting.

Despite delivering all remarks in Japanese, the audience responded with enthusiastic cheers and singalongs. "I was a bit nervous about how Korean fans would react," he said, "but today has been one of the most unforgettable days of my life."

His decision to visit Korea 13 years after his debut reflects the surging popularity of J-pop among Korean listeners in their 20s and 30s. According to concert data, 65 percent of attendees were in their 20s, followed by 30-somethings at 18 percent and teens at 10.1 percent.

Over the past year, major Japanese acts like Ado, YOASOBI, King Gnu, Official HIGE DANDism and Fujii Kaze have all held solo concerts in Korea, a first since Japan lifted its cultural export restrictions in 1998.

Next month, Aimyon, often dubbed "the Japanese IU," will hold her first Korean concert, while male singer-songwriter Yuuri is scheduled to perform in May. Mika Nakashima, famous for the original version of Park Hyo-shin's "Snow Flower," will also perform in Korea for the first time in her 24-year career.

Japanese singer-songwriter Aimyon. Courtesy of MPMG Music

Digital platforms shift the tide

The growing popularity of Japanese music among young Koreans comes despite its near-total absence from traditional Korean media such as TV and radio. Industry experts point to changes in both media consumption and the Japanese music industry itself.

In the past, official access to J-pop, mostly through Japanese dramas and anime, was limited. On top of that, Japanese labels were hesitant to release music via streaming platforms, fearing a decline in CD sales, which made it difficult for overseas fans to follow trends in real time.

But with YouTube and Netflix now leading the media landscape, Japan's music industry has shifted away from idol groups toward bands and singer-songwriters. While Japan's massive domestic market, the second-largest in the world, long kept its music industry inward-looking, recent global trends and the success of digitally agile K-pop have prompted a reevaluation.

Joho Yamamoto, a K-pop scholar and East Asian modern history researcher at Ritsumeikan University, said in an online interview, "Japan's insular industry model has hit its limit in the era of digital platforms. There is growing recognition that relying solely on the domestic market won't sustain growth, leading to more active global strategies. K-pop's structured training systems, multilingual content and social media-driven fandoms have been a major influence, prompting Japanese agencies to come to Korea to learn firsthand."

Japanese idol groups embrace K-pop system

As legacy agencies like Johnny & Associates fall from prominence, more Japanese labels are eyeing the Korean market. Japan's major label Avex debuted the all-Japanese girl group XG in Korea in 2022 and launched the boy band ONE OR EIGHT on Wednesday.

Even Japan's largest telecom provider, NTT Docomo, entered the scene by debuting the girl group Cosmosis in Korea via its entertainment subsidiary.

Despite their strong financial backing and visible incorporation of K-pop elements, these groups are approaching the Korean market with caution. Experts say this hesitancy stems from the fact that Korea is not their end goal.

Neo, a member of Japanese boy group ONE OR EIGHT, said during a press event, "We're influenced by K-pop, J-pop and Western pop, and we want to create a sound that's uniquely ours. Our dream is to go on a world tour."

Yamamoto also said, "The reason Japanese agencies debut groups in Korea isn't because Korea itself is the ultimate target, but because debuting through the K-pop system acts as a kind of certification for global expansion. Korea is not the destination, it's the gateway to the world."

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.