Latest news with #Yoasobi
29-05-2025
- Entertainment
Yoasobi's 'Idol' Japan's Top Song for Second Consecutive Year
Japan Data 'Idol' by Yoasobi was the Japanese song that generated most royalties in fiscal 2024, topping the ranking for the second year running. 'Idol' by Yoasobi generated the highest royalties through distribution in fiscal 2024(April 2024–March 2025), according to data from JASRAC, the Japanese Society for Rights of Authors, Composers, and Publishers. The hit song, which was released in April 2023 as the opening theme for the TV animation Oshi no Ko, topped the ranking for the second consecutive year. It has racked up a total of 900 million streams in Japan since its release, as well as performing strongly worldwide. Ayase of Yoasobi, who wrote the song, commented, 'I'm just so happy that it was listened to so many people after it was released, and deeply grateful that it continued to be loved for so long, going over into a second year.' 'Bling-Bang-Bang-Born' by Creepy Nuts was second in the ranking, followed by Ado's 'Show' in third. Top 10 Japanese Musical Works by Royalty Distribution (FY 2024) Song Artist 1 'Idol' Yoasobi 2 'Bling-Bang-Bang-Born' Creepy Nuts 3 'Show' Ado 4 'Kawa no nagare no yō ni' (Like the Flow of the River) Misora Hibari 5 'Tensai bakabon' (Genius Bakabon) Idol Four 6 'Toshishita no otoko no ko' (Younger Boy) Candies 7 M. League Official Anthem Kawase Mikihiko and Satō Yōko 8 One Piece instrumental soundtrack Tanaka Kōhei 9 'Genki o dashite' (Cheer Up) Takeuchi Mariya 10 'Specialz' King Gnu From left, 'Bling-Bang-Bang-Born' by Creepy Nuts (© Sony Music Labels Inc.) and 'Show' by Ado. (© Universal Music). In fiscal 2024, music royalties rose by 5.4% from the previous year to ¥144.5 billion, marking a new record high. Interactive streaming, such as via music subscription services and YouTube, was the driving force behind the rise, increasing by 15.7% year-on-year to ¥56.4 billion. This area has been growing since around 2015, but the embrace of online activities across society during the COVID-19 pandemic boosted use of subscription services and video streaming. Revenue from performances, including live concerts, also made headway, rising by 9.7% to ¥26.0 billion, mainly because of the higher number of events that were held. (Translated from Japanese. Banner photo: From left, the 'Idol' single cover [© Akasaka Aka, Yokoyari Mengo/Shūeisha, Oshi no Ko Production Committee] and Ayase of Yoasobi [courtesy JASRAC].)
Yahoo
30-04-2025
- Entertainment
- Yahoo
CEIPA Board Member Tatsuya Nomura on Matsuri'25, J-Pop's Global Rise and Japan's Shift to Streaming
Thousands flocked to downtown Los Angeles last month for Japan Culture and Entertainment Industry Promotion Association's first-ever Matsuri'25, a concert featuring popular Japanese artists. The sold-out March concert, put on by the organization known as CEIPA, and held at the Peacock Theatre, included three acts. Ado, a majorly popular singer-songwriter whose personal details, including her identity, are virtually unknown, engaging duo Yoasobi and the energetic four-piece group Atarashii Gakko! All three artists have had a strong presence in the U.S. music market. More from The Hollywood Reporter Ole Obermann and Rachel Newman Named Co-Heads of Apple Music Terrence Howard Turned Down Marvin Gaye Biopic Because He Didn't Want to Kiss a Man: "I Would Cut My Lips Off" Universal Music Group Posts $3.3B In Revenue for First Quarter Atarashii Gakko! and Yoasobi have both played Coachella with the latter also playing Head in the Clouds. Ado, who performs entirely in shadow through a cage-like box, is preparing to embark on a large scale U.S. tour, having already sold out her July show at L.A.'s Arena. CEIPA held the event to bridge the gap between Japanese artists and U.S. fans, according to a release. The event was particularly timely as the demand for J-Pop grows larger in the U.S. 'It's a gradual growth, but after the pandemic, say 2023, we started looking outside of Japan,' CEIPA board member and Federation of Music Producers Japan president Tatsuya Nomura told The Hollywood Reporter shortly before Matsuri'25 kicked off. The executive addressed an industry crowd at an intimate gathering before the concert. 'Japan was all about selling CDs because you made most profit out of them, but unfortunately [when] COVID hit, the music fans could not go to record shops,' he told THR following his comments. 'In Japan, CDs are sold about 3,000 Yen, which is about $20. If you calculate it, that's like two dollars per song, but when it comes to streaming service[s], [artists don't make] that much,' he continued. 'How do they make a profit? They have to think bigger, outside of Japan.' All three acts on Matsuri'25's lineup have found plenty of success on streaming services including Spotify where Atarashii Gakko! bring in just over a million monthly listeners, Ado brings in over six million and Yoasobi sits at over seven million. Increased global streaming numbers doesn't necessarily mean a change in music or overall focus. 'If I were to say there's 100 artists in Japan, only 10 percent are looking outside of Japan to make their product,' Nomura said when asked if he thought global expansion meant a change in overall strategy for Japanese companies and artists. 'Ninety percent of those artists are making songs for Japanese market.' Nomura adds, 'Even if they make those songs for Japanese market, there are people outside of Japan who notice.' Best of The Hollywood Reporter Hollywood's Most Notable Deaths of 2025 Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
