In the age of digital storytelling, social media has transformed how music travels and connects cultures across borders. This session explores how ASEAN pop artists are harnessing platforms such as TikTok to break language barriers, cultivate global fandoms, and redefine how popular music is produced, distributed, and experienced.

Drawing from real-world management and creative industry practices, the discussion examines how viral content can evolve into sustainable artistic careers through strategic storytelling, audience engagement, and cross-platform visibility. It also highlights how authenticity, visual innovation, and fan participation have become central to shaping the identity of contemporary ASEAN pop.

More than a study of online trends, this presentation reveals the creative economy behind virality—how digital visibility fuels cultural exchange, brand collaboration, and international opportunities for the region’s emerging talents. By connecting data, creativity, and emotion, ASEAN pop demonstrates that the power of the TikTok generation extends beyond the screen—it is redefining Southeast Asia’s cultural influence on the global stage.

We are now living in what many call the age of K-culture and K-pop. But is K-culture truly something of Korea, by Korea, and for Korea? Especially when it comes to K-pop, perhaps it’s time to broaden our horizons a little more.

Let’s start from the origin of the term. Before K-pop gained recognition outside of Asia, it was J-pop that first drew attention from non-Asian audiences. Even BoA, often regarded as a pioneer of the Korean Wave (Hallyu), became the first Korean singer to top Japan’s Oricon chart, but with a Japanese-language song. Throughout the 21st century, K-pop and J-pop have influenced each other greatly and grown together. When we look at K-pop as a musical genre, its core content—the music itself—is not solely “Korean.” Since the early 2000s, European and American composers and producers have participated in the production of K-pop. As of the 2020s, with the rapid advancement of international A&R systems and global networks, most K-pop songs have been created by multinational songwriting teams. Even BTS’s “Dynamite,” which became the first Billboard Hot 100 No.1 hit by an Asian artist in 57 years (since Kyu Sakamoto’s “Sukiyaki”), was written and composed by two British songwriters.

From the perspective of consumption and global reach, we cannot overlook the tremendous contribution of ASEAN countries to K-pop’s success. From the sensation that was Psy’s “Gangnam Style” to the unstoppable rise of BLACKPINK, it was ASEAN nations that served as the launchpad for K-pop’s explosive growth across YouTube and other social media. ASEAN remains the region with the largest and most active K-pop fandom, home to a young population in their teens and twenties who are highly engaged with new media content. Actively recruiting members from ASEAN countries—particularly Thailand—has become a new trend in K-pop, with K-pop songwriting camps having even begun to feature ASEAN singer-songwriters. Various ASEAN idol groups, including P-pop acts like SB19, have been benchmarking K-pop and continuously elevating their quality. Just as K-pop was never exclusively “Korean,” ASEAN Pop is not solely “ASEAN.” ASEAN and Korea must move forward together, co-creating and enriching the world’s cultural content side by side.

ASEAN·Korea Music Festival ROUND was already a success simply by bringing together musicians from 11 countries with different languages and nationalities. However, I believe its true value grows as it continues to foster collaboration among artists. At 2023 ROUND in Indonesia, the first offline event, the performances clearly demonstrated that music is a universal language despite the initial awkwardness among the artists of different nationalities. A highlight was the collaboration between Singapore’s R&B trio “brb.” and Korean artist Jimmy Brown, whose trendy yet mellow stage presence captivated the hearts of Indonesian female fans. Another memorable moment came from the joint performance of Indonesia’s Isyana Sarasvati, celebrated for her charismatic stage presence and distinctive musical style, and Korea’s Hwang Soyoon, the leader and vocalist of the band SE SO NEON, known for her unique artistry and growing influence in the festival scene. The powerful collaboration between the two female rockers earned enthusiastic praise both from in-person guests and viewers, and the entire creative process, from their first meeting to the stage performance, was featured in KBS’s music culture documentary “All-Rounder.”

At the 2024 performance in Busan, Korea, Josh Cullen from the Philippine boy group SB19 collaborated with H1-KEY, a Korean girl group, with the explosive audience reaction and fan support resulting in the eventual release of their collaboration as an official track. Furthermore, ASEAN musicians who first connected with Korea through ROUND have since achieved remarkable success, such as Indonesia’s Pamungkas (2023 ROUND) and Thailand’s Television off (2024 ROUND), both of whom were invited to perform at Korea’s iconic Grand Mint Festival (GMF).

Despite its short history, the ASEAN·Korea Music Festival ROUND has evolved beyond a one-time joint performance, now serving as a genuine platform for cross- border exchange and a central hub for regional networking, producing meaningful, long-term outcomes. Supporting this initiative, KBS WORLD, as Korea’s leading global media platform, aims to expand its role as Asia’s premier entertainment channel, bringing not only K-pop but also ASEAN pop to global audiences.