[Intern Interview] Encouraged by K-POP during high school. “Now it's my turn to deliver,” thoughts on the expansion of J-POP in South Korea.

This time, we’re featuring an interview with Koko Saitō (Class of 2026, Tokyo University of Foreign Studies), who is in charge of the Korean market!

“When I discovered BTS as a high school freshman, my life completely changed,” says Saitō. True to her words, she went on to major in Korean at university. At Gridge, she has been involved in launching and managing a J-POP media outlet aimed at Korean audiences, as well as supporting the production side of top artists’ concerts in Korea.

“Next, I want to help encourage someone through music” — her sincere passion shines through in this interview.

Whether you’re interested in Gridge’s internships, have experienced your own life-changing moment through music, or want to empower someone else through the power of music, we invite you to read until the end.

Contents

• “I Can Do More”: The Turning Point K-POP Gave Me

• Delivering the Appeal of J-POP to Korea: Launching Our Own Media

• The Value Born from Listening Closely to Every Fan’s Voice

• The Joy of Being on the Delivering Side: Realization from an Artist's Performance in South Korea

• Becoming a Professional Who Delivers Entertainment Beyond Music

• Where “Otaku” Can Shine: Pioneering Untapped Markets at the Frontlines of Entertainment

“I Can Do More”: The Turning Point K-POP Gave Me

▍First, could you tell us how you came across Gridge?

Around December of my third year at university, I wanted to start an internship in entertainment and began looking for long-term positions.

At that time, I happened to interview at another entertainment company, and the interviewer there introduced me to Gridge.

It turns out that the person knew Ms. Yunoki, one of Gridge’s directors. After hearing my story, they said, “I think Gridge would be a good fit for you.”

▍That’s quite a coincidence. In what ways did you think you would fit with Gridge?

I’ve always loved K-POP, and in fact, I was majoring in Korean at university. When I was looking for internships, I happened to be studying abroad in Korea.

Living abroad for the first time made me realize how incredible Japanese franchises really are — something I hadn’t noticed while living in Japan. I truly felt their power to move people worldwide.

At that very moment, I encountered Gridge and was fascinated by their business of “delivering Japanese pop culture, such as music, to people around the world.”

Also, up until then, I had been on the receiving side, as a fan — someone whose life was moved by music. But I wanted to work on the delivering side, to be someone who could move others through music. Gridge felt like the place where I could make that happen.

▍Could you tell us more about your experience of being moved by music?

As I mentioned, I love K-POP, and it was K-POP that gave me the encouragement life that I needed.

Originally, I wasn’t particularly interested in music or entertainment. But in my freshman year of high school, I encountered BTS — who are now world-famous — and I became a fan.

Through their music and entertainment, I discovered the world of “Korea,” something I hadn’t known much about before. That became the catalyst for me to think, “I want to live or work in a way that connects me to Korea.” It was the experience that shaped my life vision.

That passion led me to apply to the Tokyo University of Foreign Studies, where I could study Korean intensively. I studied abroad, and now at Gridge, I’m able to use Korean in my work related to Korea.

My life changed dramatically through K-POP, especially after coming across BTS. You could say that encounter turned my life around 180 degrees.

▍From there, you really immersed yourself in Korea and K-POP, didn’t you?

Yes, I became very proactive in learning and taking action regarding Korea and K-POP, which was completely different from how I had been before.

When choosing my university, I strongly felt, “I want to seriously study Korean,” so I researched extensively and chose my path accordingly.

After entering university, I joined a dance club because I wanted to “dance like BTS,” and I started dancing for the first time. I even entered dance competitions — it was probably the most passionate I’ve ever worked at something in my life.

▍By the way, what was it about BTS that captivated you?

Of course, their coolness, great music, and excellent dancing were appealing, but what moved me the most was the message BTS conveys and the story they have gone through.

Rather than just being ‘idols,’ I resonated with many aspects of them as ‘artists’ and as ‘individual human beings,’ and I think I was drawn to them as I reflected on my own life.

▍Specifically, what aspects of BTS's background and values did you find appealing?

BTS started from a small, unknown company, facing criticism and negative comments from society, yet they continued to release the music and messages that they believed in.

Through this process, they gradually built their skills and eventually became recognized both in Korea and around the world.

Their “story of growth” was incredibly inspiring to me.

Seeing their efforts made me think, “I can do better too,” and that gave me the strength to try harder.

▍Could you tell us a little more about that? Did you feel like you weren’t trying hard enough at the time?

This is a very personal story, but I have been suffering from a difficult-to-cure illness since middle school, and I am still battling it today.

When I was in middle school, I became reluctant to go anywhere and even went through a period of truancy.

During middle school, I became reluctant to go anywhere and went through a period of truancy.

I encountered BTS around the time I was gradually recovering and entering high school, but there was still a part of me that was self-conscious about others' opinions, and I felt like I was living in a shell.

I think there was always a part of me that wished I could take bold action to pursue what I truly wanted to do.

▍It was something inexplicable, but when you came into contact with BTS's way of life, your subconscious reacted, and your heart was moved, making you fall in love with them.

I think that's right.

▍I'd also like to hear about your experiences while studying abroad in Korea. You mentioned realizing the power of Japanese pop culture, but what kind of experiences did you have during your time in Korea?

Yes, first, what stood out to me about anime was that during my study abroad, “Jujutsu Kaisen” was extremely popular, and “The First Slam Dunk” was also released that year.

Both works have been watched by so many people that I thought, “Maybe there are fewer people who haven't seen them than those who have?” It was truly surprising. That was the moment I realized just how popular Japanese anime is.

There was also a memorable incident related to music.

During my study abroad, J-POP was just starting to gain popularity. When I participated in Japan-Korea exchange events, I would often get asked questions like, “Do you know Vaundy?”, “I really like this song,” or “What does this lyric by Aimyon mean?”

In South Korea, where K-POP already dominates the music scene, the fact that J-POP has something that captures the hearts of South Koreans was truly surprising.

▍What do you think is the appeal of J-POP that K-POP does not have?

I think the biggest difference is the diversity of music.

In Japan, there is a wide variety of music, from bands and solo artists to internet-based culture such as “utaite,” and each has its own unique appeal.

With various genres and expressions coexisting, it's like a buffet where you can choose what suits your sensibilities. I feel there's such richness in that.

Additionally, in Korea, there's often a positive perception that “Japanese works have an emotional depth and richness,” and such ‘emotional’ or ‘subtle’ expressions are being reevaluated now, I think.

Of course, trends also play a role, but considering these backgrounds, I feel that J-POP’s presence is now being perceived with fascination in Korea.

▍”The encounter with K-POP during freshman year of high school and the realization during my study abroad in Korea that Japanese franchises, including J-POP, are sought after worldwide — these two experiences align with Gridge's mission and business content.”

Delivering the Appeal of J-POP to Korea: Launching Our Own Media

▍What kind of work have you been doing as an intern?

Currently, I am mainly in charge of operating media that introduces J-POP to Korean people. In a similar vein, I am also in charge of conducting fan surveys to understand the needs of Korean fans and popular artists, as well as video production.

During my study abroad period, I was also responsible for preparing for business negotiations with local companies and securing appointments. Whenever Mr. Yabui would visit Korea, I would have the opportunity to attend business negotiations with local companies as an interpreter.

▍In addition to supporting global marketing, you are also involved in media operations.

Indeed, however, since it is still in the early stages and we are in the trial-and-error phase, we are not yet offering formal services to clients, but are exploring ways to utilize it in the future.

▍Did you plan this media?

Yes, I am mainly in charge of planning and operations. It started as a new project around July of last year (2024). When we launched it, we worked alongside Mr. Yabui, who gave us ideas.

We offer KOL marketing services (※)and ask Korean influencers to help us with promotions, but we felt that if we became influencers ourselves, we could be more flexible, which is what led us to start this channel.

(※)KOL stands for Key Opinion Leader. It refers to a marketing method of collaborating with influencers to promote products and services.

Influencers each have their own creative preferences and directions, so there are inevitably cases where certain content cannot get approval. However, if we have our own influential media platform, we can take on various challenges more freely.

With that in mind, we decided to proactively create our own platform, which marked the beginning of this project.

▍Specifically, what kind of content do you share?

We share content aimed at Korean people who love J-POP, such as introducing artists and songs, and then conducting detailed analyses of songs in collaboration with music-savvy members within the company. Ultimately, the goal is to help people more deeply enjoy J-POP.

Conceptually, it’s like a magazine, delivering the charm of J-POP from various angles.  

▍It has been exactly one year since you started last July. What kind of efforts have you made over the past year?

Given that the media's purpose is to promote J-POP, we have focused particularly on “how to increase the number of followers.”

In the first one to two months, the follower count growth was slow, remaining at around 300, leading to a situation where even my personal account had more followers (laughs).

With a sense of urgency that the project might fail if things continued this way, we completely reevaluated our direction and first reinvented our creative approach.

We then shifted our focus to feature ‘less mainstream’ J-POP artists. We aimed to differentiate ourselves by tackling areas that other influencers were not covering.

As a result, we successfully created buzz, and by October, our follower count had surged to nearly 5,000.

As of June 2025, the number has surpassed 9,000, and we are on the verge of reaching 10,000. Going forward, we will continue to experiment and strive for even greater growth, aiming for 15,000 and then 30,000 followers.

▍It's a bit surprising that focusing on minor J-POP artists led to an increase in followers. What kind of efforts were made?

As you pointed out, it's not as simple as “minor artists have the room to grow.” There are often valid reasons why certain content doesn't go viral.

However, what I focus on is finding those “artists who are popular in Japan but not yet well-known in Korea,” or, intuitively, “artists who are minor in Japan but might get a break in Korea if given a chance.”

That said, relying solely on such content can lead to stagnant follower growth, so I also prioritize balance. Specifically, I incorporate well-known major artists in moderation to create opportunities for discovery.

For example, I aim to catch people's attention with “Oh, I know this artist!” and then, when they explore the account, have them think, “I don't know this, but something is intriguing about this song.” And then, when they listen to it, I want them to think, “This is amazing!” That's the kind of flow I'm conscious of creating.

In other words, we place major content at the forefront to create an “entry point,” allowing the appeal of lesser-known content to naturally shine through. This hybrid structure is how we operate.

▍I see. It's like placing popular products at the entrance of a store to attract customers, then having them discover wonderful, hidden gems inside.

The Value Born from Listening Closely to Every Fan’s Voice

▍I would also like to ask about the fanbase survey conducted to understand the needs of Korean fans. Specifically, what kind of things are you doing?

We mainly search for specific keywords on various media, such as social media and blogs, to collect information.

Then, we carefully pick up each post and comment on each social media platform. For example, we organize topics that are attracting attention by category, those that are being perceived positively, and those that are receiving negative reactions, and make note of those.

Finally, we analyze that information and report it to our clients.

▍That sounds like a very tedious task. I imagine it's mostly manual work, right?

Yes, it is.

We often look at each social media post individually, and when necessary, we communicate directly with fans to gain insights from them.

It's tedious work, but I think it's a very important process.

▍Indeed, many qualitative data points wouldn’t be visible without such meticulous work, right?

Exactly. If we don’t carefully gather each fan’s voice, we can’t properly grasp the whole picture.

Without that, the content inevitably becomes superficial, so I feel it’s extremely important to listen carefully to every fan’s voice.

▍It is precisely because we carefully listen to such specific voices that we can produce convincing results when we then abstract these trends.

Trend analysis backed by actual words allows us to provide content that our clients can find convincing, and I think that is the value of Gridge.

The Joy of Being on the Delivering Side: Realization from an Artist's Performance in South Korea

▍Please tell us about the most rewarding experiences you have had in your various roles centered around South Korea.

There are two main experiences.

The first is my experience working on an artist's concert in South Korea last year. I was in charge of fanbase research for the concert, and I was present at the venue as a staff member. Actually, that was the first time in my life that I had seen a J-POP artist perform live.

Although I had attended K-POP concerts multiple times before, this was my first J-POP concert.

Most of the audience was Korean, but they were singing along to the Japanese lyrics in unison, and the sight truly overwhelmed me. Some people were even moved to tears, and I witnessed firsthand the moment when “music transcends borders and moves hearts.”

▍It was a moment when you truly felt that “music can change someone's life,” wasn't it?

Yes, that's exactly how I felt.

The second experience also involved being a staff member for another artist's concert in Korea.

This time, I was entrusted with the production aspects, particularly handling the Korean artist who was performing as the opening act, which was a significant responsibility.

However, various issues arose leading up to the performance, and there were even moments when I felt so overwhelmed and found myself thinking, “We might not get to work with this Korean company collaborating on this project again.”

Nevertheless, with the help of the company's employees, we managed to overcome those issues, and the performance day went smoothly without further incident.

Later, I had the opportunity to meet and speak directly with the representative from the Korean company who had been our point of contact up until the day of the event. At that time, they said to me, “Despite all the challenges, it was truly an honor to work together on a project that bridges Japan and Korea.”

In the previous instance, I experienced the feeling of touching the hearts of the audience from the “delivery side.” In this instance, as “delivery people” working together, I felt a sense of accomplishment in creating a single production while understanding each other's perspectives.

It was a very valuable experience, and it still remains in my heart.

▍Due to contractual agreements with our clients, we cannot disclose the names of their artists, but suffice it to say these artists are household names in Japan. Even as an intern, any involvement in their global expansion is a truly valuable experience.

I really think so.

As a high school freshman who loved K-POP, I am having experiences that I could never have imagined back then.

▍Earlier, you mentioned that there were many challenges. Could you share what was particularly difficult during your internship?

The most challenging case was the incident that occurred during the Korean performance.

Of course, there were many other difficult situations and things that didn’t go smoothly, but the sense of enjoyment and fulfillment outweighed those challenges, and before I knew it, I was approaching them with a positive attitude.

▍Was the source of that positive attitude the realization that you were involved in music that truly captivated you?

Yes, that was definitely a big factor.

Fans eagerly await the performances. And I’m sure everyone is working hard in their daily lives — be it work, household chores, or raising children — and finally making time to come to the venue.

As a fan myself, I can really relate to that feeling. That's why I always have the mindset of “I don't want to ruin that experience,” “I want everyone who comes to truly enjoy themselves,” and “I want it to be a time that makes them feel like they can keep going tomorrow.”

That's why, no matter what challenges arose, I could think, “We have to overcome this,” and that mindset supported me.

▍When reflecting on the experiences of overcoming such difficulties, what aspects do you feel have contributed to your growth?

There are two main points.

The first is communication skills.

I‘ve had many opportunities to interact not only with company employees but also with Korean business partners, influencers, and fans. Through these interactions, I naturally developed the mindset of being able to communicate with anyone without hesitation.

The second is a sense of urgency.

I used to be a very cautious person who would simulate everything multiple times before taking action, but especially through my conversations with Mr. Yabui, I was greatly influenced.

When faced with a new challenge, even if I felt unsure, Mr. Yabui would always encourage me by saying, “Let's just try it first. We can figure it out as we go.”

The mindset of “If you don't start, nothing will begin” has led to a significant shift in my values.

Now, I feel that the mindset and behavior of “start small, think as you go, and expand from there” has naturally become part of me.  

Becoming a Professional Who Delivers Entertainment Beyond Music

▍Please tell us about your future outlook.

My ultimate goal is to become a “professional in delivering entertainment.”

Currently, I am involved in music-related work at Gridge, but in the future, I would like to go beyond music and work with various forms of entertainment, such as anime and games, to become someone who can deliver excitement to many people.

For that reason, as a new graduate, I plan to join a company centered around anime rather than music.

I believe that working in the field of anime will provide me with insights and experiences that are different from those in music, and that such experiences will be a valuable asset in my future endeavors in a wide range of entertainment fields.

In five or ten years, I vaguely envision myself becoming someone who can support people's lives by entertaining them, making them laugh, and sometimes even bringing them to tears through “comprehensive entertainment” that includes both anime and music.

▍While music was the starting point for your original experience, what kind of experiences led you to expand your interests to encompass “entertainment as a whole”?

Through my work at Gridge, I came to strongly realize that “music as entertainment does not exist solely through sound.”

For example, a song can suddenly gain a lot of attention just by becoming the theme song for an anime. This isn't just because the song is good, but because fans perceive the anime and music together, and the synergy between them creates a deeper emotional impact.

Personally, when I was drawn to BTS's music, I was moved by the story. I believe that all sorts of fans enjoy their brand of entertainment because of the combination of various elements like lyrics, music videos, and performances.

In other words, what we now call “entertainment” is the synergy created by the combination of multiple contents that deeply moves the hearts of fans. I have come to strongly feel this through my work on-site.

That's why, when I was job hunting, I wanted to “view entertainment from a broader perspective” and “be involved in comprehensive entertainment,” so I looked at a wide range of entertainment companies.

▍I see, I understand completely.

Where “Otaku” Can Shine: Pioneering Untapped Markets at the Frontlines of Entertainment

▍Finally, please tell us about the appeal of Gridge's internship program from your own perspective.

I feel that Gridge offers a unique environment where you can work at the forefront of entertainment on a global scale.

To be honest, I don't think there are many other places where you can work on such a large scale worldwide.

Another major appeal is that you are not just involved in large projects, but are often required to think for yourself and take a proactive role.

It’s an environment where you can grow by actively thinking and acting on your own initiative, rather than passively following instructions, and expand your horizons in the entertainment industry.

▍What exactly does “the forefront of the entertainment industry” refer to?

For example, in the field of overseas promotion, even artists who are already popular in Japan may still be unknown overseas, giving you the sense of venturing into an “untapped market.”

In such situations, rather than simply following a path laid out by others, one must take on the role of a “trailblazer at the forefront of an expedition,” experimenting with different strategies and communication methods to determine what is effective.

Since there is no predetermined correct answer, it’s a repeating cycle of trial-and-error on a global stage. I believe such an environment can be described as “the forefront of entertainment.”

▍This connects to the earlier discussion about fanbase research. Since no one has explored it yet, we must gather raw voices and build strategies from there.

Exactly, I think so.

And as I mentioned in the fanbase survey section, I think it's very important to consider the fans and users who are the ultimate recipients of entertainment.

Of course, our clients are the artists and labels who create the music, but the people we should be reaching are the fans and users who are on the other side of that.

If we don't design with an understanding of how they will receive and feel about it, the strategy won't have any real meaning. I think that those who can empathize with the fans' feelings are the ones who have the power to make promotions successful.

Additionally, since the people involved are diverse, it's also very important to communicate while speculating about the perspectives and backgrounds of not only the fans but also company representatives, influencers, local staff, and others.

For those with such consideration and imagination, this can be a fulfilling and rewarding job.

▍This is a perspective unique to Gridge, which not only provides advice from the outside but also handles everything from user understanding to strategy and operations.

In that sense, I think people with an “otaku-like personality,” or more broadly, people who have had the experience of truly loving something, can put that experience to good use.

▍In fact, other members have mentioned similar points. Saitō-san, why do you feel that people with an “otaku-like” personality are suited for this role?

First, it requires consistently performing meticulous tasks. Second, because the other party is a “passionate fan,” it is essential to be able to echo that passion.

Those who have experienced being deeply passionate about something can naturally empathize with others' passions and feel motivated to respond to those feelings. Such empathy is a powerful asset in strategic planning and content creation.

Therefore, those who have genuinely dedicated themselves to something they love or have engaged in their own form of “fandom activities” are undoubtedly well-suited for this work.

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How did you enjoy this?

Music has the power to encourage, heal, and bring about turning points in people's lives.

When she was but a high school freshman, Saitō-san was encouraged by the power of music, and now she supports the overseas expansion of artists representing Japan.

“I want to be someone who can support others in their lives.” From her words and actions, a sincere and pure desire to connect with other fans was evident.

At Gridge, interns with a passion for music like Saitō-san can take on big challenges, transcending age, position, and borders.

If you are someone who believes in the power of music and entertainment more than anyone else and want to bring smiles and hope to fans around the world, or if you are someone who enjoys experimenting and innovating on the global front lines to reach other fans you haven't met yet,

Gridge is looking for people like you to join our team! 

Whether it’s a contractor role or a full-time position, we’d love for you to apply.

Thank you for reading until the end.