Pop kreatif

With the [[Fall of Suharto|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|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.{{cite web |title=Indonesian City Pop dan Pasang Surutnya Pop Kreatif di Indonesia |url=https://www.mldspot.com/trending/indonesian-city-pop-dan-pasang-surutnya-pop-kreatif-di-indonesia |website=MLDSPOT |date=5 April 2021 |language=id |access-date=8 April 2026}} In the late 1980s and early 1990s, Indonesian music trends then began to shift from [[pop music]] to the emerging [[Rock kapak|slow rock]] genre. This change was sparked by the success of the Malaysian rock group [[Search (band)|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 Ardilla|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, along with Pop Melancholis, once heavily promoted through government-backed platforms like RRI and TVRI, struggled to achieve the same levels of success in the changing music scene.{{Cite web |last=gm |first=Indra |date=2023-04-14 |title=Ketika Pop Melankolis Tidak Lagi Mendominasi, Dua Bintang Ini Lahir Menandai Tren Baru di Blantika Musik Indonesia - Halaman 2 dari 2 - Lontar News |url=https://lontarnews.com/seni-budaya-ketika-pop-melankolis-tidak-lagi-mendominasi-dua-bintang-ini-lahir-menandai-tren-baru-di-blantika-musik-indonesia-lontarnews/2/ |access-date=2024-12-10 |website=lontarnews.com |language=id}} By the early 2000s, pop kreatif was gradually forgotten by music enthusiasts, eventually fading into obscurity as pop melayu captured the public's attention.{{Cite web|last=gm|first=Indra|date=2023-04-14|title=Ketika Pop Melankolis Tidak Lagi Mendominasi, Dua Bintang Ini Lahir Menandai Tren Baru di Blantika Musik Indonesia - Laman 2 dari 2|url=https://lontarnews.com/2023/04/14/seni-budaya-ketika-pop-melankolis-tidak-lagi-mendominasi-dua-bintang-ini-lahir-menandai-tren-baru-di-blantika-musik-indonesia-lontarnews/|website=Lontar News|language=id|access-date=2024-01-15}} 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.{{Cite news |date=2008-11-24 |title=Para Penikmat Masa |url=https://www.tempo.co/gaya-hidup/para-penikmat-masa--958412 |url-access=subscription |work=Tempo |language=id}}

With the [[Fall of Suharto|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|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.{{cite web |title=Indonesian City Pop dan Pasang Surutnya Pop Kreatif di Indonesia |url=https://www.mldspot.com/trending/indonesian-city-pop-dan-pasang-surutnya-pop-kreatif-di-indonesia |website=MLDSPOT |date=5 April 2021 |language=id |access-date=8 April 2026}} In the late 1980s and early 1990s, Indonesian music trends then began to shift from [[pop music]] to the emerging [[Rock kapak|slow rock]] genre. This change was sparked by the success of the Malaysian rock group [[Search (band)|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 Ardilla|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, along with Pop Melancholis, once heavily promoted through government-backed platforms like RRI and TVRI, struggled to achieve the same levels of success in the changing music scene.{{Cite web |last=gm |first=Indra |date=2023-04-14 |title=Ketika Pop Melankolis Tidak Lagi Mendominasi, Dua Bintang Ini Lahir Menandai Tren Baru di Blantika Musik Indonesia - Halaman 2 dari 2 - Lontar News |url=https://lontarnews.com/seni-budaya-ketika-pop-melankolis-tidak-lagi-mendominasi-dua-bintang-ini-lahir-menandai-tren-baru-di-blantika-musik-indonesia-lontarnews/2/ |access-date=2024-12-10 |website=lontarnews.com |language=id}} By the early 2000s, pop kreatif was gradually forgotten by music enthusiasts, eventually fading into obscurity as pop melayu captured the public's attention.{{Cite web|last=gm|first=Indra|date=2023-04-14|title=Ketika Pop Melankolis Tidak Lagi Mendominasi, Dua Bintang Ini Lahir Menandai Tren Baru di Blantika Musik Indonesia - Laman 2 dari 2|url=https://lontarnews.com/2023/04/14/seni-budaya-ketika-pop-melankolis-tidak-lagi-mendominasi-dua-bintang-ini-lahir-menandai-tren-baru-di-blantika-musik-indonesia-lontarnews/|website=Lontar News|language=id|access-date=2024-01-15}} 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.{{Cite news |date=2008-11-24 |title=Para Penikmat Masa |url=https://www.tempo.co/gaya-hidup/para-penikmat-masa--958412 |url-access=subscription |work=Tempo |language=id}}

[[File:Sriwedari.jpeg|thumb|[[Maliq & D'Essentials]], pictured in 2012, were associated with a shift in the musical direction of pop kreatif in the 2000s, as [[soul]], [[R&B]], and brass jazz influences became more prominent.]]

[[File:Sriwedari.jpeg|thumb|[[Maliq & D'Essentials]], pictured in 2012, were associated with a shift in the musical direction of pop kreatif in the 2000s, as [[Soul music|soul]], [[R&B]], and brass jazz influences became more prominent.]]

Attempts at reviving the pop kreatif genre prior to its emerging trend in the 2010s 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, [[Jakarta International Convention Center|JCC Jakarta]]. The event's lineup included [[Sherina Munaf]], [[Reza Artamevia]], [[Titi DJ]], [[:id:Katon Bagaskara|Katon Bagaskara]], Warna, /rif, and [[:id:Syaharani|Syaharani]]. Dwiki Dharmawan was appointed to arrange the musical compositions for the concert. The concert was considered a commercial failure with low turnout of 2,000 attendees in a venue with a 5,000-person capacity.{{Cite web |date=31 August 2003 |title=Yang Ingin Bertahan dalam Hidup dan Musik |url=https://www.tempo.co/hiburan/yang-ingin-bertahan-dalam-hidup-dan-musik--995899 |access-date=2025-02-08 |website=Tempo |language=id}} 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 [[:id:Anugerah Musik Indonesia 2013|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."{{Cite web |last=Yuniar |first=Nanien |date=12 June 2013 |title=Tantowi: Penghargaan Wakili Tren Musik Yang Berlangsung |url=https://kalbar.antaranews.com/berita/313614/tantowi-penghargaan-wakili-tren-musik-yang-berlangsung |access-date=2025-02-08 |website=ANTARA News}} 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|Maliq & D’Essentials]], [[:id:Ecoutez!|Ecoutez!]], [[RAN (band)|RAN]], [[:id:Soulvibe|Soulvibe]], and [[:id:Tompi|Tompi]], then popularly labeled as "maliq's music" to describe such style. 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 [[:id:Widi Puradiredja|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 [[:id:Humania|Humania]], [[:id:The Groove|The Groove]], and [[:id:Bunglon (grup musik)|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.

Attempts at reviving the pop kreatif genre prior to its emerging trend in the 2010s 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, [[Jakarta International Convention Center|JCC Jakarta]]. The event's lineup included [[Sherina Munaf]], [[Reza Artamevia]], [[Titi DJ]], [[:id:Katon Bagaskara|Katon Bagaskara]], Warna, /rif, and [[:id:Syaharani|Syaharani]]. Dwiki Dharmawan was appointed to arrange the musical compositions for the concert. The concert was considered a commercial failure with low turnout of 2,000 attendees in a venue with a 5,000-person capacity.{{Cite web |date=31 August 2003 |title=Yang Ingin Bertahan dalam Hidup dan Musik |url=https://www.tempo.co/hiburan/yang-ingin-bertahan-dalam-hidup-dan-musik--995899 |access-date=2025-02-08 |website=Tempo |language=id}} 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 [[:id:Anugerah Musik Indonesia 2013|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."{{Cite web |last=Yuniar |first=Nanien |date=12 June 2013 |title=Tantowi: Penghargaan Wakili Tren Musik Yang Berlangsung |url=https://kalbar.antaranews.com/berita/313614/tantowi-penghargaan-wakili-tren-musik-yang-berlangsung |access-date=2025-02-08 |website=ANTARA News}} 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|Maliq & D’Essentials]], [[:id:Ecoutez!|Ecoutez!]], [[RAN (band)|RAN]], [[:id:Soulvibe|Soulvibe]], and [[:id:Tompi|Tompi]], then popularly labeled as "maliq's music" to describe such style. 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 [[:id:Widi Puradiredja|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 [[:id:Humania|Humania]], [[:id:The Groove|The Groove]], and [[:id:Bunglon (grup musik)|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.