# 大貫妙子站上北流的那個週末，台北做了什麼

- URL: https://justfly.idv.tw/%e5%a4%a7%e8%b2%ab%e5%a6%99%e5%ad%90%e7%ab%99%e4%b8%8a%e5%8c%97%e6%b5%81%e7%9a%84%e9%82%a3%e5%80%8b%e9%80%b1%e6%9c%ab%ef%bc%8c%e5%8f%b0%e5%8c%97%e5%81%9a%e4%ba%86%e4%bb%80%e9%ba%bc/
- 日期: 2026-08-30
- 分類: 我知故我在
- 標籤: City Pop, JAM JAM ASIA, 北流, 台灣音樂

![大貫妙子站上北流的那個週末，台北做了什麼]
8月29日，臺北流行音樂中心的舞台燈亮起，大貫妙子（Taeko Onuki）站在台上。這位讓日本 City Pop 成為一整個世代共同記憶的名字，和同一個週末的告五人、楊乃文、范曉萱&100%樂團排在同一張節目單上。沒有什麼特別的理由解釋這件事——除了北流決定這樣做，然後它就發生了。

##### 策展人矩陣，而非主辦方直覺

JAM JAM ASIA 2026 的選團邏輯從一開始就不是傳統音樂節的路數。黃韻玲、五月天瑪莎、范曉萱、迪拉胖、Mia Min Yen 嚴敏、Chris 劉柏君——六位策展人，每個人帶著不同廠牌視角和審美座標進場，橫跨流行、搖滾、嘻哈、金屬、爵士、舞蹈與實驗聲響。這種「策展人矩陣」選團機制，讓節目單不會只長成某一個人的品味，也不會只服務最安全的票房公式。

去年首屆兩天就吸引數以萬計的人次、70 場跨國演出。今年超過 80 組海內外音樂人登台，陣容橫跨台灣、日本、韓國，還有 HYUKOH ft. 國國這個韓台合作的組合同台。規模擴大了，但策展人制的核心架構沒有鬆動——這是少見的事。音樂節通常在第二屆開始往商業妥協，JAM JAM ASIA 選擇繼續讓策展人承擔選角責任。

##### City Pop 的時差與台灣的位置

[City Pop](https://zh.wikipedia.org/wiki/City_pop) 這個詞在日本本土早已是懷舊標籤，但在串流平台的演算法重新分配之後，它在整個亞洲的年輕世代裡獲得了完全不同的生命週期。大貫妙子的音樂到達台灣聽眾耳裡，經過 YouTube 推薦列、TikTok 片段，最後是北流的邀請函。

台北在這個場合扮演的角色是一個重新賦予脈絡的場域。把大貫妙子和 ATARASHII GAKKO! 放在同一個週末、同一個場館，這個並置本身就是一個文化主張——前者是 City Pop 的源頭，後者是日本當代前衛表演在 Coachella 登台後被《Japan Times》形容為「不是典型 J-pop」的團體。兩者之間隔了幾十年的日本流行音樂史，中間站著台北。

##### 選角桌

台灣長期被描述為「日韓文化轉口港」——先消化、再傳遞，自己不生產論述。JAM JAM ASIA 的策展人制度在結構上反駁了這個描述。六位策展人做的是主張：什麼音樂值得被這個舞台收納，什麼跨國組合的並置能產生意義。這是選角桌，不是貨架。

韓台合作的 HYUKOH ft. 國國出現在節目單上，這個細節尤其值得注意。讓韓台音樂人的合作形式直接呈現在觀眾面前，音樂節的跨國性質在這一組的安排上具體化了。

北流選擇以策展人制打造這個平台，把台灣音樂產業裡不同系譜的人放進同一張決策桌——這種機制如果能持續運作下去，對台北作為亞太音樂展演核心的意義，比任何一個明星卡司都來得長遠。

##### 週末結束之後

8 月 30 日凌晨，跨夜 DJ 場結束，北流的燈熄了。那個週末發生了什麼，現場的人帶走了各自的版本，剩下的是節目單上留下來的那個並置：[大貫妙子](https://zh.wikipedia.org/wiki/%E5%A4%A7%E8%B2%AB%E5%A6%99%E5%AD%90)、ATARASHII GAKKO!、HYUKOH ft. 國國、范曉萱&100%樂團、楊乃文、告五人，六位策展人的選擇疊在一起，就是這屆 JAM JAM ASIA 留下來的論述。下一屆從哪裡出發，要看這屆在產業端產生了多少真實的人脈與媒合——TMEX 論壇裡那些國際產業人士帶走了什麼。

— 黃冠霖

### The Weekend Taeko Onuki Played Taipei

On August 29, the stage lights came up at Taipei Music Center, and Taeko Onuki walked out. The name behind Japan’s [City Pop](https://en.wikipedia.org/wiki/City_pop) canon, now sharing a weekend bill with Gao Wu Ren, Yang Nai-wen, and Mavis Fan & 100%. No elaborate justification — Taipei Music Center decided to do it, and it happened.

##### Six Curators, One Stage

JAM JAM ASIA 2026 was never going to be built by a single booker’s instincts. Six curators — Huang Yun-ling, Masha of Mayday, Mavis Fan, Dilapo, Mia Min Yen, and Chris Liu Bai-jun — each brought a different label logic and aesthetic frame to the table, covering pop, rock, hip-hop, metal, jazz, dance, and experimental sound. That curatorial matrix is what keeps the lineup from collapsing into the safest ticket-selling formula.

The first edition drew tens of thousands of attendees over two days, with 70 cross-border performances. This year, over 80 acts from Taiwan, Japan, and Korea filled the program, including HYUKOH ft. 國國, a Korea-Taiwan collaborative unit performing together on the same stage. Music festivals usually start compromising toward commercial safety by the second edition. JAM JAM ASIA kept the curators in the decision seat.

##### City Pop’s Lag Time and Where Taipei Sits

City Pop is a nostalgia label in Japan. Outside Japan, streaming algorithms redistributed it into something else entirely — a sonic reference point for younger listeners across Asia who never bought the original vinyl. Taeko Onuki’s music reached Taiwanese ears through YouTube recommendation queues and TikTok clips. The invitation from Taipei Music Center came later.

Taipei in this context is a site that reassigns context. Placing Taeko Onuki and ATARASHII GAKKO! on the same weekend, in the same venue, is a programming argument: one is the origin point of City Pop, the other was described by the Japan Times as “not your typical J-pop” after Coachella. Decades of Japanese pop history separate them. Taipei stood in the middle and made the introduction.

##### A Booking Table

Taiwan has long been described as a relay point for Japanese and Korean cultural exports — absorbing, then passing on, without generating its own curatorial voice. The six-curator structure of JAM JAM ASIA is a structural rebuttal to that description. These curators were making arguments about what belongs on a stage together and why. This is a booking table, not a shelf.

HYUKOH ft. 國國 on the bill is the clearest example. The work is presenting the collaborative form itself — Korean and Taiwanese musicians as a unit — directly to the audience. The festival’s cross-border character becomes visible in that single programming choice.

Taipei Music Center chose to build this platform with a curatorial system, placing figures from different genealogies of Taiwan’s music industry around the same decision table — a mechanism that, if it keeps running, matters more to Taipei’s position as an Asia-Pacific music exhibition core than any single star lineup.

##### After the Lights Go Down

In the early hours of August 30, the after-hours DJ set ended and [Taipei Music Center](https://en.wikipedia.org/wiki/Taipei_Music_Center) went dark. What happened that weekend, those present carried away in separate versions. What remains is the juxtaposition left on the bill: Taeko Onuki, ATARASHII GAKKO!, HYUKOH ft. 國國, Mavis Fan & 100%, Yang Nai-wen, Gao Wu Ren — six curators’ selections stacked together, the argument this edition of JAM JAM ASIA left behind. Where the next edition starts depends on how much actual networking and matchmaking this one generated on the industry side — what the international industry figures at the TMEX forum carried back with them.

— 黃冠霖