JPOP is Changing: New Trends from Tohoku Idols and the Internet

The JPOP of 2026 is significantly reshaping the old "Tokyo-centric, TV-driven" structure. With nationwide tours now being the norm, there are increasing cases of idol groups based in regional cities breaking into the upper ranks of music charts, and the formation of a music scene that doesn't rely on Tokyo is drawing attention. In this article, we'll introduce such new waves in JPOP along with the actual movements.

First up, let's look at groups from the "Tohoku region." The idol group "Ringo Musume," based in Sendai, has been actively promoting local agricultural products while also gaining recognition for their musical quality. They frequently visit local festivals and shopping district events, using their close proximity to fans as a weapon. This kind of community-based activity is becoming a model for other regional groups as a way to steadily increase fans even without much TV exposure.

Another major trend is the rise of "internet-born" artists who started online. Singer-songwriters who performed acoustic sets on live streaming apps and video sites have been making major debuts one after another as their voices became a hot topic. Especially since 2025, artists who gained popularity through "singing covers" or "playing covers" videos have also had more opportunities to perform at music festivals. Their musicality isn't bound by genre, and they're flexibly expanding the framework of J-POP.

Where these two trends—regional and internet—intersect is in "collaborations." There's a noticeable increase in regional idols releasing songs with internet-famous musicians, and internet-born artists performing at regional music events with live streams of the shows. Such collaborations have the effect of merging fan bases and cultivating new audiences. In particular, in 2026, a Tohoku group and an internet-born singer jointly released a single, and its music video garnered millions of views, demonstrating the potential of this approach.

Behind this change is a tendency among fans to value "real connections." By catching glimpses of artists' daily lives on social media or sending direct comments during streams, fans feel a sense of closeness and, at the same time, develop deeper affection. In fact, at merchandise booths of regional groups, there are many fans who travel from afar, and they say, "Seeing them perform in local scenery is charming." On the other hand, internet-born artists position live venues as "places for dialogue with fans," creating intimate spaces with acoustic arrangements.

So, what does this trend mean for fans? First, the diversity of music is definitely increasing. Not only J-POP played on TV, but also works reflecting regional cultures and internet subcultures have become readily accessible. Additionally, the distance to artists has shrunk, making it easier to feel that one's support directly sustains their activities. This can be seen as a great opportunity to enjoy music more intimately.

From now on, JPOP is sure to evolve into a place where diverse talents from all over the country and from the internet gather, not just a few artists in Tokyo. As fans, actively seeking out new artists is likely to become more enjoyable than ever.