[11][7] The term itself also shaped public perception, positioning the genre as sophisticated and emblematic of the glamour of urbanists, in stark contrast to Melancholic pop, which was often dismissed as tacky, rural, and outdated by the younger generation at the time.

[12] 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.

[16] 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.

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.

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.

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.

Members of Guruh Gipsy, including Chrisye and the Nasution brothers, collaborated with Jockie Surjoprajogo, keyboardist of the rock band God Bless, on both projects.

In the 1977‒1978 era, several musicians like Chrisye,[27] Keenan Nasution,[32] Eros Djarot,[33] and God Bless[34] were enthusiastic about producing alternative works to mainstream pop music once popularity arose.

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.

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.

[46][47] After the ban on Melancholic pop, the Indonesian creative industry virtually crashed,[7] with cassettes and tape recorder eventually being sold with lower prices since the end of the 70's.

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.

Pop kreatif artists adopted modern production techniques and global aesthetics, but they also retained distinct Indonesian elements, such as formatting and melodic structures.

[7] 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.

"[57] 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.

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.

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.

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.

The first retained the original synth-heavy, 1980s-inspired sound, exemplified by artists like Fariz RM, while the later emerged 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.

This trend has gained traction among young music enthusiasts, coinciding with the global revival of Japanese City pop,[75] which has been fueled by the rise of internet streaming platforms like YouTube and Spotify.

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.

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.

[80] The hallmark of city pop-style songs that are gaining popularityin Indonesia today, sometimes known as Pop urban, lies in their blend of influences from incorporating elements of funk, electronic music, and jazz.

Starting with their debut track "Balada Insan Muda"[81] and gaining widespread recognition with "Serenata Jiwa Lara",[82] 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.

[8][74] Additionally, the works of artists like Vira Talisa, Mondo Gascaro, Aya Anjani, and Ikkubaru[83] have also emerged as significant contributions to the current era of the genre in the Indonesian music scene.

"[93][94] 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.

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.

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.