Japan’s idols and the fan economy—history and now

Ryo Asai is one of Japan’s best-known contemporary novelists. His major works—Kirishima, Bukatsu Yamerutte yo, Nanimono, and Seiyoku—have won prizes and been adapted for film and TV. His new novel, In the Mega-Church, focuses on the fan economy. It explores fandoms—groups of intense fans like BTS ARMY—and asks how those communities shape culture and life.

This article gives an overview of the culture that supports idols in Japan: the history of boy and girl idol groups, how fandom works today, and what this means for startups and builders in entertainment tech.

Major Idol Scenes in Japan

Japan’s boy-group industry was shaped by Johnny & Associates, which produced acts from Shonentai to SMAP to Arashi. In 2023, a BBC documentary revived scrutiny of its founder, leading to major organizational changes after allegations of abuse.

Other big players include LDH, known for EXILE and related acts and for running schools, fashion, and restaurants around its artists, and Yoshimoto, the comedy giant that also joined in producing JO1. In addition, music productions like Stardust Promotion, BMSG, and TOBE are producing new artists constantly. Starting with BTS, the popularity of boy groups from Korea continues to grow in Japan.

Female idols developed in waves. The 1980s brought solo stars such as Seiko Matsuda and Akina Nakamori, then TV-driven groups like Onyanko Club. In 1997, Morning Musume revived group idols through auditions, and in 2005 AKB48 built a “meet-your-idols” theater model with handshake events and fan voting, creating an entire fan-participation business. The 2010s are popular Nogizaka46 and other “Sakamichi” groups, Momoiro Clover Z, SHIRITSU EBISU CHUGAKU. From 2020 onward, K-pop acts like TWICE raised production standards, while producer-driven projects, such as those by Rino Sashihara, Misa Kimura, continue to be major players.

Mixed-gender groups are less common but do exist. AAA became a successful coed dance-vocal act, and more recently labels and agencies have launched joint projects that test new mixes to capture wider audiences.

Unlike mainstream idols, underground idol culture—emerging from small venues in the 2000s—offer much closer access to fans with frequent shows, instant-photo sessions, and face-to-face contact. There is also a deep interaction between fans, allowing a sense of unity between the idols and the fan community.

New types of fan acquisition

The way fans are recruited has shifted. Not only TV, but also fanclubs, social networks, and recently audition documentaries build emotional engagement before debut. The Nizi Project showed how global auditions and behind-the-scenes footage could create loyalty early. Many groups now mix nationalities for international reach, and music videos have become more polished to meet global standards.

Many idols expand into acting, modeling, or streaming. Increasingly, there is crossover not only with gaming but also with the virtual sphere. Some idols experiment with VTuber-style avatars, or collaborations with virtual talents, creating hybrid fan experiences that blur the line between physical and virtual performance.

Fan tech startups

Japan’s fan economy shows clear opportunities. Ventures are building platforms for fanclubs, live interactions, digital shows, and merchandise, while also experimenting with data analytics and even blockchain. But risks remain. Scandals can damage trust fast, and aggressive monetization like repeat-purchase CD models often draws criticism.

Japan’s idol culture is an evolving system of content and community. The strongest feature is the deep fan relationship, both offline and online. Ventures that help idol productions manage and monetize those bonds safely and globally capture significant value today.

Author: Tatsuya Yajima

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