In a recent interview, Cloud Nine CEO Takuya
Chigira expressed his concerns about the current state of
Japanese music, noting that its increasing reliance on anime could be limiting
its global reach. Chigira, known for managing prominent artists such
as Ado, shared his analysis on the Japanese music industry and its position in
the international market.
© realsound.jp
“ We can’t rely on anime alone ,”
Chigira stated. Although anime has served as an important platform for Japanese
music, enabling global hits like YOASOBI’s “Idol” (the theme
song to Oshi no Ko) and Kenshi Yonezu’s “KICK BACK” (the
opening track to Chainsaw Man and the first Japanese-language song to be
certified Gold by the RIAA), the executive stressed that this strategy has its
limits. Anime remains a relatively niche medium compared to music as
mass entertainment , which reduces opportunities for exposure for
mainstream audiences unfamiliar with the medium.
According to Chigira, this situation is creating a
crisis: Japanese music is becoming synonymous with “anime music ,”
which could pigeonhole it and reduce its potential for international growth.
“ The ceiling for anime as a music market 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 noted by Chigira was the growing
dominance of K-pop in the global perception of Asian music. Countries
such as Indonesia, Malaysia and Thailand have begun exporting K-pop-inspired
music, and Chigira fears that this trend could cement the concept of “Asian
Pop” as a genre where J-pop is relegated to a niche.
“ If ‘Asian Pop’ becomes established as a global
category, there is a possibility that the J-pop we make will become a niche
within that genre ,” Chigira warned. This situation could
jeopardize Japan’s position as the world’s second-largest music market,
according to the IFPI report, as its international impact is remarkably 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 reach her
peak in the next 3-4 years ,” she said. Her upcoming world tour in
2025 will be key to demonstrating J-pop’s potential on the international stage
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 overseas music exports,
making it difficult to come up with an effective strategy for using its
resources. Furthermore, Japanese government data showed that overseas
music licensing revenue was only $10 million in 2021, compared to $680 million
in South Korea in 2020.
In a global market where streaming allows consumers to
discover music from all over the world, Japanese music needs to establish an
identity of its own that doesn't rely solely on anime. Without this
strategy, it risks being diluted within a generic concept of Asian music.
While anime will remain an important tool for promoting
Japanese music, Chigira urges creators and producers to look beyond this
medium. The challenge is clear: to get J-pop recognized for its own
value in the global market and avoid it being confined as a byproduct of anime.
Source: RealSound
© realsound.jp
