Pop kreatif (English: creative pop) is an Indonesian offshoot and subgenre of Indo pop that emerged in the late 20th century as a fusion of Indonesian music and contemporary global influences such as funk, jazz, disco, new wave and soft rock. Rooted in urban culture, the genre is often characterized by its smooth melodies, upbeat rhythms, and nostalgic themes. Initially, the genre had been associated and reflective to the rapid modernization and economic growth of Indonesia during the 1980s and early 1990s. By the late 2010s, pop kreatif gained popularity among Indonesian youth and has seen a resurgence within the Indonesian music scene.

The term "pop kreatif" first appeared in Indonesian media in the 1980s. Journalists Seno M. Hardjo and Bens Leo were cited to have popularized this term to differentiate the music presented by musicians such as Guruh Soekarnoputra, Eros Djarot, Chrisye, Fariz RM, and Dian Pramana Poetra from the musical artists of the pop melankolis genre. According to Wallach, pop kreatif can be described as "fashionable, urban pop supported by the upper-middle class of cities." It emerged as a distinct form of music that diverged from the mainstream trends of the time. Other terms associated with the genre include "contemporary pop," "trendy pop," and "high-class pop" (pop kelas atas). Though pop kreatif developed as a distinct genre, the global resurgence of Japanese city pop has led to modern-day listeners referring to it as "Indonesian city pop".

Ihsandia Muhammad of Geotimes described pop kreatif as featuring intricate instrumental arrangements, with prominent use of synthesizers and other electronic instruments. The lyrics of pop kreatif songs are often poetic and introspective than those of mainstream pop music, thus coining the term. The term itself also shaped public perception, positioning the genre as sophisticated and emblematic of the glamour of urbanists, in stark contrast to pop melankolis, which was often dismissed as tacky, rural, and outdated by the younger generation at the time.

The ban on pop melankolis had created an opportunity for musicians experimenting with jazz fusion and new wave styles, characterized by heavy use of synthesizers, to rise to prominence. Leveraging new technologies like synthesizers and drum machines, Indonesian musicians drew inspiration from Japanese City Pop, European Synth Pop, and American Boogie, blending these styles with Indonesia's musical undertones and flow taken from genres such like Gamelan and Keroncong. Arista Estiningtyas of Tirto.id noted that artists who are categorized within the creative pop genre tended to focus on creating unique rhythms, melodies, harmonies, instruments, dynamics, styles, and creative lyrics. To academic Kitano, he draws parallels between pop kreatif and the work of Japanese artists like Yamashita Tatsuro, likening it to the evolution of Japanese pop into what is often referred to as "new music." This suggests that pop kreatif represents a form of contemporary or trendy pop, characterized by its innovative approach. Whilst at its core, pop kreatif stands out as a genre that caters to urban, cosmopolitan audiences, reflecting modern influences and tastes that set it apart from traditional mainstream music.

The origins of pop kreatif can be traced back to Indonesia's long history of musical fusion. Even before the genre's formal emergence, Indonesian music was marked by the integration of local traditions with external influences. Genres like Kroncong and Dangdut showcased this blending, with Kroncong drawing from Portuguese folk traditions and Dangdut incorporating elements of Indian film music. During the 1960s and 70s, the rise of Pop Melayu entered Indonesia's ability to merge Western pop music with regional Malay musical styles. Artists such as Rhoma Irama introduced modern instruments and pop arrangements into traditional forms, laying the groundwork for the eventual development of pop kreatif. At the time, president Sukarno had banned all rock-and-roll music, which he pejoratively called "Ngak-Ngik-Ngok" music. Sukarno considered Western songs as hedonistic and a display of cultural imperialism from which was contrary to the personality of the Indonesian nation. The government took stringent measures to suppress cultural influences perceived as Western or counterproductive to its vision of national identity. This extended to popular music, where bands and individuals produce or played such songs faced sanctions and even jailtime.

After the 30 September Movement and the subsequent rise of the New Order regime, the political ramifications of Sukarno's anti-Western stance in the arts and culture left Indonesia's creative industry relatively isolated from contemporary global music genres. During this period, particularly in the 1960s and early 1970s, the Indonesian music industry primarily focused on promoting traditional folk music and regional styles. This isolation persisted until the mid-1970s, when the New Order government aggressively pursued foreign investment and unchecked crony capitalism attributed to the Berkley Mafia. This led to the rise of a capitalist elite and the infusion of foreign cultural influences. Alongside this economic boom, Indonesia's burgeoning tourism and entertainment industries adapted to global tastes. By this time, Indonesian musicians started incorporating elements of rock, disco, and jazz fusion into their compositions, signaling the beginning of a new era for the country's music scene. While imported music dominated records, Indonesian musicians maintained their tradition of hybridity, blending foreign influences with local sounds.

Pop kreatif was heavily influenced by progressive rock and jazz, particularly during its emergence in the mid-1970s. Progressive rock pioneers played a significant role in shaping the pop kreatif phenomenon. One key figure was Guruh Sukarnoputra, the son of Indonesia's first president, Sukarno, who could be said as the founder or one of said pioneer in the genre. Western music-obsessed intellectual elites around Guruh increased the popularity of pop kreatif from the late 1970s onwards. Guruh co-formed Gipsy in the mid-1970s, a group known for its innovative fusion of progressive rock and traditional Indonesian instruments, such as the Balinese gamelan. The group released their self-titled album, Guruh Gipsy, in 1976. Although the album's avant-garde style and experimental nature did not achieve commercial success at the time, it was later reevaluated and recognized as a foundational work in the history of Jakarta music. Guruh Gipsy gained acclaim for its influence on Indonesia's music scene. In December 2007, Rolling Stone Indonesia selected Guruh Gipsy as the second-best Indonesian album of all time, behind another pop kreatif album, Badai Pasti Berlalu. Three of its songs, Badai Pasti Berlalu, Merpati Putih, and Merepih Alam, were listed by Rolling Stone as among the best Indonesian songs ever released whist the album was listed as the best Indonesian album of all time.

The post-breakup activities of members of Guruh Gipsy significantly influenced the development of pop kreatif. After 1977, Guruh Sukarnoputra, Chrisye, and the Nasution brothers, Keenan Nasution and Debby Nasution, emerged as key figures in the genre. The Nasution brothers played a role in nurturing Indonesia's pop kreatif movement by personally mentoring the new generation of musicians from their home in Menteng. Their residence became a hub for musical collaboration, where emerging talents such as Elfa Secioria received guidance and as a gathering place for contemporaries in the pop kreatif scene. Two major works from 1977 are widely regarded as pioneering efforts in pop kreatif: the soundtrack for the melodrama film Badai Pasti Berlalu (The Storm Shall Pass) and the Lomba Cipta Lagu Remaja (LCLR) anthology. These albums showcased a sophisticated, Western-oriented style of pop music distinct from traditional Pop Melayu and sentimental pop. Members of Guruh Gipsy, including Chrisye and the Nasution brothers, collaborated with Yockie Surjoprajogo, keyboardist of the rock band God Bless, on both projects. Their work demonstrated the potential for a refined, modern form of Indonesian pop music. Guruh Sukarnoputra would also contribute to the advancement of pop kreatif by composing works for Chrisye and mentoring a new generation of musicians who would shape the genre in the 1980s. The soundtrack for Badai Pasti Berlalu was overseen by Eros Djarot, who had previously been active in the progressive rock scene of the 1970s. Thus prominent figures from Indonesia's dying rock "golden age" transitioned to become key players in the early development of pop kreatif.