Trot Girls Japan’s “Come Back to Busan Port”: The First Scene in Korea

2024 Trot Girls Japan first concert: Come Back to Busan Port

On the afternoon of August 17, 2024, Yonsei University’s main auditorium filled with an unusual scene. Every seat quickly filled for the first Korean solo concert by Trot Girls Japan, centered on female vocalists from Japan. Titled “2024 Trot Girls Japan 1st Concert — Come Back to Busan Port,” this first solo Korean tour was received as a turning point beyond the show itself.

Familiar through MBN’s Korea–Japan King of Singers and Korea–Japan Top Ten Show, the members had not previously presented a tour concert filled entirely through live performance rather than broadcasting. This was not reconfirming familiarity but proving what sort of team would be remembered.

From broadcasting into live performance

The form’s transformation mattered most. Broadcast creates narrative through editing and direction; live performance must prove everything through immediate timing and skill. Advertised as around 120 minutes, it ran nearly three hours, suggesting more than overrun: a density of content filling the stage.

Selections such as “Aoi Sangoshou,” “Come Back to Busan Port,” “Seolhwa,” “486,” “Amu Il Eopdaneun Deusi” and “Saranghae” expressed feelings shared across both countries. Rather than list one country’s hits, they seemed to choose emotional meeting points consciously.

A stage showing team accomplishment

All members appeared, including MIRAI FUKUDA, RIE UTAGOKORO, Aki Azuma, MAKOTO., AIKO SUMIDA, natsuco and MIYU. Rather than a solo list, the structure emphasized timing as a team.

Distinct voices and personalities did not divide them. Different textures gathered into a stable flow, proving a team capable of a whole concert rather than only a project assembled on television.

Korean support demonstrated live

A sellout established strong interest, but reactions becoming clearer as the show continued meant more than numbers. Applause and cheers came naturally in certain songs, and familiar melodies brought singing throughout the seats.

They were received as more than a television team: artists able to share emotion in person. Live singing and stage manners strengthened that response, and the atmosphere grew denser late in the show.

A concert considering distance from fans

Farewells and communication afterward completed the impression. The friendly approach of The Beginning mini concert and fan meeting remained, showing that outside the stage too, they understand audience relationships as part of performance. This suggests their direction ahead.

Seoul as the tour’s starting point

It began a tour rather than ending as one event. Busan KBS Hall on August 31 expanded the current regionally, and the November 17 Seoul encore at Ewha Womans University’s Samsung Hall confirmed the first solo tour was not a one-off.

August 17 became a reference and starting line for later shows because it first demonstrated how this team could sustain performances in Korea.

What the first solo concert left

It cannot be reduced to one successful show. It tested whether television recognition could lead to actual audiences and showed Korea–Japan music exchange operating through the most direct form: performance.

Songs and responses cautiously suggested future expansion. This first scene made Busan and the encore possible, and the flow continues. The first solo tour deserves recording as a beginning.

Continue reading

Read the encore report: harmony across borders →

Read about the solo tour’s expansion to Busan →