Seoul’s Hippest Neighborhood Is Home to a Thriving Indie Music Scene
Because South Korean music goes beyond K-pop.
It’s nighttime in Hongdae, a neighborhood in Seoul, South Korea. On the street, you might hear the sounds of street performers busking, outdoor performances starting to wind down ahead of the city’s evening curfew. But step inside a venue like Cafe Unplugged, which hosts different independent musicians nightly, and there are still plenty of tunes to be heard. And while South Korea has become synonymous with K-pop for many foreigners, this is something entirely different.
At first glance, Cafe Unplugged looks like a typical hipster coffee shop, except with considerably more guitars lying around. Instruments are lined up against the wall and around the tables and chairs. Another wall has shelves lined with books, stationery, vinyl, CDs, and other trinkets. A few customers sip mugs of tea and coffee. But step into a stairwell covered in flyers for local artists and you’ll find your way to the venue hidden beneath the cafe—a small, packed room with about 60 chairs leading up to a stage.
Cafe Unplugged has been part of the Hongdae indie music scene for over 20 years. Owner Jinyoung Kang has been working to keep the indie scene alive. Though a set of indie musicians performs each night, Kang has designated Mondays as open mic nights to allow five or six individuals or groups to showcase their talent. “It’s a collaborative effort between planners, performers, and the audience to bring this space to life,” he says.
How indie music came to Hongdae
These types of venues have been common around Hongdae since the early 1990s as an opportunity for independent musicians to perform their music live and in front of an audience. Due to the cheap rent in the ‘90s, music spaces like Drug, Rollinghall, and Club BBang began popping up, establishing the area as the hub for the indie music scene. Cafe Unplugged, Strange Fruit, Jebidabang, Club FF, Cafe Veloso, and many others later followed in the 2000s.
As time went on, Hongdae became a popular hotspot, causing rents to rise. Several clubs, including the legendary club Drug, could not afford to stay open despite attempts to advertise the venues and music through festivals. The COVID pandemic caused several more to shut down. The remaining venues have sustained their businesses through special events, festivals, government assistance, and community support. But a lot of it comes down to simply charging for tickets.
“Unplugged has survived nearly 20 years thanks to ticket sales,” Kang explains. “Charging admission has been crucial in supporting the growth of indie bands. Since Korea doesn’t
have a tipping culture, we share the revenue from ticket sales with the artists and
planners based on a set ratio. This has allowed us to create a financially sustainable space.”
Going beyond K-pop
Though South Korea is best known internationally for its mainstream K-pop music, Hongdae’s music venues solely focus on emerging indie artists and groups. For many musicians, the clubs are a stepping stone toward gaining a following and hopefully obtaining commercial recognition. One of Korea’s most successful indie bands, Crying Nut, started out by performing regularly at a club in Hongdae. In 1998, they sold over 100,000 copies of their debut album, unheard of for an indie group at the time. They remain active and independent, garnering more international attention after performing at the 2002 and 2006 FIFA World Cup, SXSW in 2012 and 2014, and various music festivals worldwide.
“Lee Seung-yoon, Kim Sawol, and the members of Hyukoh have all performed [at Cafe Unplugged before finding commercial success],” says Kang. “Many artists who started at Unplugged have gone on to work in the broader Korean music industry, including in mainstream K-pop music production, such as BTS.
Indie musician and producer Hweechan Choi, who has performed in clubs and busked on the streets of Hongdae, credits K-pop’s global influence for spotlighting Korean culture and, subsequently, its indie music. This has led to more Koreans feeling national pride and being interested in Korean music. According to Choi, “People abroad are already familiar with Korean culture. Now, Koreans are starting to spend more on music, helping the domestic music industry grow.”
Yet many indie artists reject being labeled as “K-pop,” even though many foreign media tend to lump Korean musicians together. Crying Nut’s SXSW appearance was marketed as part of a “K-Pop Night Out” event. Indie rock group The Rose, which started busking and performing in Hongdae before finding international fame, is still often referenced as K-pop. Rock group Hyukoh has even said they’ve benefited from the K-pop genre, while simultaneously emphasizing that they aren’t K-pop.
“If you have the word ‘K-pop’ attached, the Korean government might take more interest and support indie music,” says Manjo Park of the indie band Yippee, who performs at Cafe Unplugged. “[But] we are not idols. We are a band that grew up listening to the Beatles and writing our own songs.”
Music critic Yoona Kim, who has been at the forefront of Korea’s music scene, sees K-pop as a gateway for other Korean musicians to gain global exposure. “[Rock group] Silica Gel has been recognized in Korea for their musical talent throughout their 10-year career, but only recently began to attract a wider public attention,” says Kim. “If K-rock gains more exposure internationally, it could resonate with fans currently focused on K-pop. The potential for K-rock's growth is substantial. Korea boasts an array of talented rock musicians who continue to emerge despite challenging conditions, and we're optimistic this trend will continue.”
From the streets of Hongdae to the rest of the world
Though Hongdae’s music venues have thoroughly supported indie artists, the neighborhood’s busking street scene is an integral part of its identity—and unlike its venues, it does often lean into K-pop. Though Hongdae’s streets are filled with various performers, including singers, bands, dancers, and even magicians, the amount of aspiring K-pop idols and dance cover teams has increased over the past few years, drawing in a widespread fanbase thanks to the internet.
For a long time, busking here was seen in a negative light, but it has since evolved into a tourist attraction for those wishing to see live music, dance performances, and magic shows. And even the indie bands get in on it.
“Busking in Hongdae is a long-standing tradition that still doesn’t get the respect it deserves,” says Park. “When we post about our performances on social media, we might get maybe three likes. It takes about 10 years for a band to get noticed in promotions. Most of the time, it’s just people passing by who stop to watch.”
Hongdae remains a starting point for many indie artists and bands determined to be recognized beyond K-pop and South Korea. Many bands have found success through busking. Indie groups like The Rose, Band Gift, Zitten, and Ganeungdong Band started on the streets of Hongdae before playing in local clubs and festivals. However, securing music clubs has become challenging due to competition among indie groups. Venues still need to make a profit and may need to choose the more marketable groups.
“Indoor shows are the pinnacle for indie musicians,” Park explains. “There aren’t many venues where we can perform.”
But that doesn’t deter Park, who dreams of someday performing at Coachella. He continues to perform any chance he gets. “I believe I can change the Korean market,” says Park. “If I’m a talented musician who could make it at Coachella, I believe that my voice is powerful enough to change the Korean music market and the culture of the public.”