Musik JepangMasih Berduka Meningkatkan Pencapaian Globalnya: Manajer Ado Membanggakan Semua Penuntun dan Jepang untuk Menuju Masa Depan

Ado’s manager and Cloud Nine’s CEO, Takuya Chigira, shared his thoughts in a recent feature with Bungeishunju Plus. He explained Ado’s reasons for expanding internationally and why Japan must act to avoid falling behind globally. The article also highlights Ado’s recent successes and the challenges the country faces in the global music scene.

Chigira noted that Ado’s earlier overseas tours only made money from merchandise, while the tours themselves resulted in losses. He emphasized that Ado has greater potential to attract larger audiences compared to past events, even recent ones like the matsuri ’25 concert at the Peacock Theatre, which held 7,000 people. Many attendees were Japanese fans traveling abroad, yet Chigira felt disappointed despite the strong performances.

Ado, along with her management team and YOASOBI’s producer Yohei Yashiro, has stressed the importance of overseas tours. Yashiro admitted to financial losses from international performances but continued due to strategic goals. An interview with Nakagawa and Yashiro on this topic is available here: “You’ll Find Yourself in a Slump”: YOASOBI’s Producer Reveals Group Is Losing Money on Overseas Shows, But Shares Why They Persist.

Chigira pointed out that South Korea has led in making Asian music global, with K-Pop dominating as “Asian Pop.” He mentioned HYBE, BTS’s agency, is now signing Latin American artists, signaling a shift. Japan, he lamented, has only played a small role in this trend: “The Asian music boom lasting a decade is ending.” This isn’t new; he previously called Korea’s dominance over Japan’s perception of Asian music a “crisis.”

Ado’s 2024 Hibana tour drew 500,000 fans, a result of gradually building trust through smaller international venues. Chigira explained that Japan’s venue and booking systems differ from overseas ones. In Japan, agencies pay booking fees and handle ticket sales, while in the U.S. and Europe, venues sell tickets and share profits. This model gives Japanese artists more control but limits their reach. Ado’s 2024 tour faced restrictions, with only small venues offering space based on her perceived appeal. Demonstrating her popularity through successful tours is key to securing larger venues. Additionally, while Japan uses lotteries for ticket sales, overseas platforms adjust prices based on demand, boosting profits.

Chigira warned that staying in Japan is risky. Artists compete for limited large venues like the 72,000-seat Nissan Stadium, spending time in smaller ones. He estimated Ado could earn around 25 billion yen from four months of overseas tours at 50,000 yen per ticket for 500,000 fans. He advised artists to embrace global opportunities for business reasons.

Reflecting on his career, Chigira praised Ado’s unique appeal and stressed that Japanese music hasn’t resonated abroad yet. He noted young artists like Ado aren’t constrained by past assumptions and recognize their place on global stages.

The next step is Zipangu, an event at Brookside in Pasadena, California, on May 16, 2026. Cloud Nine will organize it alone, covering an estimated 1 billion yen in costs. The lineup includes Ado, Atarashii Gakko!, Chanmina, HANA, MAN WITH A MISSION, Yuki Chiba, and 10-FEET, with a 35,000-capacity venue. Chigira called it a bold move but necessary.

“It may seem risky, but we hope Japanese artists keep creating music with dreams, and the industry supporting them can expand globally,” he said.

The full interview is paywalled but offers fans insight into Ado and Chigira’s vision for Japanese music to compete with top global artists.

Ado’s journey shows Japan’s music scene needs bold steps to compete internationally. Artists and agencies must embrace global opportunities to elevate their presence. The path is challenging, but the potential rewards are significant for those willing to take risks.

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