From now on, it should not be closed only to the Japanese market. Overseas should also be active at the same time. I would like to organize the way of thinking about music activities overseas.
It is natural, but overseas activities have disadvantages compared to activities in Japan. Even if you do a live, you won’t be able to sell it because there are no artists’ friends. The weak point is that there is not enough information to choose what to do, such as media choice and live house selection.
How do you grab a certain number of early fans and how do you access users ? The initial task is to create the first “Tribe” that supports the artist and the song.
Fortunately, Japanese artists have a context of cool Japan. It is a fact that the word “Cool Japan” is attached to the word, so if you hate it, you don’t have to use it. In short, quite a few users like Japanese pop culture represented by animation, comics, games etc. It means that you are in the world. There is no way not to use this context.
People who do not know the circumstances of foreign countries argue that “I do not want to be confined to Japan.” “Well, what do you start out and get interested?” I think. The world of international competition is not as easy as Japan. There is exactly a fight. It is true that the power of the Japanese government is weaker than in other countries, but the idea of “it does not require because it is cool” is just like Japan’s island nationality. If you are confident in your artist or work, you should use all that is available and increase your exposure opportunities.
What I want you to know is that niche genres have networks globally. For example, metal rock, dance music such as house etc… has connections all over the world. There are many active visuals bands in overseas because the combination of warp and weft of otaku culture and rock scene is easy to build.
Global niche and Japanese pop culture. Let’s make a tribe and be conscious of these two things.