From Tokyo to the World: Why City Pop Transcends Time

Tracing the Roots of City Pop: Born Between Urban Life and Resort Culture

Between the late 1970s and the early 1980s, Japan underwent a significant turning point in its society. As student movements and anti-establishment sentiment receded, people's interests shifted from politics to culture, fashion, music, and lifestyle. With economic growth came sophisticated urban living, and City Pop emerged as the perfect soundtrack for this new metropolitan lifestyle.
 
"Japan became more prosperous, and lifestyles became increasingly stylish," explains music writer Hitoshi Kurimoto. "Within this context, the music people listened to moved away from folk toward more polished pop that matched this refined sensibility."
 
"When 'POPEYE' magazine launched in 1976, it introduced Japanese youth to American West Coast culture, particularly the resort lifestyle of surfing, driving, and tennis as an ideal to aspire to. This brought attention to artists like Boz Scaggs and Ned Doheny in the AOR (Adult-Oriented Rock) scene. The influence of sophisticated Western music that incorporated jazz and soul elements strongly impacted Japanese musicians, naturally giving birth to what we now call 'City Pop.'"

One work frequently cited as pivotal from this era is Sugar Babe's album, "SONGS," released in 1975. Produced by Eiichi Ohtaki with Tatsuro Yamashita as a member, this album stood apart from the prevailing Japanese popular music and folk trends of the time.

"The top album charts were dominated by enka and folk then. For something as soulful and buoyant as 'SONGS' to emerge was quite shocking for music fans. It perfectly mixed soul, AOR, and pop elements—truly a foundational City Pop album. While sales were modest, its enduring acclaim stems from its exceptional musicality."bum. While sales were modest, its enduring acclaim stems from its exceptional musicality."

How this music permeated urban life is equally fascinating. From the late 1970s, cassette tapes, Walkmans, and boom boxes became widespread, transforming music from something you "listened to at home" to something you "carried with you." You could now take music outdoors. For city boys and girls, having City Pop cassettes for drives to Shonan or Kamakura became a status symbol.
 
"Symbolizing these scenarios, City Pop record jackets frequently featured resort imagery—oceans, pools, palm trees. The color schemes and fonts were pop and sophisticated. The alignment between musical content and visual expression was part of the appeal."

Never Before Has Japanese Music Gained Such Worldwide Recognition

City Pop, which flourished domestically in the 1980s, faded from the mainstream by the 1990s. However, the 2010s brought a dramatic revival as it suddenly gained international attention and critical reevaluation. While this phenomenon had multiple triggers, Kurimoto identifies "internet development as a major factor."

"Services like YouTube and SoundCloud becoming mainstream allowed overseas listeners easy access to Japanese archive recordings. This enabled City Pop as a genre to be 'discovered' internationally."
Notably, Mariya Takeuchi's " PLASTIC LOVE " and Miki Matsubara's "Mayonaka no Door" became global viral hits, accumulating tens of millions to hundreds of millions of views, including unofficial uploads.

"While I can't definitively explain why these two tracks gained particular attention, both possess a groove that works in club settings. DJs and club culture enthusiasts typically discovered them first, spreading them as 'danceable Japanese music.'"

Mariya Takeuchi's " PLASTIC LOVE " became a global YouTube sensation.

Indonesian singer Rainych's cover of 'Mayonaka no Door' garnered 10.14 million views.

This movement produced international artists covering Japanese City Pop. Indonesian singer "Rainych" and band "Iqbal" reconstruct these songs with their own sensibilities while maintaining respect for the originals.

"These Asian artists grew up with Japanese music. Their vocals and performances are excellent, delivering City Pop to the world in fresh forms."

The frequent Japanese-English mix in City Pop lyrics also creates a unique appeal for international listeners.

"Mixing English into lyrics was trendy in the 1980s. When English phrases suddenly appear within Japanese, it creates an exotic appeal while remaining accessible to English speakers. This balance is quite compelling."

While Tatsuro Yamashita enjoys exceptional popularity both domestically and internationally, other artists, such as Anri and Taeko Onuki, are also gaining recognition, driven by their compelling rhythm and groove.

"Yamashita's music still sounds completely fresh today. The rhythm, tones, arrangements—everything is meticulously designed. It's simply amazing. For Anri, danceable numbers like 'Kanashimi ga Tomaranai' are popular overseas, while Taeko Onuki's soulful late-70s to early-80s tracks draw attention. Both represent 'music that makes your body naturally move' within City Pop."

Japanese music achieving this level of international recognition as a genre is virtually unprecedented, making City Pop a truly rare success story.

Why Popular Songs Differ Between Japan and Overseas

As City Pop gained global attention, a notable trend emerged: popular tracks differed between Japan and overseas markets. For instance, while legendary figures like Eiichi Ohtaki and Yumi Matsutoya are immediately recognized in Japan, they remain relatively unknown outside the country.

"Overseas listeners aren't studying Japanese music history. Context, such as fame or background, isn't prioritized—selections are made purely on whether something 'sounds good to the ear.' So featured tracks aren't necessarily representative songs or hits."

Yasuha's "Fly-day Chinatown" has 18.59 million YouTube views. Its disco style makes you want to get up and dance.

Kaoru Akimoto's "Dress Down," which never hit in Japan, became hugely popular overseas.

L.A. artist Ginger Root, a City Pop enthusiast, covers "Dress Down," Sung in Japanese with cool keyboard arrangements!

Indeed, songs relatively unknown in Japan frequently gain overseas popularity. Tracks like Yasuha's "Fly-day Chinatown and Kaoru Akimoto's "Dress Down" received reevaluation after DJs began featuring them in clubs.

"Symbolizing this phenomenon is Tomoko Alan's 'MIDNIGHT PRETENDERS,' sampled in The Weeknd's 'Out Of Time.' Originally buzzing among underground DJs, it gained major attention through The Weeknd's usage. Additionally, Chris Brown sampling Hi-Fi Set's 'Sky Restaurant' accelerated the trend of unexpected tracks being reinterpreted by global artists."

The Weeknd's "Out Of Time" sampling Tomoko Alan's "MIDNIGHT PRETENDERS"

This difference in "what constitutes a masterpiece" between Japan and overseas markets may explain why City Pop continues to be discovered.

From Digital to Analog: Expanding Ways to Enjoy City Pop

Subscription services have significantly expanded the entry points for enjoying City Pop. Discovering favorite artists and tracks represents the finest form of contemporary music enjoyment.

CITY POP 70s-80s

However, for a deeper appreciation of City Pop, vinyl records deserve attention. Analog warmth and period-authentic jacket art provide "experiences" unavailable through streaming.

"Reissues are increasing, making previously unattainable albums accessible. It's a wonderful time. However, used records offer 'once-in-a-lifetime encounters,' so please enjoy that element of chance discovery."

City Pop has inspired people to rediscover the joy of "searching and buying" music. This treasure-hunting musical experience—requiring effort beyond simply listening on a smartphone—represents another facet of City Pop's appeal.