In a recent interview, Cloud Nine CEO, Takuya Chigiraexpressed his concern about the current state of Japanese music, noting that its increasing dependence on anime could be limiting its global reach. Chigira, known for managing notable artists such as Ado, shared his analysis on the Japanese music industry and its position in the international market.
“We can’t depend solely on anime“said Chigira. Although anime has served as an important platform for Japanese music, allowing global hits like “Idol” by YOASOBI (Oshi no Ko theme) and “KICK BACK” by Kenshi Yonezu (opening of Chainsaw Man and the first song in Japanese to be certified Gold by the RIAA), the executive highlighted that this strategy has its limits. Anime remains a relatively niche medium compared to music as mass entertainment.which reduces exposure opportunities for the general public who are not familiar with the medium.
According to Chigira, this situation is generating a crisis: Japanese music is becoming synonymous with “anime music”which could pigeonhole it and reduce its potential for international growth. “The ceiling of anime as a market for music is very low compared to the size of the global music market“he explained.
The threat of “Asian Pop” and the dominance of K-pop
Another critical point made by Chigira was the increasing dominance of K-pop in the global perception of Asian music. Countries such as Indonesia, Malaysia and Thailand have begun exporting music inspired by K-pop, and Chigira fears that this trend could consolidate the concept of “Asian Pop” as a genre where J-pop is relegated to a niche.
“If ‘Asian Pop’ is established as a global category, there is a chance that the J-pop we make will become a niche within that genre.“Chigira warned. This situation could jeopardize Japan’s position as the second largest music market in the world, according to the IFPI report, as its international impact is notably low compared to other countries.
Chigira has high hopes for Ado as the figure who can bring J-pop and the Vocaloid industry to the global stage. “Ado is the only Japanese solo artist who can compete on the global stage and peak in the next 3-4 years“, he assured. His next world tour in 2025 will be key to demonstrating the potential of J-pop internationally and positioning it as a competitor against K-pop and other emerging genres.
The challenge of internationalizing Japanese music
Despite its size as a market, Japan faces significant challenges in its international expansion. A METI report highlighted that Japan does not have a standardized system for calculating its music exports abroad, making an effective strategy for using its resources difficult. Additionally, Japanese government data showed that overseas music licensing revenue was just $10 million in 2021, compared to South Korea’s $680 million in 2020.
In a global market where streaming allows consumers to discover music from anywhere in the world, Japanese music needs to establish its own identity that does not depend solely on anime. Without this strategy, it runs the risk of being diluted within a generic concept of Asian music.
While anime will continue to be an important tool for promoting Japanese music, Chigira urges creators and producers to look beyond this medium. The challenge is clear: to ensure that J-pop is recognized for its own value in the global market and prevent it from being confined as a by-product of anime.
Fountain: Real Sound
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