Her Campus Logo Her Campus Logo
ICU (Japan) | Culture

J-POP and Global Marketing

Kanoko Okamoto Student Contributor, International Christian University
This article is written by a student writer from the Her Campus at ICU (Japan) chapter and does not reflect the views of Her Campus.

Japan has the second-largest music market in the world, yet when it comes to global marketing, J-POP does not quite stand out compared to other generes such as K-POP. While Japanese songs have increasingly gone viral on social media, introducing more international listeners to Japanese music, the marketing strtegy to increase global fans are yet to improve.

the domestic focus

Understandably, before social media and online streaming platforms became as widespread as they are today, J-POP’s global marketing efforts were more limited. One reason was Japan’s large domestic music market, which allowed record labels to generate substantial revenue without relying heavily on international audiences. Until the late 2010s, international J-POP fans often faced difficulties accessing Japanese music content.

First, some Japanese music videos on YouTube were region-locked, meaning that viewers outside Japan could not watch them. This limited the opportunities for international audiences to discover new artists through one of the most popular platforms for discovering music online. In other cases, record labels uploaded only shortened versions of music videos rather than the full-length content, making it harder for overseas listeners to experience the songs in their entirety.

Another barrier was the lack of localization. Official music videos, interviews, and variety shows often lacked English subtitles or translations into other languages. As a result, international fans who did not speak Japanese could find it difficult to understand artists’ personalities and connect with them beyond their music. Building this personal connection is important for turning casual listeners into dedicated fans. Furthermore, some official fan clubs, ticketing websites, and merchandise stores required Japanese phone numbers or domestic payment methods, creating additional obstacles for overseas fans who wanted to support their favorite artists.

Together, these barriers made it more difficult for international audiences not only to discover J-POP, but also to engage with artists and develop long-term connections with them.

improvments

To expand its international presence, J-POP needs to find more ways to connect with audiences outside Japan. While staying relevant to Japanese music trends is important, following international trends into promotional strategies could help Japanese artists reach global audiences. For example, participating in popular TikTok challenges, creating short-form content that appeals to international viewers, and collaborating with overseas artists could introduce J-POP to people who might not otherwise discover it. The goal is not to abandon Japanese musical styles, but to make J-POP more accessible and visible to listeners around the world.

Communication is another important area for improvement. Artists and their management teams could make greater efforts to communicate with international fans by providing English subtitles and translating social media posts. Artists who feel comfortable speaking English could also use it to interact directly with overseas audiences. When comparing the promotional strategies of J-POP and K-POP artists, K-POP artists often appear to communicate more with international audiences in English through interviews, social media, and promotional content.

However, expanding globally does not mean that international fans should receive preferential treatment over domestic fans. Japanese fans have long supported the industry, and introducing new international marketing strategies should not come at the expense of the existing fanbase. For example, providing translated content and making official websites easier to navigate internationally can improve accessibility without taking opportunities away from Japanese fans. Rather than prioritizing one audience over another, J-POP’s global marketing should aim to create an inclusive fan experience in which both domestic and international audiences feel valued.

looking ahead…

Ultimately, J-POP has the potential to reach a wider global audience. By embracing global social media trends, improving multilingual communication, and making content more accessible, Japanese artists and record labels can build stronger connections with international fans. At the same time, it is important to preserve the unique identity of J-POP and continue valuing the domestic fans who have supported the industry for years. Global marketing does not mean changing J-POP to fit every international trend, but rather making its music and artists easier for the world to discover and appreciate. With a more inclusive and internationally minded approach, J-POP can continue to grow both in and beyond Japan.

Kanoko Okamoto

ICU (Japan) '30

Born and raised mainly in Nagoya, Japan. Lived in Philadelphia for ages 4 to 8. Have passion for connecting with people around the world. Interested in majoring in business and global studies.
Future dream is to work in the entertainment industry and spread Asian music to the world.

hobby: dancing, watching drama series (mostly rom-coms), listening to music (pop music, 88rising), attending concerts and festivals, traveling