The Transformation of Spirituality
... and Energy in Popular Music
In the 20th century, popular music was often a cultural practice strongly linked to specific “ideologies” or “spiritualities.” The anti-establishment beliefs of punk rock, the melancholy of discrimination and poverty embedded in the blues, and the ideals of nostalgia for African roots and Black pride underlying soul and funk were accepted not merely as musical styles, but as worldviews shared by their contemporaries. While inheriting a history in which folk singing—such as religious rituals and rice-planting songs — had long served to strengthen group cohesion, this music also played a role within modern popular culture as a space for “spiritual solidarity” that mediated generational experiences and social movements.
Until the end of the 20th century, society was an era in which belonging to some kind of community was virtually indispensable for individuals to develop their own ideas and forms of expression. For example, if one wanted to make a living as an artist, it was necessary to aim for an art university; and to gain access to information about such schools, one needed personal connections with art teachers in middle and high school or participation in “spaces” such as local art preparatory schools. Similarly, in music, communities such as bands, live music venues, and clubs existed as prerequisites for creative work and the expression of ideas. It could be said that an individual’s ideas could only gain social traction after first coming into contact with existing systems of thought or genres.
In contrast, the widespread adoption of the Internet and smartphones has fundamentally transformed the situation. In the 21st century, individuals can now share their thoughts and sensibilities at low cost through blogs, social media, and official websites — without needing to belong to a specific community. Furthermore, digital technologies — including online tools, applications, and generative AI — have placed a diverse range of expressive means, not limited to verbal language, within the reach of individuals. In this environment, the role of “collective expression of ideas,” which music genres once played, has relatively diminished; rather, it appears that genres are increasingly being treated as “tools” or “materials” for individuals to compose their “own musicality”.
Advances in digitization and streaming have shifted the focus of music from “ownership” to “consumption,” while simultaneously promoting the personalization of the music experience. With the rise of “listening on the go” via earbuds and the ability to access a vast library of songs anytime, anywhere, listeners are increasingly customizing their tastes in detail by exploring diverse styles, rather than committing to a specific genre over the long term. While music remains deeply intertwined with identity formation, it could be argued that the focus has shifted from broad collective identities — such as the “punk generation” or the “jazz generation” — to micro-level self-representations like “my playlist” or “my favorite artist.”
The “oshi (fave)” culture symbolizes this shift. An “oshi (fave)” is not merely a one-sided object of admiration; through the relationship between the supporter and the supported, it fosters a sense of psychological ownership, a purpose in life, and a sense of solidarity with peers. “Oshi-katsu” (activities centered around one’s favorite artist) is not merely a hobby or a source of pleasure; it can be viewed as an activity that comprehensively enhances an individual’s well-being by leading to self-actualization and happiness — including autonomy, environmental control, and a sense of purpose in life. In this context, the center of this spiritual bond lies not in the “spirit of the genre” but in the “characterized artist” and the fan network surrounding them. While it is undeniable that the music itself is often treated as an accessory, it still serves as a source of energy.
Wouldn’t it be better to view the changes in the spirituality and ideology of popular music since the beginning of the 21st century not merely as a “decline” — from a one-sided perspective — but rather as a “redistribution of energy”? In the 20th century, genres and movements took precedence, and large-scale collective energy was generated as individuals participated in them. In contrast, today, “individual energy” and desires take precedence, and network-based communities are formed as individuals select music and favorite artists that align with their tastes and lifestyles. The ideological nature of music has shifted from macro-level concepts — such as anti-establishment sentiment and national consciousness — to micro-level themes like mental health, gender, and identity; genres are changing in meaning as digitized building blocks used to weave these themes together.
In this “highly personalized era,” what becomes crucial is the creative approach individuals take in reconnecting musical elements and bridging their own experiences with past movements and the histories of others. While filter bubbles and echo chambers carry the risk of narrowing one’s perspective, they also provide individuals with an opportunity to proactively reconfigure their relationship with music. The “individual,” who in the 20th century was a “minor figure” subordinate to the community, is now emerging as a new center of musical energy — a figure who, drawing on their own sensibilities and ideas, is taking on the role of reweaving music across the ages.
Until the end of the 20th century, society was an era in which belonging to some kind of community was virtually indispensable for individuals to develop their own ideas and forms of expression. For example, if one wanted to make a living as an artist, it was necessary to aim for an art university; and to gain access to information about such schools, one needed personal connections with art teachers in middle and high school or participation in “spaces” such as local art preparatory schools. Similarly, in music, communities such as bands, live music venues, and clubs existed as prerequisites for creative work and the expression of ideas. It could be said that an individual’s ideas could only gain social traction after first coming into contact with existing systems of thought or genres.
In contrast, the widespread adoption of the Internet and smartphones has fundamentally transformed the situation. In the 21st century, individuals can now share their thoughts and sensibilities at low cost through blogs, social media, and official websites — without needing to belong to a specific community. Furthermore, digital technologies — including online tools, applications, and generative AI — have placed a diverse range of expressive means, not limited to verbal language, within the reach of individuals. In this environment, the role of “collective expression of ideas,” which music genres once played, has relatively diminished; rather, it appears that genres are increasingly being treated as “tools” or “materials” for individuals to compose their “own musicality”.
Advances in digitization and streaming have shifted the focus of music from “ownership” to “consumption,” while simultaneously promoting the personalization of the music experience. With the rise of “listening on the go” via earbuds and the ability to access a vast library of songs anytime, anywhere, listeners are increasingly customizing their tastes in detail by exploring diverse styles, rather than committing to a specific genre over the long term. While music remains deeply intertwined with identity formation, it could be argued that the focus has shifted from broad collective identities — such as the “punk generation” or the “jazz generation” — to micro-level self-representations like “my playlist” or “my favorite artist.”
The “oshi (fave)” culture symbolizes this shift. An “oshi (fave)” is not merely a one-sided object of admiration; through the relationship between the supporter and the supported, it fosters a sense of psychological ownership, a purpose in life, and a sense of solidarity with peers. “Oshi-katsu” (activities centered around one’s favorite artist) is not merely a hobby or a source of pleasure; it can be viewed as an activity that comprehensively enhances an individual’s well-being by leading to self-actualization and happiness — including autonomy, environmental control, and a sense of purpose in life. In this context, the center of this spiritual bond lies not in the “spirit of the genre” but in the “characterized artist” and the fan network surrounding them. While it is undeniable that the music itself is often treated as an accessory, it still serves as a source of energy.
Wouldn’t it be better to view the changes in the spirituality and ideology of popular music since the beginning of the 21st century not merely as a “decline” — from a one-sided perspective — but rather as a “redistribution of energy”? In the 20th century, genres and movements took precedence, and large-scale collective energy was generated as individuals participated in them. In contrast, today, “individual energy” and desires take precedence, and network-based communities are formed as individuals select music and favorite artists that align with their tastes and lifestyles. The ideological nature of music has shifted from macro-level concepts — such as anti-establishment sentiment and national consciousness — to micro-level themes like mental health, gender, and identity; genres are changing in meaning as digitized building blocks used to weave these themes together.
In this “highly personalized era,” what becomes crucial is the creative approach individuals take in reconnecting musical elements and bridging their own experiences with past movements and the histories of others. While filter bubbles and echo chambers carry the risk of narrowing one’s perspective, they also provide individuals with an opportunity to proactively reconfigure their relationship with music. The “individual,” who in the 20th century was a “minor figure” subordinate to the community, is now emerging as a new center of musical energy — a figure who, drawing on their own sensibilities and ideas, is taking on the role of reweaving music across the ages.