| Indonesian pop | |
|---|---|
| Other names | I-pop |
| Stylistic origins | |
| Cultural origins | 1960s,Indonesia |
| Typical instruments | Vocal,acoustic guitar,electric bass,electric guitar,drum,keyboard,piano,violin,harmonica,synthesizer,ukulele |
| Subgenres | |
| Pop Melayu | |
| Fusion genres | |
| Senja (genre) | |
| Regional scenes | |
| |
| Other topics | |
Indo pop (Indonesian:Pop Indo), also known asIndonesian pop (Indonesian:Pop Indonesia) orI-pop, is loosely defined asIndonesianpop music; however, in a wider sense, it can also encompass Indonesianpop culture, which also includesIndonesian cinema andsinetrons (Indonesian TV dramas).
Indonesian pop music today is sometimes influenced by trends and recordings fromWestern music.[1] However, in return, the Indonesian style of pop music has influenced the regional pop culture in Southeast Asia, especially theMalaysian pop scene that began imitating the Indonesian style of pop music in the late 2000s. Indo pop usually expresses contemporary Indonesian sentiments and lifestyles, generally about love and social life related to relationships. Indonesian pop music with sad and mellow melodies is popular and sells well.[2]
One of the earliest form of Indonesian pop can be traced back toOrkes Melayu ("Malay orchestra") bands inMedan starting in the 1930s to its peak in 1950sJakarta andSurabaya mishmashing musical traditions ofbangsawan theatre from theRiau Islands withIndian andArabic influences filtered through Western instrumentation. The Jakarta stream especially took heavy influences fromBollywood laying the groundwork for a branching new genre nameddangdut.[3]
Koes Plus, formerly called Koes Bersaudara, is considered one of the pioneers of Indonesian pop and rock 'n roll music in the 1960s and 1970s.[citation needed] American and British music influences were obvious in the music of Koes Plus;the Beatles were known to be the main influences of this band.
Indonesian pop music in the 1970s also gave rise to musicians and singers such asChrisye,Titiek Puspa, andEbiet G. Ade. Their work in the country's music industry was large, influencing the development of music after that. These names are still stuck in the minds of many because they are the pioneers of pop music in this country.[4] The popularity of these artists also crossed over to neighbouring Malaysian airwaves and itsown popular music as well.[5]
The Indonesian music industry in the 1970s was quite advanced, and the pop music genre became very popular, featuring works from musicians like Chrisye, Ade, and Puspa. ThePrambors (LCLR) songwriting competition in 1977 broke the stagnation in the pop music industry at that time. This event also gave birth to many new musicians in the following years.[4]
During the late 1970s and through the 1980s, two subgenres of Indonesian pop dominated the local industry: melancholic pop andPop Kreatif. Melancholic pop, also known as weepy song, is characterised by a slow tempo, sentimental themes often touching domestic settings and influences from 1950s Americantraditional pop, incorporating elementary chord progressions.[6] Prominent composers in this subgenre includedRinto Harahap.Pance Pondaag and Obbie Messakh.[7][8] Popular melancholic pop singers included Dian Piesesha (whose albumTak Ingin Sendiri sold over 2 million copies),Nia Daniaty, Iis Sugianto, and Betharia Sonatha (whose albumHati yang Luka became a major hit in 1987).[8][9][6] This subgenre was briefly banned from being broadcast onTVRI in 1988 byHarmoko, Indonesia's then Minister of Information.[7][10]
In contrast,Pop Kreatif, often referred to asIndonesian City Pop by modern audiences, is characterised by its upbeat tempo andAOR influences, with elements offunk,new wave,jazz fusion,disco, andboogie comparable to Japanesecity pop andjazz fusion.[11] This subgenre was particularly associated with urbanites and the leisure class.[11] Popular singers and composers in this subgenre includedChrisye,Fariz RM, KLa Project,Utha Likumahuwa, andVina Panduwinata.[12][13][8] The successes of theBadai Pasti Berlalu soundtrack and Fariz RM's albumSakura became a momentum for the growth of city pop.[8] After the Harmoko ban on melancholic pop from being broadcast on TVRI in 1988,Pop Kreatif gradually became more popular with the masses, dominating from the late 1980s until 1990, when Malaysianslow rock/rock kapak began to seep into Indonesian pop culture.[14]
Iwan Fals was very popular at that time, and his music is still a favourite of many people. The songs are quite political; they raise many issues, such as war ("Puing"), the environment ("Isi Rimba Tak Ada Tempat Berpijak Lagi"), poverty ("Siang Sebrang Istana"), and child labour ("Sore Tugu Pancoran"). The songs often criticise the government. Some of his songs were banned by the authoritarianSuharto government at that time.[15]
In the late 1980s, boy and girl groups began to emerge. The first boy group to debut in Indonesia was Trio Libels, which consisted ofRonnie Sianturi, Yanni and Edwin Manansang. This was followed by the first wave or generation of boy groups, girl groups and co-ed groups. Several notable groups that emerged from this wave are the Cool Colors, Coboy, M.E., T-Five, Warna, Rida Sita Dewi, AB Three, and Bening.[16]
In the 2000s, music with apop rock style began to dominate the national music charts. Popular bands that use the pop rock concept includePeterpan,Dewa 19,Gigi,Sheila on 7,Padi,Ada Band,Ungu,Letto,Nidji, andD'Masiv, all of which are featured onMTV Asia and tour regularly nationwide plus the neighbouring countries ofSingapore andMalaysia. These bands have received immense reception in the region (includingBrunei). Some people have attributed this to theneutral shared vocabulary in songwriting compared to thespoken vernaculars between these countries. However, others have speculated that the proliferation of pirated cassettes and CDs is the cause.[17][18]
The popularity of Indonesian music in Malaysia, in particular, had become so overwhelming that in 2008, demands were made for radio stations to restrict the number of Indonesian songs aired to give local musicians a fairer chance.[19]
Some pop rock bands incorporate traditionalMalay roots into their sound, reviving the oldOrkes Melayu style once popular in Indonesia and Malaysia. Such bands belong to the "Band Pop Melayu"Malay pop subgenre, which became popular in the late 2000s with acts likeKangen Band,Wali, Hijau Daun, Armada, Angkasa, andST 12.[20]
Indonesia first experienced theKorean wave in the 2000s, leading to the popularisation ofK-dramas andK-pop. The rising popularity of K-pop gave rise to a second wave or generation of boy bands and girl groups in Indonesia.[21][22] Several K-pop-influenced groups emerged from this wave, one of the earliest being G-String,[23] but the most notable areSM*SH,CJR andCherrybelle. Other popular groups include7Icons, XO-IX, Hitz, and Dragonboyz. It is from this era that the term "I-pop" emerged and was used by several groups, including Cherrybelle,[24][25] 7Icons, and XO-IX.[26]
Several J-pop-influenced groups also debuted around the same time. In 2011,Super Girlies, a J-pop-influenced girl group, debuted; their first single is a cover of aBerryz Kobo song.[27] That same year, the Japanese idol groupAKB48 launched its first sister group in Jakarta,JKT48. JKT48 introduced the "idols you can meet" concept in Indonesia and distinguished itself from other groups by calling themselves anidol group rather than a "girlband" particularly.[28] Subsequently, several independent J-pop-influenced "idol groups" made their debuts, including Lumina Scarlet (LuSca), which debuted in 2012.[29]
Indonesian visual media had a strong relationship with Indonesian music. Most Indonesian films and television series feature soundtracks consisting primarily of Indonesian music, generally Indonesian pop and some rock.
Dwiki Dharmawan, a member ofKrakatau, is known for some of his musical works that are related to soundtracks in Indonesian films and television series.[31] Dwiki debuted with the soundtrack ofElegi Buat Nana in 1988, followed by his arrangement ofAgs. Arya Dipayana's "Aku Ingin" for the filmCinta dalam Sepotong Roti, in 1990.[32]
Dwiki then wrote the soundtracks forDeru Debu (Thundering Dust, 1994),Harkat Wanita (A Woman's Trait, 1996) andBidadari Yang Terluka (A Wounded Angel, 1997).[30][33]
Melly Goeslaw is an Indonesian musician andfemale solo singer known for her many musical works related to soundtracks in Indonesian films and television series. Goeslaw made her debut in making soundtracks for teen drama films in 2002 with the film entitledAda Apa dengan Cinta?, where most of the songs were sung by her and written by her and her husband.[34]
Goeslaw then provided the soundtrack forEiffel I'm in Love in 2003,Apa Artinya Cinta? in 2005, the filmHeart in 2006,The Butterfly in 2007, andKetika Cinta Bertasbih in 2009.[35] She considered writing the song "Ketika Cinta Bertasbih" more difficult than his previous work in teen romance films because it is a religious film.[36]
Her works in these films made Goeslaw increasingly popular as a soundtrack musician, earning her the nickname Queen of Soundtrack. The soundtrack later won Best Soundtrack at the Indonesian Film Festival.[37]
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The popularity of Indonesian pop music is high amongMalay-speaking countries which Indonesia is also considered together (region commonly described as theNusantara). The wider coverage is only forASEAN countries such as the Philippines, Vietnam, and Cambodia.[38] Singers such asAgnez Mo have been gaining popularity even outside saidNusantara region like Vietnam, Sri Lanka, Cambodia, and the Philippines.[39]
The 2018 single "Heaven" byAfgan,Isyana Sarasvati, and Rendy Pandugo, became popular in Indonesia, Taiwan, Vietnam, and Sri Lanka, reaching the top 10 in all four countries.[40]
In 2018, the official theme song for the2018 Asian Games, "Meraih Bintang", performed by pop dangdut singerVia Vallen,[41] became viral in numerous countries across Asia and beyond. Many singers performed translated covers of the song in their respective languages, uploading the videos on YouTube.
Nevertheless, prominent Indonesian musicians such asRich Brian,NIKI,Stephanie Poetri,Weird Genius,Indahkus andRainych have acquired recognition internationally between 2018 and 2023. They are primarily associated with international record labels and represent the rise of Indo pop in international popularity.