How J-pop Could Conquer the Asian Market
The Japanese music market is number one in the world
MAMIYA Fumiko
Japan’s music market will claim the world’s top spot this fiscal year. This reflects the decline of the U.S. market, which long held the lead, giving way to second-ranked Japan. Unfortunately, the Japanese market is also shrinking—the CD and music video market, 500 billion yen at its peak, is now around 300 billion yen—so this is no great cause for celebration, but we should applaud Japan’s achievement in overcoming a population difference close to three times its own to claim the top position.
The shrinking market scale has much to do with the increase in music downloads via computers and cell phones. Downloads continue to expand, seemingly in inverse proportion to the drop in CD and package sales. Yet while downloads may have high margins, they are priced low, so they have yet to make up for the falling package sales. There is also the issue of illegal downloads.
In view of these circumstances, the development of new markets is thought to be essential. Yet while so many industries keenly eye the global market, the Japanese music industry offers little news of active global expansion. The 300 billion yen largely comprises domestic production and imports, with exports from Japan accounting for only a minimal share.
Western music has lost its popularity in Japan compared to its high point, and has given way to K-pop. While there are some voices, likely tied to the Internet community, that question the increasing popularity of K-pop, it is evident that, preferences aside, we have more opportunities today than ever to hear music by Korean artists. In Japan and other Asian countries we often hear about Korean television dramas and hear K-pop playing all day long. The spread of Korean entertainment throughout Asia is in vogue.
How then, is the Japanese music industry doing in terms of overseas entry? Does Japanese music have what it takes to be accepted abroad? We asked Kato Kimitaka, leader of a project team at Universal Music that was launched this summer to develop overseas sales channels, about the current standing.
Universal Music is home to artists such as Fukuyama Masaharu, Lady Gaga and KARA, and is one of the three major record companies in Japan. Kato joined the company after working for an inner-city bank, and his ten-year life in the United Kingdom up to that point landed him a job dealing with western music. He is currently the managing director of the label.
“J-pop has, in fact, entered the global market in the past,” he says. “Many artists, including Sakamoto Kyu and Sawada Kenji, have entered western markets and had success. But these were only one-time successes. We’ve had single successes, but they never lasted.”
The project aims to develop enduring success.
MAMIYA Fumiko
Born 1955 in Oita Prefecture. Graduated from Faculty of Law, Kokugakuin University. Became a writer after working for a notary public’s office and a law office. Reports and writes primarily on corporate back-office subjects such as legal, personnel and public relations matters.
