Japanese Pop Takes Over LA: Matsuri’25 and Streaming Shift

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A multitude gathered in downtown Los Angeles last month for the inaugural Matsuri’25, an event organized by the Japan Culture and Entertainment Industry Promotion Association, which was primarily a concert showcasing renowned Japanese musicians.

The completely booked March performance, organized by CEIPA and staged at the Peacock Theatre, featured a total of three acts. Among them was Ado, a highly acclaimed singer-songwriter whose private information remains largely undisclosed, along with the captivating duo Yoasobi and the lively four-piece band Atarashii Gakko! All three artists have made significant impacts in the American music industry.

New School! and Yoasobi have both graced the stage at Coachella, with Yoasobi also performing at Head in the Clouds. Ado, who performs entirely under shadow within a cage-like enclosure, is getting ready to kick off a major U.S. tour, having already sold out her July show at Los Angeles’ Crypto.com Arena.

CEIPA organized an event aimed at connecting Japanese artists with U.S. audiences, given the increasing popularity of J-Pop in America. Tatsuya Nomura, a member of CEIPA and president of the Federation of Music Producers Japan, shared with The Hollywood Reporter just before Matsuri’25 began that they had started exploring opportunities outside of Japan post-pandemic, around 2023.

At a small event preceding the concert, the executive spoke to an industry audience about Japan’s focus on selling CDs due to their high profit margins. However, when COVID-19 arrived, music enthusiasts were unable to visit record stores. He shared this insight with THR after his remarks.

In Japan, a CD typically costs around 3,000 Yen, which is approximately $20. This means each song on the CD would be about two dollars. However, when it comes to streaming services, artists don’t earn that much. The question then arises, how do they generate profit? They need to consider strategies beyond Japan.

The three artists performing at Matsuri’25 have garnered significant popularity on various streaming platforms such as Spotify, with Atarashii Gakko! boasting over a million monthly listeners, Ado exceeding six million, and Yoasobi surpassing seven million. A surge in global streaming figures doesn’t automatically lead to a shift in the artists’ musical style or their overall focus.

When asked about the impact of global expansion on Japanese businesses and artists, Nomura noted that out of roughly 100 artists in Japan, only around 10% are considering markets beyond Japan to produce their work. He added that a majority, approximately 90%, are primarily focused on creating music for the domestic Japanese market.

Nomura points out, “Even though the songs are intended for the Japanese market, there are individuals worldwide who take note of them.

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2025-04-30 07:55