K-Pop’s Global Stage: Japanese Top Idol Groups Shine in Korean Music Shows (International Edition)

Sho Yonashiro, the 30-year-old leader of Japanese idol group JO1, recently filmed an episode of Mnet’s “M Countdown” at CJ ENM’s headquarters in Seoul. JO1, whose members are all Japanese, was formed through “Produce 101 Japan,” a joint Korean-Japanese audition program. The group is part of a growing wave of localized K-pop groups that follow the K-pop production model but are based in Japan.

Until recently, these groups kept a low profile regarding their Korean connections, concerned about criticism in Japan for focusing too much on overseas activities. But that mindset has started to change. Yonashiro said, “We often study K-pop trends, fashion, and the Korean language together,” and even danced the viral “Han River Cat Challenge” that recently trended on Korean TikTok.

Japanese groups like JO1, &TEAM, ME:I, and INI have begun to appear frequently on Korean music shows, even without officially debuting in Korea. The shift became visible after JYP Entertainment’s Japanese girl group NiziU became the first Japanese act to win on a Korean music program in 2023. Since then, Korean promotions have become routine. Groups like NCT Wish and NEXZ have even released debut albums simultaneously in Korea and Japan.

CJ ENM’s Japanese subsidiary, Lapone Entertainment, is behind many of these efforts. Lapone manages JO1, INI, and ME:I, and actively promotes them in Korea. JO1 has topped Japan’s Oricon chart with every release since its 2020 debut. INI surpassed one million copies sold last year, becoming one of the few Japanese groups to do so, along with Snow Man. ME:I was named Best New Artist at last year’s Japan Record Awards and also topped the Oricon chart.

Despite strong domestic performance and appearances at major Japanese events like NHK’s “Kōhaku Uta Gassen,” these groups prioritize Korean music shows as part of their strategy. According to CJ ENM producer Jung Yu-jin, these shows are seen as a gateway to building a global fanbase.

Some initially raised concerns that K-pop’s techniques would be exported without any return, simply serving as a model for J-pop. That concern has faded as these Japanese groups adopt Korean training methods and promotional strategies. Yonashiro said the members trained in Korea every day from 7 a.m. to 11 p.m., a schedule not common in Japan. JO1 now defines its style as “KJ-pop,” blending elements of both K-pop and J-pop.

K-pop production methods taking root in Japan are benefiting the Korean music industry by creating a new generation of K-pop–trained Japanese artists. Jung said, “During the first season of ‘Produce 101 Japan,’ most contestants came from J-pop backgrounds, but from later seasons, more trainees prepared under K-pop systems.”

ME:I leader Momona Kasahara, 22, is also a K-pop trainee who began her career in Japan. She debuted at 12 in a J-pop girl group but re-debuted after competing in “Produce 101 Japan The Girls.” While living in a small room near Hongdae, Seoul, she trained at a K-pop academy. “I’ve been a K-pop fan since childhood,” she said. “I chose K-pop because I want to continue performing even ten years from now.”

These idols’ experience performing on Korean and Japanese music shows provides valuable insight for entertainment companies in both countries. Jung noted, “Korean and Japanese producers have different standards. Korea prioritizes polished, systematic skills, while Japan values individuality.” Yonashiro pointed out that Japan lacks Korea’s regular broadcast schedule. “In Japan, we usually promote on morning news shows or through occasional specials. Weekly music programs like in Korea are rare.”

Performance culture also differs. Kasahara explained, “Korean shows emphasize the ‘ending pose,’ so we practiced it separately. The first Korean phrase I learned was ‘This was ME:I,’ since we say it at the end of every stage. In Japan, we simply say ‘thank you’ and walk off.”

Japan has emerged as one of the most receptive markets for K-pop-style acts. Unlike the United States, where major agencies have been slower to launch local K-pop groups, and China, where political issues have blocked efforts, Japan has rapidly integrated the K-pop model. “There were some moves to reduce K-pop’s presence on Japanese year-end shows,” said producer Jung, “but they didn’t have much impact. The label of K-pop no longer carries the same weight it used to.”