Music Leaders Push Japan’s Global Reach

Sony Music Japan’s chief, Shunsuke Muramatsu, has been named a top global influencer in the music world. His company signs artists like YOASOBI, Creepy Nuts and Kenshi Yonezu, who chart in Japan and abroad. Muramatsu says success comes from mixing new ideas with proven methods, and he encourages his staff to try, fail, and learn. The company is more than a record label. It also manages artists, creates anime and games, stages concerts and runs venues. Muramatsu believes that turning existing work into new possibilities is essential, because building something from scratch is hard. He says repeatable processes drive growth. Muramatsu’s career began in 2005 as president of Sony Music Records. In 2019 he became head of Sony Music Entertainment Japan, and in 2026 took the chairman role. He once promised to resign if a new artist failed, but his first star, ORANGE RANGE, delivered hits right away. He stresses that a team’s confidence matters more than sales figures. Japan aims to sell 20 trillion yen of overseas content by 2033. Muramatsu notes that music sales abroad are about 6–7 trillion yen, so growth alone won’t hit the target. He urges the government to create a cross‑ministerial content body, similar to Korea’s KOCCA, to support games, anime and music together. He sees collaboration between his group’s anime arm, Aniplex, as a key advantage.

Live shows keep fans engaged. Muramatsu cites Creepy Nuts’ 2026 Coachella performance and their anime‑theme songs that made New York crowds sing in Japanese. He believes many overseas listeners discover music only through anime or games, so concerts spark deeper fandom. Japan’s domestic market grew 8. 9% in 2025, driven by physical media sales. Muramatsu says that packaged products help maintain fan touchpoints and highlight songs that stay popular over time. He notes the difference between superfans—who spend heavily—and “oshikatsu, ” a uniquely Japanese fan culture that blends spending and community. The Music Awards Japan (MAJ) is a new national event. Last year’s awards were seen as “year zero, ” but the organizers hope to build international prestige over time. The event will be streamed on YouTube, and a new copyright law is being drafted to give artists royalties from overseas venues. Muramatsu’s dual role as chairman of the Recording Industry Association of Japan and CEIPA shows his influence across the industry. He believes that a single, well‑supported event can boost Japan’s global music profile and give artists recognition worth sharing worldwide.

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