The most globally famous Japanese city is undoubtedly Tokyo, which also makes it the center of the entertainment industry. Yet no music scene can sustain true depth when it becomes too centralized; Japanese idols have continually evolved by producing alternative after alternative to the mainstream. One such alternative—both in the past and still today—is the rise of local idols: groups based outside of Tokyo.

There are several theories about their origins, but one major background factor for contemporary local idols is the proliferation of independent talent schools and dance academies for aspiring idols across the country. These schools were inspired by the success of groups like SPEED, Morning Musume., and Perfume—all of which have appeared in earlier installments of this series. Having accessible training environments lowered the barrier for young girls to take their first steps toward their dreams, and in an era when female idols were debuting at younger ages, it became advantageous for them to work locally while still attending school. SPEED, for example, made their debut in Tokyo but trained in Okinawa, while Perfume was based in their hometown of Hiroshima during their early career.

Another background factor is the long-standing demand among local governments and regional media for PR characters or mascot-like roles (Japan even has a unique culture of yuruchara, or local mascots, that serve a similar function). RINGOMUSUME (active since 2000), often cited as a pioneering local idol group, was created to promote apples, a famous Aomori specialty. Similarly, Negicco (active since 2003) was formed at a local school specifically to promote Niigata’s renowned green onions. TOCHIOTOME25 (active since 2010), selected to promote Tochigi specialties at the Shanghai Expo, is another example. Many early local idol groups were formed by community volunteers to meet local revitalization needs. However, because their activities were small-scale and the era predated widespread video and music streaming, very few left behind recordings or footage. Their appeal remained limited to a handful of dedicated enthusiasts.

The force that dramatically reshaped the landscape for local idols was the so-called Idol Warring States Period of the 2010s. As mentioned in the previous installment, the original Warring States period was defined by local samurai challenging central authority—an oddly fitting parallel for local idols. The expansion of AKB48’s format, which produced region-based sister groups like SKE48 (Aichi) and NMB48 (Osaka), also encouraged the rise of locally rooted groups nationwide. Many were backed by large regional talent schools, and some began to aim for success on the same stage as Tokyo idols while remaining deeply connected to their hometowns.

One of the most iconic cases from this era is Dorothy Little Happy, formed in Sendai, Miyagi Prefecture. Just a year after forming, they secured a major-label debut in March 2011, only to face the misfortune of their hometown being struck by the Great East Japan Earthquake that same month. Their representative song “Demo Sayonara” became an anthem at that summer’s TOKYO IDOL FESTIVAL, bringing them widespread recognition. As discussed previously, the earthquake profoundly impacted the idol boom; their song “Life goes on,” which sings of hope, carried extraordinary emotional weight at the time. The huge success of the 2013 TV drama Amachan—which intertwined themes of local idols and the disaster—may also be seen as symbolic of this period.

Sendai and the greater Tohoku region soon rose as a major idol-producing area. Dorothy Little Happy’s agency launched sister groups such as Party Rockets (2012–2020). Other notable groups included techno-pop act t.c.princess (2009–2013), SCK GIRLS (formed in 2011 as part of reconstruction support), and icle girls from Fukushima (2013–2024).

Looking elsewhere, HimeKyunFruitCan (2010–2023) from Ehime Prefecture also competed on the major-label stage. From Hiroshima came Manaminorisa (2007–2023), juniors from the same school as Perfume. Osaka produced JK21 (2008–2018), and in Hokkaido, long-running groups such as fruity (active since 2011) and WHY@DOLL (2011–2019) gained popularity. Gunma Prefecture even gave rise to the uniquely Brazilian-influenced Linda Sansei (2013–2016), known for samba and funk styles. By 2014, when major-label debuts from regional idols were no longer unusual, more than 400 groups had been confirmed nationwide, each with their own style and identity.

Among all regions, Fukuoka Prefecture became known as an extremely competitive battleground. Groups such as HR (2010–2018), QunQun (active since 2011), Shooting Star Girls (2012–2016), Reishushu (2012–2016), GALETTe (2013–2016), and Rev. from DVL (2011–2017) emerged in rapid succession. Rev. from DVL, of course, produced nationally beloved actress Kanna Hashimoto. Yet even among these standouts, LinQ achieved exceptional prominence. Formed in 2011 with a large roster of 33 members, they earned high marks for their diverse member composition spanning multiple age groups and for the strong musical quality rooted in Kyushu culture. They made their major-label debut in 2013.

Before the age of music subscription services, female idols capable of significant sales were highly valuable to major record labels, which helped pull many independent local idols onto the national stage. But this momentum did not last forever. By the mid-2010s, major agencies began to dominate even the local idol landscape. HKT48, which debuted on a major label in 2013, led the way, followed by avex’s iDOL Street—home of SUPER☆GiRLS—establishing training groups across Japan. STAR PLANET, the agency behind Momoiro Clover Z, also launched several region-based groups, including TEAM SHACHI (2012–2025), Batten Girls (2015–), and MADE IN TOHOKU (2015–).

Meanwhile, the number of independent, region-based idols has continued to rise. As of 2025, more than 2,500 groups are said to exist, though most focus on stable local activities rather than national expansion. LinQ, mentioned earlier, has experimented with new formats while expanding its sister and kids groups; this August, longtime center Yuumi Takaki graduated, and the group now approaches its 15th anniversary firmly rooted in the local community. And Negicco—one of the earliest examples of local idols—remains active at their own pace even after all members have married and become parents, recently surpassing their 20th anniversary.

Writer：Koji Dejima
Japanese music writer. Editor-in-Chief of the Tower Records Japan magazine “bounce”.