With a name like “12 Girls Band,” it is hardly surprisingly that their creator planned to capitalize on more than just the musical talents of the group. In fact, Wang Xiaojing, the so-called ‘father of Chinese rock music’ makes few qualms about his inspiration to construct a sensation that is easy on the eyes. In that spirit he “chose some pretty girls, dressed them up in fashionable outfits” and sent them on the road to dazzle audiences.

The story sounds like it could be any bubblegum pop group. Wang, however, had a vision in mind that went beyond appealing to familiar refrains written for karaoke immortality. Instead he wanted to create a new sound that would appeal to audiences all over the world. By choosing 12 women trained in classical Chinese music who have crafted their skills at such respected institutions as the China Academy of Music, Chinese National Orchestra, and Central Conservatory of Music, he demonstrated that this was no group of tambourine-tappers.

Wang’s vision was to combine traditional Chinese instruments—including the erhu, guzheng, pipa, dizi, yangqin, tuliang and hulusi—with more popular sounds to please a modern audience. The results have been tremendously successful in terms of album and ticket sales. Japan and Korea fell for them early and remain two of the biggest markets, and have also found success in their native China, the US, and Europe. But is there more to their music than a dozen pretty faces and elaborate stage theatrics?

Listening to the music of 12 Girls Band one finds their commercial success unsurprising. It is generally highly professional—some might say slick—and there is good variety in their pieces: Some are very slow and contemplative, others vibrant and exciting.

As should be expected, many classically trained artists decry the results, even as some show grudging appreciation for Wang’s attempt to bring Chinese music to a wider audience. Smoke machines and light shows are not exactly what these women’s parents had in mind when they sent them to study traditional music. Yet regardless of what ‘experts’ think, the most important factor is whether the music is good.

Live at Budokan Japan DVD (2004) captures supreme musical production in their most loyal market. The consistently wonderful sound engineering accentuates the group’s performance, and various solos during the concert demonstrate the individuals’ respective instrumental expertise.

(Video links to: Kika, Asu-E No Tobira, Flower and Youth, and Hepbeat.)

For the unfamiliar listener it is slightly unfortunate that the show begins with the piece ‘Miracle’ which does not live up to its name musically. After a few songs it feels as if the group has finally warmed up and reached their potential. ‘Freedom’ may be considered the climax, as it is a masterpiece of vibrancy and compositional innovations.

Throughout the music the 12 Girls Band succeeds in using their traditional instruments to produce vivid imagery in the listener’s mind. In the piece,‘Sekai Ni Hitotsudake No Hana’ (The Only Flower in the World) they evoke the glory of a flower opening into full bloom, as the yangqin produces its distinct tapping sound. Similarly, it is certainly striking to hear the flute’s sharpness announcing the melody of ‘Love Story Wa Totsuzen Ni’ (Sudden Love Story), a much-loved popular song in Japan; shortly afterward the unique and slightly sorrowful sounds of the Chinese er-hu chime in lending emotion.

Their unconventional version of ‘Take Five’, the jazz classic, played with the er-hu and flexible pipa, certainly engages the listener. Other works also draw traditional instruments into the fold with much success. The acoustics work especially well with the yangqin in the piece ‘Magnificence,’ which is one of the stronger numbers.

Yet one is left to wonder if this music is a real breakthrough, or simply a new spin on familiar pop. Drawing on tradition, and combining it with catchy rifts will probably help it endure after bubble gum music is gone, but it may still prove to be a flash in the pan when viewed at through the long lens of Chinese history. It is difficult to know the group’s place, and perhaps irrelevant to the experience. Either way, Wang Xiaojing has provided some pretty girls in fashionable dress to look at while we enjoy the music and ponder the question.

The recording of this performance is likely to be enjoyable for those passionate about music, and a good companion on a relaxing day.