May 20, 2026
JAKARTA – For years, Japan, China and South Korea dominated Asian pop culture, turning entertainment into soft power with a global reach. Now, Southeast Asian acts are carving out their own space, bringing their languages, traditions and sounds to audiences that care less and less about borders.
Indonesian girl group No Na is part of that shift.
One year after debuting with 88rising, a New York-based label focusing on Asian music, the quartet of Esther Geraldine, Baila Fauri, Christy Gardena and Shazfa “Shaz” Adesya has emerged on a rising Southeast Asian wave alongside the Philippines’ BINI, Thailand’s 4EVE and Malaysia’s DOLLA.
Online, fans and artists have increasingly embraced the term “SEAblings”, a portmanteau of “SEA” for Southeast Asia and “siblings”, to describe a growing sense of regional solidarity and a shared rise across borders.
For No Na, that momentum feels deeply personal.
“It’s truly an honor to be mentioned alongside such incredible women and artists in the industry. We’re proud to represent Indonesia, and it’s inspiring to see more Southeast Asian acts gaining global recognition together,” the group said.
“Our goal has always been to put Indonesia on the map and use this platform to showcase our culture to the world in an authentic and meaningful way.” — No Na
Bonding together
The past year has been about more than music for the group, which blends R&B and pop into its dance-driven tracks, shaped by sharp harmonies and complemented with tight, synchronized choreography.
No Na cites influences ranging from Victoria Monet and Janet Jackson to Diana Ross and British girl group FLO for its unique sound.
“One thing we didn’t expect was how much the challenges we faced over the past year would actually bring us closer together. Going through everything as a group really strengthened our bond, not just as members but [also] as family,” the band members said.
Since its 2025 debut, No Na has appeared at Head in the Clouds festivals in Los Angeles, New York and Tokyo, and its songs have appeared in the Instagram posts of K-pop stars such as Jisoo and Rei.
The dance challenge for the group’s single “Work”, released this January, also spread online, drawing participation from South Korean artists Dayoung and Taeyong.
The group’s chemistry did not come overnight.
“At first, I was intimidated by Christy because she was so quiet and mysterious, but over time, I realized she’s actually really thoughtful and caring,” said No Na’s youngest member Shaz, who built an online following through dance covers before she was scouted.
The group’s oldest member Christy, originally from Lombok, West Nusa Tenggara, had placed third in the duo category at the 2019 International Dance Asia Competition before she joined the group.
“When I first met everyone, Shaz stood out to me because we came from similar backgrounds [in dance], so I was more nervous around her at first,” she recalled.
Baila and Esther have backgrounds in singing competitions, appearing respectively on Indonesian Idol Junior and Indonesian Idol before joining No Na.
“Esther seemed intimidating because I knew how hardworking and disciplined she was,” said Baila, who has been jokingly dubbed by her fellow band members as the best cook in the group.
Esther says she also initially misread Baila, too.
“Baila felt intimidating at first because she’s very straightforward and confident, but now I see how genuine and warm she really is,” she said.
Despite their different personalities and backgrounds, all four say they eventually fit together “like puzzle pieces”.
From archipelagic to global
Indonesia’s cultural diversity shapes nearly every part of No Na’s identity. From styling and accessories to choreography, the group consistently incorporates Indonesian influences into its work.
Its first music video, for instance, featured locations across Bali, including the Banyumala Waterfall in Wanagiri village, Buleleng regency, and the island province’s famed rice terraces.
Elements of traditional dance also appear throughout the group’s choreography, including sledet, the sharp, rapid eye movements associated with Balinese dance, as well as precise hand gestures and shoulder movements.
That influence became especially visible in the music video for “Falling in Love”, choreographed with Sienna LaLau, who has also worked with Lisa of Blackpink and Jin of BTS, further highlighting the group’s growing global recognition.
No Na has further pushed influences from traditional Indonesian culture in its later releases. For example, “Work” incorporates ceng ceng (Balinese gamelan cymbals).
Meanwhile, the latest single “Rollerblade” leans heavily into Indonesian language and musical textures such as in the hook: “Put me in the center, the center of the room / Jedag jedug, tiga, dua, satu”. The song also blends dangdut rhythms with reggaeton and high-energy pop.
Within days since it dropped on April 17, “Rollerblade” surpassed 1 million views.
“It means everything to us. Our goal has always been to put Indonesia on the map and use this platform to showcase our culture to the world in an authentic and meaningful way,” No Na said.
Protecting that identity has become ever important as global pop becomes more uniform. Industry observers describe the trend as “progressive homogenization of the musical discourse”, where songs increasingly rely on similar production formulas designed to maximize streams.
“We’re very protective of who we are as artists while also understanding that we’re part of an industry where you have to adapt and evolve,” the group said.
“The important thing for us is making sure we never lose ourselves in that process. We always want No Na to feel authentic to who we are, and Indonesia will always remain part of our identity through our music, visuals, styling and overall storytelling.”
Streaming boom
Southeast Asia still represents a relatively small share of the global music industry, but it has grown at a rapid pace.
According to the AXEAN Festival, the region’s music market is valued at US$1.39 billion, or around 1.7 percent of the $80.83 billion global industry.
ASEAN countries continue to outpace both global and Asian averages in live and recorded music growth, however, and streaming numbers show how quickly the region’s reach is expanding.
Indonesian singer-songwriter NIKI leads Southeast Asia with 6.06 billion Spotify streams, followed by Thai superstar Lalisa “Lisa” Manobal of Blackpink with 4.95 billion and Indonesian singer Tulus with 4.52 billion.
Indonesia dominates streaming rankings in Southeast Asia with seven artists in the top 10. These include Hindia with 4.18 billion streams, Rich Brian with 3.22 billion and Nadin Amizah with 3.11 billion, while pop singers Mahalini and Tiara Andini have surpassed 2.7 billion streams.
Two artists from the Philippines are also in the regional top 10, with Zack Tabudlo at 2.22 billion streams and Moira Dela Torre at 2.21 billion, according to data from Seasia Stats as of March 2026.
Together, these figures point to a broader transformation: Southeast Asian artists are no longer niche exports. They are building audiences large enough to compete globally while remaining deeply tied to their cultures of origin.
For No Na and its fellow SEAblings, their collective ambition remains simple: Dream bigger, and bring the region along for the ride.