The year 2025 will be remembered as a landmark moment for Japanese music on the global stage. Fueled by a handful of viral songs (like AiScReam and AiNA THE END) and critically acclaimed artists like Ichiko Aoba, the biggest shift was the sheer number of Japanese acts taking their show on the road. From chaotic idol outfit pinponpanpon to top-tier names like Kenshi Yonezu and BABYMETAL, the industry demonstrated an ambition for international exposure unlike anything seen in decades, with groups like YOASOBI even appearing at major US festivals like Lollapalooza. These accomplishments, which would have been unthinkable just a decade ago, signaled a true paradigm shift for J-pop.
Record-Breaking Success Led by Ado
Leading this charge was the powerhouse artist Ado. Her second world tour—the largest ever by a Japanese artist—was a staggering success, encompassing 34 mostly sold-out shows across five continents. This tour, along with her performance at the massive Tokyo Dome, proved that J-pop’s international potential was no longer theoretical. Capitalizing on this momentum, Ado’s agency, Cloud Nine, announced Zipangu, a “monumental new Japanese music event” co-organized with Goldenvoice (Coachella). Scheduled for Mid-May next year in Pasadena adjacent to the Rose Bowl, this festival boasts a capacity of 35,000, making it the largest Japan-centric music event outside of Japan to date. Cloud Nine CEO Takuya Chigira is clearly pushing for spectacle and record-breaking achievements to elevate the J-pop brand.
The Race for International Control
However, the question of who truly drives this global expansion is now the subject of a fascinating rivalry. Cloud Nine’s aggressive, success-driven strategy appears to be challenging the efforts of the government organization CEIPA. While CEIPA organized events like matsuri ‘25 in Los Angeles to share Japanese music, CEO Chigira found the capacity “frustrating,” suggesting the private sector feels the government is playing too small of a game. With CEIPA planning another event, ennichi ‘25, for December, the stage is set for a tussle of power.
As we head into 2026, the question is not if Japanese music will continue its global expansion, but who will be holding the reins. Will it be the Diet-backed organizations like CEIPA, or the proven, commercially successful talent agencies like Cloud Nine? Regardless of who wins the “race to control the narrative,” the real victory belongs to fans across the world who are finally getting to experience the incredible sonic diversity of modern J-pop, from the internet-damaged pop of Atarashii Gakko! to the hard rock of Man With A Mission.
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