Billboard Japan

Hoshimachi Suisei surprised passersby in Shibuya, Tokyo on Monday (Sept. 30) by appearing unannounced at Udagawa Crank Street in Center Gai for a compact set promoting her upcoming new single. Explore Explore See latest videos, charts and news See latest videos, charts and news With over 2.4 million subscribers on her channel, Hoshimachi Suisei is […]

The second installment of “NOW PLAYING JAPAN,” a conference and networking event held by Billboard Japan and Luminate on domestic and international music consumption trends and marketing, was held at Billboard Live Tokyo on Sept. 18.

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At this event, representatives from Billboard JAPAN and Luminate gave presentations on the latest music consumption trends in Japan and abroad. In addition, Tatsuya Hori of the Ministry of Economy, Trade and Industry appeared as a guest speaker. Using the recently released “Report on the Music Industry’s Business Model for a New Era” as a basis, Hori explained the current status and challenges for Japanese artists to expand overseas. The following is a report on the event.

Presentation 1: Scott Ryan (Luminate)

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Scott Ryan, Executive Vice President of Luminate, took the stage first to introduce the latest trends in music streaming: In the first half of 2024, global on-demand audio streaming increased 15.1% compared to the previous year, which is equivalent to approximately 300 billion new streams. Among countries in the APAC + ANZ, Japan has displayed a steady increase of more than 10% in streaming, while several countries in Southeast Asia have shown growth of 20-30%. He also touched on listening trends that vary by country, including preferred genres (in Japan, “jazz,” “rock,” and “soundtrack” are over indexing compared to other Asian countries), the #1 source of music discovery (streaming in Indonesia, SNS in the Philippines, and TV in Japan), and differences in engagement with “foreign content” (95% in the Philippines, 74% in Singapore, and 57% in Japan). He also explained a snapshot of Japanese Gen Z music listeners: 44% of Gen Z listeners encounter music via streaming, are 1.4 times more likely to listen to music shared by friends on SNS than Japanese music listeners as a whole, and 27% less likely to listen to music from overseas.　

Ryan concluded his presentation by giving three key points: “Streaming numbers are increasing globally, but the way people enjoy new content differs from country to country, so it is necessary to devise marketing plans and approaches accordingly”; “The way people encounter new music differs by region and generation, so for effective targeting, it is important to have smart information”; and “Streaming is still on the rise, and there are opportunities for growth on a global scale across regions.”

Presentation 2: Helena Kosinski (Luminate)

Helena Kosinski, Luminate’s Global Vice President, presented the challenges and new solutions for the industry in assigning key music data identifiers and metadata, including ISNI, ISRC and ISWC, with examples from Japan. While the assignment of music data identifiers is becoming more widespread in the industry, the importance of ISNI is not yet fully understood. In addition, there are cases where incorrect information is linked due to duplication of artist names and song titles, and where multiple identifiers are registered for the same song. Furthermore, songs having identifiers that are unknown to the rights holders is also an issue. As a result, there are many recordings that are not linked to the correct rights holders (lyricists, composers, etc.), and royalties are not being accurately distributed. In fact, it appears that 16.25% (approximately $120 million) of the royalties that were due to be paid by the MLC in 2022 have still not been distributed as of 2024.

As a solution to these issues, Luminate acquired Quansic, a service that collects multiple identifiers and consolidates them in one place, in February 2024 to improve the quality of metadata. Kosinski spoke about the importance and benefits of having correct metadata, with an explanation of this service. For labels, the benefits of having ISNI are “increased visibility and clarity of content on DSPs,” “increased promotional opportunities such as additions to official playlists (as songs with more complete metadata are preferred),” and “getting paid quickly and correctly”. In a test case conducted by Luminate, the number of streams also increased by 6-18%.

Benefits for DSPs through Quansic included improved search accuracy on the platform, support for artist names in other languages, and the ability to distinguish duplicate artists by adding more than twice as many new identifiers. For music publishers, the benefits include securing royalties from all the songs and recordings they manage, automatic recognition of new releases in their catalogs, and better predictability of future revenues. A test case for a publisher showed a 3-18% increase in streaming numbers. Kosinski concluded by giving “metadata is hard” and “fix the problem before you lose royalties” as key points, and urged a free evaluation with Luminate.

Presentation 3: Tatsuya Hori (METI)

Tatsuya Hori, Consulting Fellow at the Research Institute of Economy, Trade and Industry (RIETI), Ministry of Economy, Trade and Industry (METI), gave a presentation on “The Potential of the Japanese Music Market” based on the “Report on the Music Industry’s Business Model for a New Era”, which was released in July 2024 and attracted wide attention both within and outside the industry. The “content industry,” which includes music, is growing remarkably on a global scale. In Japan, overseas sales are comparable in scale to exports from the steel and semiconductor industries, and the high economic ripple effect has led to the recognition that this industry could become a key industry in Japan and drive economic growth. Based on this premise and the data used in the report, he indicated that the characteristics of the Japanese music industry are the “diversity and accumulation of music”.

He also noted that, since streaming has become the center of the global music industry, overseas expansion and digitalization are two sides of the same coin, and that it is essential for the music business to respond quickly to the digitalization of the industry. He also stressed the importance of creating an environment that facilitates the activities of creators who are engaged in production and distribution on their own.

Presentation 4: Seiji Isozaki (Billboard Japan)

Seiji Isozaki of Billboard Japan, gave a presentation on current trends in the world of Japanese music based on the Global chart data for the first half of 2024. In particular, he pointed out that compared to the first half of 2023, the share of Japanese music is increasing in the U.S. and South Korea, and that the share of new releases at the top of the charts is rising in line with the attention paid to anime and game releases. He explained the importance of understanding the market structure of each country and the importance of “increasing resolution” in order to create hits in Asia & globally.

In the U.S. and South Korea, “Artists who increased the number of streams per day and increased their market share” and “Artists who increased the number of streams per day and increased their market share in the corresponding countries” were respectively presented in comparison to the previous year. Names such as Azumi Takahashi, known for her singing in the “Persona” game series, PSYCHIC FEVER from EXILE TRIBE, and eill were mentioned.

Text: Haruki Saito, Maiko Murata

Fifty-eight artists and 29 DJs took the stage at a special outdoor venue in Odaiba, Tokyo, over the weekend (Sept. 21 & 22) for the hip-hop festival THE HOPE. Day 2 headliner Awich performed a blistering nine-track set, including her latest single “Are you serious?” being featured as the theme song for the Netflix series […]

Billboard Japan’s Women in Music initiative began in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The WIM interview series has highlighted female players in the Japanese entertainment industry, with the first 30 conversations released in book form as a Billboard Japan Presents collection by writer Rio Hirai.

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As the project strives to shed light on the status quo of the Japanese entertainment industry and to explore ways the working environment can be improved for women and everyone involved, it welcomes views from people of diverse backgrounds. For the latest installment, Hirai interviewed Kiyoshi Matsuo, an award-winning music producer who began his career as a music writer from his university days and switched to producing in the late 1990s.

A prominent figure in the industry as one of the driving forces behind the R&B and soul music movements in J-pop, Matsuo has contributed to numerous hits including those by MISIA, Hikaru Utada, SPEED, and more. Also known for his opinions on politics and other topics often avoided by the majority in the business, the outspoken music producer and writer shared his views on some of the issues he sees in the Japanese entertainment industry while opening up about the journey of how he formed his current stance on the topics he feels strongly about.

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You speak out on various social issues inside and outside the entertainment industry while working as a music producer. When did you first become aware of such issues? 

Until the late 1990s, I used to work mainly as a writer and journalist introducing Western music to Japan. I’d spend a third of the year in the U.S. and U.K. doing interviews and then bring the material I collected back to Japan to write articles. I used to incorporate almost all of what I covered in my writing, but it was hard to find media that would carry articles with political and social content.

When I was doing those interviews, the most exciting discussions I had with artists were about politics and social topics. For example, even when I made the appointment to talk about a new album, if the U.S. presidential election was coming up, the topic of conversation would be all about the election. The music I was fascinated with — R&B and soul — is the music of African Americans. For them, the matter of who would become the leader of the country was very important, and they probably always felt the connection between politics and society and their own lives.

Not being able to write about what those artists felt was important back in my own country was frustrating, but I gradually became busy with my career as a producer and stepped back from doing interviews. Ever since then until now, I’ve felt at various times that something was wrong with society, and now that I’m at this age, it’s like I finally feel it’s about time I said something about it.

You hail from the southern island of Kyushu, which is one of the regions in Japan that’s said to have a wide gender imbalance. Why did you become interested in gender gap issues even though you were born and raised as a privileged, healthy male in such an environment?

Vessels like the family you were born in or the company you work for aren’t the only things that nurture a person’s spirituality. Regardless of the environment you were raised in, I’m sure you encounter many people who bring you awareness even after you reach adulthood.

In my case, I got into soul music through jazz, which my father liked, and then encountered hip-hop, considered to be the newest music at the time, and became interested in African-American music in general. Eventually it became my job, and as I engaged in dialogue with people from various walks of life, I began to learn and think about the history and thoughts in people’s backgrounds. I’m a Japanese man living in Japan, married with children, and sometimes people say I’m living the life, but through music, I’ve always tried to imagine the views of the oppressed and those being controlled.

I see, so your perspective on society changed through music.

In my case, yes. But Japan today might not be too different from those days when I couldn’t write about artists’ political views as a journalist. Writer and philosophy scholar Ataru Sasaki tweeted on X the other day about how “after repeated calls to ‘not bring politics into music,’ we’ve brought the worst kind of politics into music.” Instances where Japanese acts come under fire for creating music videos using historical figures that instigated invasions and massacres are precisely the result of having eliminated social perspectives from music. I’m an optimist at heart, but I think the notion to “not bring politics into music” is probably connected to the country’s loss of international competitiveness.

From the late 1990s you shifted your focus to producing music, and it feels like the artists you helped launch their careers — SPEED, MISIA, Hikaru Utada, etc. — sang about themselves as self-reliant individuals, which was a clear departure from the trend of the “idol” singers that had been the mainstream up to that point.

Songs by idol singers at the time were mass products aimed to become mega-hits, so they reflected the largest common denominator of the public’s preference. So it could be said that those songs were heavily tinged with the thinking around gender roles in Japan at the time.

On the other hand, if the female R&B singers I helped as part of the team had one thing in common, you could say they all seemed to be walking on their own two feet. R&B itself is of course a genre that’s been around for a long time, and in the late 1990s when it was first gaining momentum in Japan, the top 10 songs on the U.S. pop charts were almost entirely dominated by R&B. Japanese artists were also looking up Janet Jackson, Lauryn Hill, and TLC in their heyday. And those new J-pop artists weren’t being made to sing songs that other people wrote, and that probably led to that sense of being self-reliant.

I wonder if one of the reasons why the gender imbalance in the Japanese entertainment industry continues to exist is that the public doesn’t seem to be very interested in mature female artists, meaning it’s a matter of capacity and literacy on the side of consumers.

People who grow up watching Japanese idol singers in their adolescent years, being taught that “this is how girls are supposed to be,” most likely aren’t going to start listening to mature female artists after they outgrow those idols. I feel that nowadays, people prefer songs that are easy to understand rather than those with a mature perspective. I like lyrics written by Rokusuke Ei (“Ue wo muite aruko,” aka “Sukiyaki” etc.) and Michio Yamagami (“Tsubasa wo kudasai” etc.), and they often depict profound emotions that make you feel like you’re watching a movie in a three-minute song. Sometimes I want to try that kind of approach, but don’t get the kind of reaction I’m hoping for when I do, perhaps because people aren’t looking for perspectives with depth and delicates gradation in new songs.

There’s also the long-standing reality of management positions in the Japanese music and entertainment industry being dominated by men. What do you think is necessary for women to thrive in the business?

I think it’d be better to institutionalize a system to guarantee a certain percentage of women, like the French Parité Law (that mandates the equal inclusion of men and women on lists of candidates). When I was interviewing artists in the U.S. in the ‘80s and ‘90s, I sometimes heard from African Americans in their 30s and 40s that they were the first among their relatives to be admitted to college through affirmative action, even though they came from families that had been forced into slave labor long ago. They told me passionately that their mission was to write songs about what they’d seen as someone living in such an era. Affirmative action means taking positive steps to eliminate discrimination, and in Japan where the gender gap index is so low, I think that’s necessary.

Yes. Like the way music opened your eyes to the distortions of society, it can be a very effective approach in changing people’s minds. That’s why the structure of the industry that produces it must change.

During the pandemic, we often heard the phrase “fuyou fukyuu” (unnecessary and non-urgent). It’s true that music and entertainment can be considered unnecessary and non-urgent. But if politics and economics are the major arteries, music gives flexibility to people, like capillaries. A society that lacks flexibility and openness is cramped and suffocating, don’t you think?

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

On Billboard JAPAN’s “Niconico VOCALOID SONGS” 2024 mid-year ranking, announced on June 7, Yoshida Yasei’s “Override” took the top spot. This chart tracks the popularity of Vocaloid songs on Niconico, ranking the top 20 based on data such as the total number of plays, the total number of videos, the number of comments, the number of likes, and other figures, multiplied by coefficients developed by Billboard JAPAN. Chart results have been published on a weekly basis since December 7, 2022.

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Sasuke Haraguchi’s “HITO Mania” took the No. 1 spot on the “Niconico VOCALOID SONGS TOP20” for the first time on September 20, 2023, keeping its position for 18 consecutive weeks, a new record for the chart. This had a huge impact on the Vocaloid scene. However, on the January 24, 2024 chart, “HITO Mania” was dethroned by Yoshida Yasei’s “Override,” failing to reach the 19 week mark. What’s important to note is that while jon-YAKITORY’s “Konton Boogie,” Sasuke Haraguchi’s “Medicine,” and nbaji’s “Sukina Souzai Happyou Dragon” then took the number one positions, “Override” made a comeback, claiming the number one position once more. This is a testament to the song’s tremendous momentum. It combines a catchy, distinctively Vocaloid, unforgettable melody with lyrics that can be taken as lampooning society itself, taking the position that there’s no way to know what lies beneath the things people say. The music video, featuring Kasane Teto, makes quite the impression, packed with net memes. The popularity of “Override” also got a boost from derivative works.

◎Yoshida Yasei’s “Override”

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Not only have there been changes in the sound of Vocaloid songs, but also in the voice synthesis software used to make them. For example, KAFU, which was released as CeVIO AI voice synthesis software in July 2021, was based on the voice of KAMITSUBAKI STUDIO’s virtual singer KAF, and its use became a major trend starting in 2021. The Niconico VOCALOID SONGS chart has included Tsumiki’s “Phony” (2021), Hiiragi Magnetite’s “Marshall Maximizer” (2021), and Iyowa’s “Kyu-kurarin” (2021), all of which feature KAFU. In addition to Yamaha’s VOCALOID, there is now a growing range of voice synthesis software, including VOICEROID, CeVIO AI, and Synthesizer V. This wide selection has led to more diverse music.

The mid-year chart for 2024 has been taken by storm by songs featuring Kasane Teto in particular. There’s Yoshida Yasei’s “Override” (No. 1), Sasuke Haraguchi’s “HITO Mania” (No. 2), Sasuke Haraguchi’s “Medicine” (No. 3), 32ki’s “Mesmerizer” (No. 6), nbaji’s “Sukina Souzai Happyou Dragon” (No. 7)… The chart is top-heavy with songs that use Kasane Teto. A major reason for this boom is the commercial release of Synthesizer V AI Kasane Teto on April 27, 2023. This voice synthesizer, which can produce more human, realistic vocals, began as an April Fool’s hoax: in March 2008, users on the 2channel message board announced the creation of new Vocaloid software named “Kasane Teto.” Coincidentally, the free UTAU voice synthesis software had been released in March of the same year. With UTAU, it was possible to use the voice of Mayo Oyamano, who provided the fake vocals for the prank, as a voicebank. With this, Kasane Teto was launched as an “official” voice synthesizer. As if to celebrate the 15th anniversary of this serendipitous beginning, the chart for the first half of 2024 is packed with Kasane Teto songs, whether made using the Synthesizer V version or the UTAU version.

Listening again to the songs in the chart, a few other interesting commonalities spring up. The first that stands out is the way that net memes and common phrases are sprinkled throughout. For example, these include “Override,” whose video appears to be a homage to Surii’s “Telecaster B-Boy,” “HITO Mania,” which takes a poke at modern society using familiar, cut-and-pasted expressions, and “Konton Boogie,” which includes the nostalgic 2000’s meme “What is that? Does it taste good?” From the early days of the Vocaloid scene until around 2015, lyrics were often direct, telling a story, as can be heard in ryo’s “Melt” or Scop’s “Irony.” However, in recent years, Vocaloid songs have had a growing tendency to use metaphors, symbolism, and difficult lyrics. We live in an age in which the things that people say are often taken in isolation, divorced from their context, shared and spread, and interpreted in unintended ways. Perhaps this is what is behind the new trend of Vocaloid lyrics becoming strings of abstract expressions. In the comments, people provide various interpretations, attempting to unravel the messages lurking within these abstractions. The massive hit “HITO Mania” typifies this, with deep lyrics that can be seen as skewering society, carried by a clipped audio backing. Its lyrics bear wide room for interpretation.

◎Sasuke Haraguchi’s “HITO Mania”

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The Vocaloid scene, which sprang from Niconico, is very welcoming to all kinds of derivative works, such as dance and vocal covers. “Sukina Souzai Happyou Dragon” took the No. 4 spot in the Neta Kyoku Tokosai (“Joke Song Festival”) category in VocaColle 2023 Summer. Parody comics and art by artists like the manga creator Sakamegane caused it to trend on X (Twitter), and its popularity exploded. User-generated content now holds the key to becoming a hit, and in some cases creators themselves actively encourage the creation of derivative works. For example, in the comments of his video “Override,” Yoshida Yasei provided tips for creating derivative works. nbaji wrote in the description box of his own videos that derivative works and parody songs were welcome. Moves such as these have accelerated the sharing of the songs. The killer tunes of the Vocaloid scene aren’t just the product of high musical quality, but involve various interwoven factors, including derivative works.

The chart for the first half of 2024 features many unique songs with the unique passion and individuality so typical of Niconico. It will be one to remember and it’ll be interesting to see what kinds of new killer tunes will one day dethrone them.

—This article by Mio Komachi was planned for publication in June 2024, but Niconico service was suspended due to a cyberattack, and is instead being published in September 2024

Grammy-nominated music producer TOMOKO IDA spoke with Billboard Japan for its Women in Music interview series, featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work.

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One of the few female music producers in Japan and abroad, TOMOKO IDA co-produced the first track “obstáculo” on Puerto Rican music producer Tainy’s debut album DATA in 2023, which was nominated for Best Música Urbana Album at the 66th Annual Grammy Awards. As the first Japanese woman to be nominated for a Grammy as a music producer, TOMOKO IDA shared her thoughts on why female producers are in the minority in the music industry.

How did you become a music producer?

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My mother was a music teacher and I took piano and dance lessons since I was six years old. When I was in the second or third grade, the (J-pop) dance and vocal group ZOO was popular, and I became interested in 90’s hip-hop and new jack swing. I also longed to go to New York after watching music videos and dreamed of working in the U.S. someday. Time passed and I began DJing, then a few years later, I started performing as a beat maker using a MPC in a two-woman duo. It was rare to see women performing with a sampler at the time, and people were excited to see our shows when we performed overseas. When it was time to find a job after college, I considered working for an ordinary company, but my mother said, “Why not do music?” and encouraged me, so I chose to work part-time and focus on making beats.

Why did you decide to become a music producer rather than an artist that performs in front of an audience, even though you debuted in a duo as a MPC player?

Performing live with a sampler and DJing requires flexibility and instant response on the scene, but I have always loved making things and am better at taking my time to create something. Plus, I hadn’t heard of too many female music producers, so I wanted to spearhead it. By 2016, I started to focus more on producing.

You’ve produced music for famous J-pop artists such as AI, Daichi Miura, SixTONES, and EXILE TRIBE, as well as music for fashion advertisements. Could you tell us what you do as a music producer?

I sense that the definition of a music producer has been changing with the times, and it’s also different from country to country. In Japan, the definition seems to refer to people who produce everything from the concept and selection of members [of an idol group], like Yasushi Akimoto and Tetsuya Komuro, but in the U.S., if someone makes a track, then that person is often called a music producer. In my case, I’m often asked to produce music by artists who’ve already established their careers, so as a music producer I try to produce music that will make those artists shine brighter.

A lot of the songs you produce for Japanese artists are powerful. Do you think there’s a difference in the ideal image of women in Japan and America?

It does feel different depending on the country. For example, I have a feeling Japanese men find fragile women attractive. Maybe that’s why there are lots of songs and lyrics that lean towards that direction. But in the U.S., powerful women are more popular.

You accomplished an extraordinary feat in becoming the first Japanese female producer to work on a Grammy-nominated album. From your position, do you have any thoughts on how things could be improved to make it easier for women to work in the industry?

I still think it’s necessary for forerunners [like us] to pave the way. For example, in Japan’s hip-hop scene, Awich is currently leading the way and doing well as a female rapper. I think opportunities for women will expand if there are more people like her, so I’d also like to do my best as a music producer to make it easier for more women to follow suit. I’d like to see more Japanese people go out into the world because in the community of producers and songwriters in L.A. where I currently live, there are very few of us compared to other Asians.

The skills required for both performing with a sampler and being a music producer don’t seem to be too demanding in a physical sense, so why do you think there aren’t too many women in these fields?

It’s said that female producers make up less than 3% of the total even now. We use machines and computers, so maybe people think it’s mechanical and science-oriented. I don’t think it’s a hard job for women to do, but there are so few women that people seem taken aback to see me in the studio. I also seem to surprise people in a good way for my skill, because apparently Asian women look young for their age.

What advice would you give to yourself in the first year of your career?

I’d say, “Keep making music.” It’s not always easy to get your songs chosen when working as a music producer. Even when you’re personally offered an opportunity, only a few of the songs you write will make the cut. It might seem like a glamorous world, but it takes quite a bit of quiet dedication and you just have to keep at it.

What are your next goals?

I was able to become a Grammy-nominated producer, so I want to become a Grammy-winning producer someday. I don’t know when that will be, but I’ll continue to make music toward that goal.

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan