Pop kreatif

Pop kreatif (English: creative pop) is an Indonesian offshoot and subgenre of Indo pop that emerged in the late 20th century as a fusion of Indonesian music and contemporary global influences such as funk, jazz, and soft rock. Rooted in urban culture, the genre is often characterized by its smooth melodies, upbeat rhythms, and nostalgic themes. Initially the genre had been associated and reflective to the rapid modernization and economic growth of Indonesia during the 1980s and early 1990s. Pop kreatif gained popularity among Indonesian youth and has recently seen a resurgence within the Indonesian music scene.
The term "pop kreatif" first appeared in Indonesian media in the 1980s. Journalists Seno M. Hardjo and Bens Leo were cited to have popularized this term to differentiate the music presented by musicians such as Guruh Soekarnoputra, Eros Djarot, Chrisye, Fariz RM, and Dian Pramana Poetra from the musical artists of the pop melankolis genre. Pop kreatif can be described as "fashionable, urban pop supported by the upper-middle class of cities." It emerged as a distinct form of music that diverged from the mainstream trends of the time. Other terms associated with the genre include "contemporary pop," "trendy pop," and "high-class pop" (pop kelas atas). Though pop kreatif developed as a distinct genre, the global resurgence of Japanese city pop has led to modern-day listeners referring to it as "Indonesian city pop".
Pop kreatif songs often feature intricate instrumental arrangements, with prominent use of synthesizers and other electronic instruments. The lyrics of pop kreatif songs are often poetic and introspective than those of mainstream pop music, thus coining the term. The term itself also shaped public perception, positioning the genre as sophisticated and emblematic of the glamour of urbanists, in stark contrast to pop melankolis, which was often dismissed as tacky, rural, and outdated by the younger generation at the time.
The ban on pop melankolis had created an opportunity for musicians experimenting with jazz fusion and new wave styles, characterized by heavy use of synthesizers, to rise to prominence. Leveraging new technologies like synthesizers and drum machines, Indonesian musicians drew inspiration from Japanese City Pop, European Synth Pop, and American Boogie, blending these styles with Indonesia's musical undertones and flow taken from genres such like Gamelan and Keroncong. Artists who are categorized within the creative pop genre are those who tended to focus on creating unique rhythms, melodies, harmonies, instruments, dynamics, styles, and creative lyrics. To academic Kitano, he draws parallels between pop kreatif and the work of Japanese artists like Yamashita Tatsuro, likening it to the evolution of Japanese pop into what is often referred to as "new music." This suggests that pop kreatif represents a form of contemporary or trendy pop, characterized by its innovative approach. At its core, pop kreatif stands out as a genre that caters to urban, cosmopolitan audiences, reflecting modern influences and tastes that set it apart from traditional mainstream music.
The origins of pop kreatif can be traced back to Indonesia’s long history of musical fusion. Even before the genre's formal emergence, Indonesian music was marked by the integration of local traditions with external influences. Genres like Kroncong and Dangdut showcased this blending, with Kroncong drawing from Portuguese folk traditions and Dangdut incorporating elements of Indian film music. During the 1960s and 70s, the rise of Pop Melayu entered Indonesia’s ability to merge Western pop music with regional Malay musical styles. Artists such as Rhoma Irama introduced modern instruments and pop arrangements into traditional forms, laying the groundwork for the eventual development of pop kreatif. At the time, president Sukarno had banned all "Ngak-Ngik-Ngok" music. Sukarno considered western songs as hedonistic and a display of cultural imperialism from the west which was contrary to the personality of the Indonesian nation. The government took stringent measures to suppress cultural influences perceived as Western or counterproductive to its vision of national identity. This extended to popular music, where bands and individuals produce or played such songs faced sanctions and even jailtime.
After the 30 September Movement and the subsequent rise of the New Order regime, the political ramifications of Sukarno’s anti-Western stance in the arts and culture left Indonesia’s creative industry relatively isolated from contemporary global music genres. During this period, particularly in the 1960s and early 1970s, the Indonesian music industry primarily focused on promoting traditional folk music and regional styles. This isolation persisted until the mid 1970s, when the New Order government aggressively pursued foreign investment and unchecked crony capitalism attributed to the Berkley Mafia. This lead to the rise of a capitalist elite and the infusion of foreign cultural influences. Alongside this economic boom, Indonesia's burgeoning tourism and entertainment industries adapted to global tastes. By this time, Indonesian musicians started incorporating elements of rock, disco, and jazz fusion into their compositions, signaling the beginning of a new era for the country’s music scene. While imported music dominated records, Indonesian musicians maintained their tradition of hybridity, blending foreign influences with local sounds.
Pop kreatif was heavily influenced by progressive rock and jazz, particularly during its emergence in the mid-1970s. Progressive rock pioneers played a significant role in shaping the pop kreatif phenomenon. One key figure was Guruh Sukarnoputra, the son of Indonesia's first president, Sukarno, who could be said as the founder or one of said pioneer in the genre. Western music-obsessed intellectual elites around Guruh increased the popularity of pop kreatif from the late 1970s onwards. Guruh formed Gipsy in the mid-1970s, a group known for its innovative fusion of progressive rock and traditional Indonesian instruments, such as the Balinese gamelan. The group released their self-titled album, Guruh Gipsy, in 1976. Although the album's avant-garde style and experimental nature did not achieve commercial success at the time, it was later reevaluated and recognized as a foundational work in the history of Jakarta music. Guruh Gipsy gained posthumous acclaim for its influence on Indonesia's music scene. In December 2007, Rolling Stone Indonesia selected Guruh Gipsy as the second-best Indonesian album of all time, behind another pop kreatif album, Badai Pasti Berlalu. Three of its songs, Badai Pasti Berlalu, Merpati Putih, and Merepih Alam, were listed by Rolling Stone as among the best Indonesian songs ever released whist the album was listed as the best Indonesian album of all time.
The post-breakup activities of members of Guruh Gipsy significantly influenced the development of pop kreatif. After 1977, Guruh Sukarnoputra, Chrisye, and the Nasution brothers, Keenan Nasution and Debby Nasution, emerged as key figures in the genre. The Nasution brothers played a role in nurturing Indonesia’s pop kreatif movement by personally mentoring the new generation of musicians from their home in Menteng. Their residence became a hub for musical collaboration, where emerging talents such as Elfa Secioria received guidance and as a gathering place for contemporaries in the pop kreatif scene. Two major works from 1977 are widely regarded as pioneering efforts in pop kreatif: the soundtrack for the melodrama film Badai Pasti Berlalu (The Storm Shall Pass) and the Lomba Cipta Lagu Remaja (LCLR) anthology. These albums showcased a sophisticated, Western-oriented style of pop music distinct from traditional Pop Melayu and sentimental pop. Members of Guruh Gipsy, including Chrisye and the Nasution brothers, collaborated with Jockie Surjoprajogo, keyboardist of the rock band God Bless, on both projects. Their work demonstrated the potential for a refined, modern form of Indonesian pop music. Guruh Sukarnoputra, a prominent composer, also contributed to the advancement of pop kreatif by composing works for Chrisye and mentoring a new generation of musicians who would shape the genre in the 1980s. The soundtrack for Badai Pasti Berlalu was overseen by Eros Djarot, who had previously been active in the progressive rock scene of the 1970s. Thus prominent figures from Indonesia's dying rock "golden age" transitioned to become key players in the early development of pop kreatif.
The pop kreatif genre was popularized by young artists who participated in the "Lomba Cipta Lagu Remaja" festivals in 1977 and 1978. In the mid-1970s, Indonesian pop music was dominated by groups like Koes Plus, Favorite's Group, Panbers, The Mercy's, and D'Lloyd. Their music tended to have similarities in melody, chords, and simple lyric writing patterns. Renowned music critic Remy Sylado criticized the shallowness of themes in Indonesian pop music at that time, noting that almost all songs were filled with the word "Mengapa!" (English: Why!). Prambors Radio, once known to be a radio station that caters to young people, then created a competition through LCLR, sought to harness the creative potential of young people in songwriting and break the stagnation of the pop music industry, which tended to be merely commercial and monotonous. In its first implementation, LCLR 1977 successfully produced the song "Kemelut" by Junaedi Salat, sung by Keenan Nasution, as the first winner and "Lilin-Lilin Kecil" originally by James F. Sundah, sung by Chrismansyah Rahadi, which was chosen as the "Favorite Song" based on listeners' choices. Among the ten winners, three songs were then created by a vocal group from a local highschool, SMA Negeri 3 Jakarta, as one of the winners: "Akhir Sebuah Opera," "Angin," and "Di Malam Kala Sang Sukma Datang." Students like Fariz R. Munaf, Adjie Soetama, Raidy Noor, and Iman RN later became known as movers in Indonesian pop music. Fariz RM has expressed admiration for his predecessors, referring to figures such as Chrisye, Harry Roesli, the Nasution brothers, Yockie Suryoprayogo, and others as his "big brothers" for their influence.
In LCLR 1978, the song "Khayal" by Christ Kaihatu and Tommy WS became the first winner, while "Kidung" by Chris Manusama was selected as the "Favorite Song." This event continued to produce talented songwriters such as Ikang Fawzy, Dian Pramana Poetra, Yovie Widianto, and many others. The echo of LCLR Prambors shook the Indonesian pop music industry. In the 1977‒1978 era, several musicians like Chrisye, Keenan Nasution, Eros Djarot, and God Bless were enthusiastic and open about producing alternative works to mainstream melancholic pop music once popularity arose. Even with social and government pressures, Melancholy Pop singers are almost never involved in this event. Only 3 names have ever been involved, namely Christine Panjaitan (FLPI 1985), Endang S. Taurina (FLPI 1986) and Dian Piesesha (FLPI 1987). The musical arrangements presented by Yockie Soerjoprajogo in LCLR tended to adopt progressive rock elements with keyboard-dominated instruments, introducing a rich and grand musical atmosphere, especially in terms of musical arrangements that presented broader chords and more poetic lyric writing. This style of musical arrangement then continued when Yockie Suryo Prayogo worked on Chrisye's solo albums such as Sabda Alam, Percik Pesona, Puspa Indah Taman Hati, Pantulan Cinta, Resesi, Metropolitan, and Nona who would be a signature of pop kreatif. Jazz influences began to appear in LCLR 1980 with arrangements crafted by Abadi Soesman and Benny Likumahuwa. LCLR then prioritized emerging music trends, making it a barometer of innovation in the Indonesian pop music industry and an artist's favorite. By the 1980s, artists and bands such as Fariz RM, Yockie Suryoprayogo, and Candra Darusman played a significant role in shaping the taste and standards of modern Indonesian pop music. They incorporated sophisticated melodies, smooth arrangements, and contemporary production techniques, drawing inspiration from these internationally popular styles.
By the late 70's, pop kreatif was in competition with Melancholic Pop, a mellow music genre that takes its inspiration from 1950's American Traditional Pop. Melancholic Pop had drawn Indonesians, such like Iwan Fals, as a way to express criticism to the New Order government over the living conditions, political repression, and economic stagnation inherited by the New Order government. The subgenre was eventually banned from airing on TVRI, Indonesia's national and only television network, in 1988 by Harmoko, Indonesia's Minister of Information at the time. Once Harmoko had listened to a then hit song "Hati Yang Luka" released in 1988, created by Obbie Messakh and sung by Betharia Sonata, he ordered an immediate ban on "whiny pop", stating "the matter of the song Hati Yang Luka, which singer Betharia Sonata used to sing while crying, really attracted attention." It is also speculated that President Suharto personally disliked the song. In Harmoko's view, such songs were seen as obstacles to national development, as he believed they failed to foster work enthusiasm. He criticized the content of TVRI's programs, which he described as being filled with "low-taste laments of broken spirits, broken households, or whiny things," deeming them unsuitable for promoting a productive and motivated society. It is alleged that he hated the song as it contained lyrics that 'paralyzed the spirit', which was considered very contradictory to the spirit of development echoed by the New Order government. From this ban, it had left many artists bankrupt and led to the destruction of the once dominating pop melankolis industry. Without hinderance, pop kreatif began to develop rapidly along the years, starting from an underground movement to mainstream, with the government actively promoting the genre.
After the ban on pop melankolis, the Indonesian creative industry virtually crashed, with cassettes and tape recorder eventually being sold with lower prices since the end of the 70's. This has then allowed most of the Indonesian population to enjoy songs from foreign bands as interest from outside culture and music began to seep in from the New Order's cultural relaxation policy. The success of LCLR led to Prambors Radio packaging its songs to the wider public in the form of cassettes. Both cheap cassettes and radio had led to the mass propagation of the pop kreatif genre. During the annual event, finalist songs from LCLR were always introduced on TVRI through a special program. Additionally, the final night of the competition was broadcast by TVRI, ensuring it reached audiences across Indonesia. This extensive exposure played a significant role in making songs from the competition, even those with more complex compositions compared to mainstream commercial pop at the time, successful and popular hits upon their release in the market.
The emergence of pop kreatif in the late 20th century coincided with Indonesia's rapid urbanization and increased exposure to global culture under the cultural relaxation of the New Order government. International music trends like Western disco and funk influenced Indonesian airwaves, inspiring local artists to create music that reflected the lifestyles of an urbanizing Indonesia while maintaining local appeal. Pop kreatif artists adopted modern production techniques and global aesthetics, but they also retained distinct Indonesian elements, such as formatting and melodic structures. The genre resonated strongly with Indonesia’s growing middle class, urbanites, and the leisure class who sought to embrace cultural affinity with foreign culture.
Popular singers and/or composers in this subgenre include Chrisye, Fariz RM, KLa Project, Utha Likumahuwa, Vina Panduwinata, Harvey Malaiholo, Christ Kayhatu, and Dodo Zakaria. Just as Japanese City Pop often regards singer-songwriter Tatsuro Yamashita as the "King of City Pop," the pop kreatif genre in Indonesia sometimes considers Chrisye as its "King." The success of Badai Pasti Berlalu soundtrack and Fariz RM's Sakura album became the momentum for the growth of pop kreatif. Fariz RM and Dian Pramana Poetra are examples of musicians who succeeded in this genre. The album "Sakura" (1980) by Fariz RM and "Indonesia Jazz Vocal" (1982) by Dian Pramana Poetra received positive responses and captivated the much of the Indonesian new generation. After the success of the solo album "Sakura", artists such as bassist Erwin Gutawa, Uce Haryono on drums, and keyboardist Eddie Harris, held intent on the "renewal of Indonesian music in color, personality and style." Collaborating with Fariz RM, they formed Transs, a group dedicated to jazz fusion music focused on improvisation and infused with influences from genres such as bossa nova, samba, disco, and funk. The name Transs was derived from the shortened form of "Transition", as the band was driven by a personal agenda to challenge and innovate the existing musical scene, aiming to introduce new styles and influences. Their album "Hotel San Vicente" went on to become one of the most acclaimed Indonesian Jazz fusion music albums of all time, ranking 35th on the list of ‘The 150 Greatest Indonesian Albums of All Time’ by Rolling Stone Indonesia magazine published in issue #32 of December 2007.
Transs would later become one of the blueprints for the development of fusion music in Indonesia as well as the pioneer of the birth of other music groups with jazz fusion styles such as Karimata, Krakatau, Black Fantasy, Emerald, Bhaskara, and others. The emergence of Casiopea, a pioneering Japanese jazz-rock group, had also inspired the formation of several Indonesian jazz-rock and fusion bands, such as Krakatau, Karimata, and Emerald Band. Jazz had a significant influence on pop kreatif, with many performers of the genre being exposed to jazz during their childhood. Indra Lesmana, son of Jack Lesmana—known as the "father of Indonesian jazz"—became a prominent figure in pop kreatif after forming the band Krakatau in the 1980s. Similarly, singers from affluent families, such as Candra Darusman, developed a love for jazz early on, influenced by their parents' musical preferences. Jazz became a defining element of pop kreatif partly due to the contributions of graduates from the music school "Elfa Studio," established by jazz musician Elfa Secioria. Many of these graduates rose to prominence as pop kreatif performers. Dwiki Dharmawan, a member of Krakatau, was among those influenced by Elfa's teachings, having learned jazz piano under his guidance at a young age. At one point for Krakatau and Casiopea's reunions, both bands had once shared a stage and played against each other at the 21st Economics Jazz at Gadjah Mada University.
Such bands gained recognition through their participation in the prestigious Yamaha Light Music Contest in Japan. The exportation of music was favored by the government, allowing groups like Krakatau, Emerald, and Karimata to break into the mainstream. Cooperation between Indonesia and Yamaha started in 1970, when Yasuke Sato, a representative of Yamaha Japan, met with Sri Sultan Hamengkubuwono IX, then Vice President of Indonesia and Sultan of Yogyakarta, to discuss the potential for cooperation in promoting music in Indonesia. This partnership ultimately led to the establishment of the Yamaha Music Foundation, under the leadership of Police Chief Hoegeng Iman Santoso, who was recognized for his passion for music. The foundation was later renamed the Indonesian Music Foundation (YMI) and played a significant role in advancing music education and promotion in Indonesia. Indonesia 6, a group formed by Elfa Secioria, won awards at the Yamaha Light Music Contest in Tokyo in 1987; Yani Danuwijaya was named "Best Keyboard Player International" and Dezzy Arnas won "Best Bassist Player". Following their success, Indonesia 6 released the song "Fatamorgana", which was heavily inspired by the Japanese jazz-fusion band Casiopea. Other standout performers included Squirrel Band from Surabaya, which earned Dewa Budjana the title of "Best Guitarist" in 1984, and Krakatau Band, which won the Light Music Contest Indonesia in 1985 and subsequently performed in Tokyo. Dwiki Dharmawan achieved recognition as "Best Keyboard Player," while Emerald Band garnered two awards in Japan. This government support provided these bands opportunities to showcase their talents on platforms like TVRI and RRI. Through these televised performances, they reached wider audiences, expanding their fan base and introducing new music styles to the Indonesian public.
In the late 1980s, KLa Project emerged and strengthened the pop kreatif genre with new wave influences and the use of synthesizers. Their debut album with hits like "Tentang Kita" and "Yogyakarta" marked the golden era of KLa Project and expanded the acceptance of creative pop music in Indonesia. The Indonesian Popular Song Festival reached its heyday in the mid-80s, in the sense that the songs produced won international awards as well as selling in the market. In 1985, the FLPI committee managed to get 12 songs that were selected as 'truly best’. Almost all songs became hits, and the winners were able to speak at the International Festival. Vina Panduwinata‘s song Burung Camar won the Kawakami Awards at the World Pop Song Festival at Budokan Hall, Tokyo, Japan.
With the fall of the New Order government, the monopoly on the country's airwaves came to an end. This shift allowed new media companies to emerge, providing the Indonesian populace with a greater variety of options and genres to explore. pop kreatif was eventually overshadowed by a genre known as Pop Melayu originating from Malaysia. The emergence of Pop Melayu, with its sentimental and melodious lyrics, marked a period when pop kreatif began to decline in popularity. In the late 1980s and early 1990s, Indonesian music trends began to shift from pop to the emerging slow rock genre. This change was sparked by the success of the Malaysian rock group Search and its lead vocalist, Amy (Suhaimi), who achieved massive popularity with their hit song "Isabella". Amy's influence in the Indonesian music scene was soon followed by the rise of Nike Ardila, whose hit "Bintang Kehidupan" solidified slow rock's place in Indonesia. As the tastes of Indonesian audiences gravitated toward slow rock, the commercial viability of melancholic pop songs declined significantly. Pop kreatif, once heavily promoted through government-backed platforms like RRI and TVRI, struggled to achieve the same levels of success in the changing music scene. By the early 2000's, pop kreatif was gradually forgotten by music enthusiasts, eventually fading into obscurity as pop melayu captured the public’s attention. By 2008, pop kreatif had become a niche genre, with its popularity primarily sustained by older generations who had grown up with its music. Its presence in the Indonesian music scene was largely maintained by a small community of bloggers and music archivists dedicated to preserving and documenting the genre.
Attempts at reviving the pop kreatif genre prior to 2017 were meager, as the Indonesian music landscape became increasingly diverse with the emergence of various other genres. One notable effort was the Pagelaran Zaman Emas Fariz RM concert, held on August 21, 2003, at Plenary Hall, JCC Jakarta. The event's lineup included Sherina Munaf, Reza Artamevia, Titi DJ, Katon Bagaskara, Warna, /rif, and Syaharani. Dwiki Dharmawan was appointed to arrange the musical compositions for the concert. The concert was considered a commercial failure with low turnout – 2,000 attendees in a venue with a 5,000-person capacity. There was also pushback from the music industry regarding the pop kreatif genre. The Anugerah Musik Indonesia (AMI) committee had set the renaming the category to "Pop urban" for its 2013 AMI Awards competition. The committee deemed the name took offense at the implication that songs outside the pop kreatif classification might be perceived as "lacking creativity", arguing that all music genres should be "continuously refined over time." An unintended consequence of the attempt to rename pop kreatif to "pop urban" was the division of the genre into two separate distinct varieties. The first retained the original synth-heavy, 1980s-inspired sound, exemplified by artists like Fariz RM, while the later emerged in popularity post-2010, incorporating more contemporary elements of soft jazz and modern funk, groove-oriented style, represented by acts such as Maliq & D’Essentials, RAN, Soulvibe, and Tompi. Once debuted, Maliq & D’Essentials were initially labeled as pop kreatif and was once hailed by the media in the mid-2000s as the start of the "revival of pop kreatif". Though as years pass, it later sprung a movement for the popularity of "pop urban". According to Widi Puradiredja, prior to the rise of Maliq & D'Essentials and similar bands, there were already groups performing a similar style of music, such as Humania, The Groove, and Bunglon. However, these earlier acts struggled to gain significant attention from both the music industry and the general public, as their music was perceived as being too complex or heavy for mainstream appeal.
With growing interest from younger generations, many Indonesians have begun referring to pop kreatif from the 1980s and 1990s as "Indonesian City pop." This trend has gained traction among young music enthusiasts, coinciding with the global revival of Japanese City pop, which has been fueled by the rise of internet streaming platforms like YouTube and Spotify. As a result, Indonesian youths have been rediscovering pop kreatif, embracing its nostalgic charm and its parallels to the cosmopolitan aesthetics of Japanese City Pop. There is no well-defined or established connection between Japanese City Pop and pop kreatif. However, both genres share a common root in soft rock and jazz fusion. The development of both Japanese city pop and Indonesian pop kreatif likely paralleled each other, in line with broader trends in the reception of Western popular music across Asia throughout the 20th century, thereby defining their similarities. The influence of soft rock, jazz fusion, funk, and disco from the United States and Europe played a crucial role in shaping both genres, as local musicians adapted these styles to their own cultural and musical landscapes. This historical context may also contribute to the contemporary revival of city pop, as listeners across Asia—and beyond—rediscover and reinterpret these genres within a modern musical framework. While some Indonesian artists, primarily from the Indie music scene, such as Mondo Gascaro, Dhira Bongs, Kurosuke, Coldiac, Tokyolite, Ikkubaru, Vintonic, and Spring Summer have sought to directly emulate Japanese city pop and can fall within the label of "Indonesian city pop", the broader classification of pop kreatif as "Indonesian City Pop" is controversial. This broad categorization has led to the inclusion of genres such as Indonesian disco, 90s hard rock, and even proto-pop-Malay groups under the same label, diluting the distinct identity of pop kreatif. Critics warn that this blending can cause confusion, particularly for international listeners seeking to understand the unique characteristics of pop kreatif as a genre. Member of Diskoria, Merdi Simanjuntak, expressed disagreement at this categorization to the group and wider genre as a whole, stating, "I could only laugh!" Fariz RM once commented on his connection to the City pop genre by stating that his inspiration came from a wide range of sources, not exclusively from Japanese City Pop. He credited much of the genre's influence to figures like Harie Dea as its actual originator. When asked about the term "Indonesian City Pop" and whether it should be an established genre, Fariz RM personally rejected the label, emphasizing that such categorizations are typically created by observers or listeners rather than by musicians themselves.
The hallmark of city pop-style songs that are gaining popularity in Indonesia today, sometimes known as Pop urban, lies in their blend of influences from incorporating elements of funk, electronic music, and jazz. While "Indonesian city pop" playlists have been largely dominated by music from the 1980s, many contemporary musicians within the Indonesian music industry are increasingly producing their own pop kreatif-inspired tracks. Among the prominent figures in this upbringing is Diskoria. Starting with their debut track "Balada Insan Muda" and gaining widespread recognition with "Serenata Jiwa Lara", Diskoria has played a pivotal role in reintroducing Indonesian music from the past, repackaged in a Jazz and modern-pop disco style that resonates with today's youth. Artists such as Laleilmanino and Lalahuta can be also said as pop kreatif revivalists. Additionally, the works of artists like Vira Talisa, Mondo Gascaro, Aya Anjani have also emerged as significant contributions to the current era of the genre in the Indonesian music scene. Current trends usually revolve around creating and remixing new songs that deliberately emulate the old pop kreatif/city pop sensibilities. A notable reintroduction of old-esque Indonesian Pop is that of Adikara's "Primadona". Made as a homage of the genre, the song had been played more than 150,000 times on TikTok and had at one point reached the top 5 on the Billboard Indonesia chart for 7 weeks.
Momentum for interest within the genre led the recycle of old pop kreatif songs into a mini album, "Lagu Baru dari Masa Lalu", in the essence of the now defunct LCLR competition, in an attempt by music archivist organization, Irama Nusantara, to appreciate and inspire more artists delving into the genre. The album was pushed in the hopes of improve the copyright management and archiving of old Indonesian pop kreatif songs. For the project, five songs from the 1980s were arranged and re-sung by eight different musicians. The first track of the album, "Walau dalam Mimpi", which is a song from the album of the same name by jazz singer Ermy Kullit, was arranged and sung by Dhira Bongs. Adoria and Vira Talisa performed Jimmie Manopo's "Dunia yang Ternoda". Aya Anjani, daughter of pop kreatif musician and singer-songwriter Yockie Suryo Prayogo, recycled his song "Terbanglah Lepas" together with Parliament Pop. Andien and Mondo Gascaro sang a duet song "Kisah Insani" which was first popularised by Chrisye and Vina Panduwinata. Vocalist of Anomalyst music group Christianto Ario Wibowo or better known by his stage name Kurosuke performed a song from Transs music group "Senja dan Kahlua". Attempt by music archivist, Munir Septiandry, had also uncovered and tried to re-release many of pop kreatif's lost songs through an archive titled "Tanamur City." The project serves as both a cultural preservation initiative and a tribute to Indonesia's first discotheque, Tanamur, which played a pivotal role in shaping the country's urban music and nightlife scene during its heyday.
Pop kreatif in Malaysia is a relatively young genre. Culturally and musically, Malaysia did not have an robust 80's Music scene. Music such as Malaysian Hip Hop and rap was not accepted by the mainstream media, which was dominated by government-owned stations and was labeled as Haram by stations, mainly Radio Televisyen Malaysia (RTM). Thus during the 80's and 90's, Malaysia's public music taste had more interest within the traditional music genres such like Irama Malaysia ("Malaysian Melodies"), etnik kreatif ("creative ethnic [music]") or pop etnik ("ethnic pop") and even Indonesian Dangdut. Some attempts at introducing the pop kreatif genre to Malaysia had various degree of success. The rock band Slam initially adopted a pop reatif-oriented concept for their debut album, Slam. However, with album sales reaching only 40,000 units, the band reevaluated their approach and shifted their focus toward the Rock Melayu genre to achieve greater commercial success. For a brief period, the 1992 7th Anugerah Juara Lagu (AJL) competition would use pop kreatif as one of their genres. This lead to Ziana Zain to briefly experiment with the pop kreatif genre on her song "Madah Berhelah" created by Saari Amri where she reached the position of Finalist at the 1992 7th AJL competition. Other runner ups include "Syakila" by Rahim Maarof, "Kekasih Awal dan Akhir" by Jamal Abdillah, and "Pada Syurga Di Wajahmu" by Nash Elias as the finalist. The AJL competition would change the pop kreatif genre as one of its categories to Ballad, likely due to the songs produced being similar to Ballad instead. However one artist that had influence to Malaysia's music scene was that of Sheila Madjid. Sheila Majid’s second album, Emosi (1986), introduced a pioneering fusion of jazz and R&B, a genre that was innovative in Malaysia at the time. The album gained significant traction in Indonesia's burgeoning pop kreatif scene, which led her to try the Indonesian market. Her singles “Sinaran” and “Antara Anyer dan Jakarta” became highly popular, with "Sinaran" charting internationally, including in Japan.