In the Japanese music industry, anime music (i.e., anime songs) has become a topic of increasing concern. In recent years, there has been a significant growth in anime songs, and the singers who sing anime songs are no longer known not only to anime fans, but also to the general public. Animated songs, on the other hand, continue to take on new challenges through various large-scale events and online dissemination. Overseas, Japanese anime songs are also extremely popular and have become an important tool for spreading Japanese culture.

And what is the past and present life of animation songs? Recently, some Japanese media interviewed two of the most authoritative experts in the industry. They are Toshiji Inoue, chairman of Lantis, who has trained many singers and runs several music companies; and Toyoki Ota, a multi-play country executive member who is known for pioneering a new business model for animated songs. Starting from the current situation of animated songs, the two will talk about the development of overseas markets, concerts, online communication methods, etc., and comment on the future development of the animation song industry. This interview will be divided into four parts: "The Current State of Anime Songs", "Anime Songs Targeting Overseas Markets", "Concerts and Online Delivery", and "The Future of Anime Songs". Let's take a look at what the first episode of "The Current State of Anime Songs" will say!

■The concert business model is becoming more and more popular

Q: Today, I would like to ask you to introduce the overall situation in the field of music. At present, there are signs of declining music CD sales in the entire world, but Japan is not particularly declining. While CDs continue to sell well, the concert business model is also becoming more and more popular. And considering that people can listen to music on the Internet, does it mean that music is more accessible to us than in the past?

Inoue: Actually, when it comes to music, the cost of using JASRAC (Japan Music Copyright Society) has not changed. But the balance has changed. In fact, CD sales are also decreasing, and online delivery is also not increasing. Although there has been some development in the area of concerts, the amount of money people pay to JASRAC has not decreased. Rather, it's the way people enjoy and listen to music that has changed.

Q: So from a practical point of view, is the concert business model developing?

Ota: If you limit yourself to anime songs, you've really improved. Now there are not even enough venues for artists to hold concerts.

Inoue: I am also the head of BandaiNamcoLiveCreative now. It's been 5 years now, and according to my observations, the market for concerts is on the rise. Including the increase in the number of visitors, everything is going in a good direction.

In addition, the number of venues for exclusive events and concerts for anime songs is also expanding. I think this is the result of the joint efforts of everyone over the past 10 years.

Ota: Around 2008, there were only a handful of anime singers who were able to hold concerts at Budokan. There should only be Nana Mizuki, Yukari Tamura, JAMProject and others. But now not only are there more singers holding concerts at the Budokan Museum, but even the Saitama Super Arena is welcoming a lot of related people.

Inoue: That's right. Nowadays, the concerts of anime-related singers can attract tens of thousands of people, and Miss Mizuki is undoubtedly the pinnacle.

Ota: At the same time, the number of small-scale concerts has increased dramatically. It's hard to book a small venue these days. There are no more venues.

Inoue: Compared to about 10 years ago, more and more people are choosing to go to concerts with their friends. At that time, it was usually one or two people who came alone, and it seemed very lonely. And now everyone is calling friends and coming in droves to cheer them on.

Also, the number of people who like music such as anime songs is increasing. The average age of the members of JAMProject is 50 years old, while the popular voice actor group Sphere Quartet is very young. Interestingly, we did our research on the spot and found that quite a few people at the JAMProject concert said they liked Sphere as well, and vice versa. Although they all have a "group" in common (laughs), anime songs have proven to be able to appeal to audiences across musical styles. This is rare in the J-POP world. People like anime songs, so they buy CDs and even go to the concert in person. In this way, people are able to accept more and more music genres on the premise of "liking animated songs".

Q: There are a lot of festivals for anime songs. From concerts where you can simply listen to melodies, to hot dance shows with a strong metallic feel. So is this expansion what customers want?

Inoue: From the standpoint of us CD makers, there aren't many genres of music in the world of J-pop that can become popular in Japan today. For example, dance music, idol songs, and hard rock have all shown a trend of deceleration.

But anime songs are different. We can experiment with all kinds of music in it, including accompaniment styles. For example, nature music is very similar to the style that was popular in the 80s, but it is not very popular in the current CD market. However, if you can match the music with the work, anime fans will be able to embrace the genre and deepen their understanding of the music.

■ Lantis' meeting with the multi-play country

Q: I think Lantis' main business is CDs and concerts. So what do you think about the network?

Inoue: Actually, the first company to join forces with Niconico Animation (a subsidiary of Multiplay Country) was Lantis.

Ota: yes. At the time, this was rejected by the real industry (laughs).

Inoue: At that time, we were able to find a point of convergence and launch a related project.

Q: According to Mr. Ota, the Internet was not very popular in the music industry at first. So why did Mr. Inoue choose to cooperate with NICONICO Animation at that time?

Inoue: When did that happen?

Ota: 2007. The NICONICO anime was officially launched on January 15, 2007, and Lantis started working with us about half a year later.

Inoue: Back in 1999, we founded Lantis with the goal of creating the best of anime music. After that, I met Mr. Ota in 2003. Mr. Ota has also brought us a lot of work, and he himself founded AnimeloSummerLive to further spread the influence of anime songs to the whole society.

We think Mr. Ota's idea of anime songs is accurate. That's why we chose to join hands with NICONICO. I feel that if we can work with like-minded people, then we can't make the wrong choice no matter what.

■ What was Lantis' reason for choosing anime songs?

Q: Mr. Inoue mentioned the concept of "creating the best of anime music". In 1999, when Lantis was just founded, the genre of animated music was already emerging, but I don't think it could compare to the scale it has today. So why would you choose an animated song at all?

Inoue: That's a long way to talk (laughs). First of all, most of the anime songs at that time were done in the form of collaborations. Many of these songs are not only intended for anime, but also released as regular music in collaboration with record labels. On the other hand, although there may be fewer now, some nostalgic old anime songs at that time also had a part of the audience. So we thought about making anime music that was in line with the times and that the music fit the anime perfectly.

Also, I used to be in a band, and I got a "second life" through anime songs. There are many people who think the same way as me. That's true for everyone at JAMProject. We met because of the anime song, and we gained the strength to move forward together. And I was thinking: if we were with them, we should be able to make a big scene, right?

Q: It is true that animation songs were combined with other songs and programs in the past, but the relationship with animation works is not significant. In the past, anime songs existed for the sake of animation, but has this changed?

Inoue: The biggest difference is that there are young people who want to become professional singers by singing anime songs. I don't think that was possible before. After going around in a circle, many people were able to sing anime songs. Nowadays, there are a large number of young people who want to sing the theme song of the anime.

Q: What kind of power do anime songs have? Although anime songs are a big genre, if you think about it, there are actually a variety of music genres in anime songs. It's really incredible.

Inoue: Personally, I think anime songs must be able to express love and courage well. That's what I learned from anime songs when I was a kid. For example, we can't bully the weak and so on. Animated songs with this type of theme exist. Then I think in this day and age, we also need to sing such songs seriously.

Also, when I go abroad, I often think that my fans are singing these songs in Japanese. From that point of view, I feel like I can see some new problems as well. For example, what exactly should an animated song sing? Our songs transcend borders, so what do we want to express?

In a previous interview, Shunji Inoue, the head of Lantis, and Toyoki Ota, executive member of the Multiplay Country, talked about the current state of animation music. In this interview, the two of them will talk about the relationship between animated songs and overseas markets.

Are Japanese anime songs really popular overseas? What's going on? What can the industry do for the sake of overseas fans? For these two experts, who are actively engaged in overseas markets, it is extremely important to let animated songs go abroad. Let's see what they have to say!

■In order to promote the popularity of anime songs overseas, we will continue to carry out overseas concert activities in a steady manner

Q: In your last interview, you also mentioned something about overseas. In the opinion of the two of them, anime songs should be extremely popular overseas, right?

Ota: There is no doubt that it is very popular. It's just that depending on the region, the type of song that everyone likes and the corresponding degree of attention will also change. In Asia, people are basically in sync with Japan and like the same pop elements. In other regions, such as Brazil, there is a preference for clan-themed music, which makes us feel that the locals are more fond of the popular elements of Japan's past.

Inoue: That's right. I think Brazil is like Japan 15 years ago. This is expected to change in the future.

Ota: Now that animation can be viewed by people from all over the world through the Internet, there is no need for physical product output and re-dubbing. Now it's all on the Internet after the premiere in Japan.,Immediately after the subtitle version of the letter synchronization.。

Q: After the broadcast on the Internet, is there any difference between the perception of viewers in other countries and Japanese audiences?

Ota: I don't think so. Actually, after all, isn't it common in Japan to have different feelings when you look at a work (laughs). After all, there will definitely be a difference between those who like to watch anime and those who are not interested in anime. Of course, when it comes to culture, different countries will show different attitudes. For example, school life in China is different from that in Japan, so I've heard that some Chinese watch Japanese animation as a vision.

Q: Mr. Ota has always been very interested in the overseas development of AnimeloSummerLive. On the other hand, Lantis has also moved events such as the Lantis Festival overseas. Is there any connection between this? Or are you working on your own?

Ota: We were doing our own thing, but I felt like we were exchanging messages (laughs).

Inoue: I discussed a lot with Mr. Ota. For example, how to hold an animation song concert in China and so on, we are both angry. And if we work together, we can hold a variety of events together.

In China, Japanese anime songs have a lot of fans, so we want to send a positive signal to them. We can't stop and we have to do the best we can. Mr. Ota entered the overseas market through ASL, but I think we will be able to maintain a good relationship.

Q: Sony Music is now also expanding into overseas markets through AnimeFestivalAsia. Everyone thinks the same thing at the same time. How did this trend come about?

Ota: In the past, we were focusing on North America and Europe, but I think our focus is on Asia. Because the Asian market is appreciating.

Inoue: At Lantis, we have set priorities for our medium-term plan. One of the measures is to "preach" anime songs to overseas anime song fans. Although the scale of the business is not yet very large, our theme is: as long as you are invited, we will be more than happy to come and sing for you.

Q: Overseas fans would be ecstatic if they were able to attend the concert, right?

Inoue: During this time, I took my Japanese staff to AnimeBoston in the United States. Our team consists of about 30 people, including the orchestra members, which is quite large. I think this exhibition will also play a positive role in launching new projects in the future.

In 2015, we will hold the Lantis Festival overseas. When the time comes, we will bring all the staff in charge of the Lantis festival in Japan to give the overseas audience a perfect sound and lighting effect.

Nowadays, many industry organizations have adopted the project of arranging singers to sing in exclusive events. That's one of the next directions. The most important thing is to spread the animation song out of the air. Satisfy the fans, shake hands with them one by one after the concert, and hold an autograph session to make them return with a full load. I think everybody's eyes are on the Asian market right now.

Q: Indeed, there is a big difference between being invited to an exclusive event and taking the Lantis brand overseas.

■From China to Asia, and then to South America, Europe, and the United States......

Q: What is Mr. Ota's opinion? Why do you want to bring ASL overseas?

Ota: At least for Chinese mainland, if we can hold events there, we can get a big reward.

Q: It's an incredible thing. People who have tried to break into the Chinese market generally feel that they can't make much money in China. This view has been going on for about 10 years. Is it because the status quo has changed?

Ota: It's not so much that the status quo has changed, but I think it's actually a change in approach. Most importantly, we had to be able to make it to the event in person. At present, I am afraid that only ASL can control the income situation by the officials themselves. Then if we can control all aspects of the situation, then we also have a bottom of the profits. I think in a few years, this kind of activity can become a well-established business model.

Although the situation is not optimistic, according to our calculations, only Chinese mainland can now gather the same level of audience as Japan.

Q: We often hear in our reports that Shanghainese people are very fond of Japanese animation. But China is too big, and can a city represent everyone's attitude......

Ota: People come from all over the country. There will even be people who come all the way from Xinjiang to buy tickets. Now China's middle class is expanding rapidly. Especially in Shanghai, I think a lot of people are already in the middle class.

Q: What about other places besides Chinese mainland? If we talk about a larger market, then there should be Singapore, Indonesia, Malaysia and Thailand. Will there be anime fans in these places as well?

Ota: First of all, let's consider Taiwan. In addition, the AFA held in Singapore also attracted a large number of visitors, but most of them came from other nearby countries. In other words, not only Singapore itself, but also Thai and Indonesian fans came to cheer for it. It's just that if you want to open up a certain market, then the local infrastructure needs to meet the standard. This is also where we are more concerned. If it weren't for the political instability, we think Thailand is a fascinating country.

Q: Now that we're all talking about Asia, what about the rest of the world? JAMProject is very popular in Latin America.

Inoue: Last year we carried out projects in four countries in South America. They are Brazil, Chile, Peru and Argentina. Especially in Brazil, around 6,000 spectators came to attend the event. So even though it was only held in four countries, it took us two weeks (laughs). A trip to Brazil takes 32 hours each way, but we have to do it. In the U.S., there are otaku festivals in Los Angeles, Boston, Baltimore, and Las Vegas, so when it's time to hold these events, we need to be prepared to participate in them.

Q: What does Mr. Ota think? Are you considering activities in Europe, the United States, or South America?

Ota: From a practical point of view, those long-distance areas are not suitable for us to hold concerts, and the difficulty factor is too high. ASL isn't like that

Lantis can organize its singers to play, and we have to negotiate with the producers, voice actors, and singers to get the schedule in check. It's not about money, it's about schedule. If we can't make a perfect schedule, then these activities can't be implemented. For example, arrange for everyone to stay for 3 days and 2 nights, or 2 days and 1 night, etc., and if it is Singapore, it will take a 3-day itinerary. Therefore, we do not consider North America, Europe and South America at this time.

Q: But even if you need to make such a difficult arrangement, you are planning to enter the overseas market.

Inoue: I have been in constant communication with Mr. An Yi Guifan of GoodSmile Company. They have a lot of exclusive events in Japan, where you can watch the show for free and get free merchandise packed in luxury paper bags. That's a great perk. In this regard, guests will also be happy to pay for many goods and activities. And depending on the type and quantity of goods purchased by the guests, Mr. An Yi Guifan can focus on these contents at the next event. I think it's a virtuous circle.

This approach must also be extended overseas. But if you ask who has tried it, the answer is very rare. Now we're just getting started, and I think it might take maybe 10 years or so to get to a certain scale.

We will invite companies to join us during the event, give guests the opportunity to shake hands with idols, let them take photos with idols, and give them idols' autographs. I can't help but imagine that as this is done repeatedly, the number of fans who shout for joy will also increase, right?

Ota: Anyway, we're still neglecting the connection with overseas markets. However, if we do it in a down-to-earth manner, we will achieve a situation where our guests will be satisfied.

The landscape of the music industry has changed a lot in recent years. And the way CD sales support music companies is also very different from what it used to be. One of the most obvious is that concerts, which allow people to get up close and personal with singers, are becoming more and more popular. And through the role of the Internet, music has also evolved from the original simple distribution to a variety of forms.

The same is true for animated music. Tencent Animation has previously reported two issues of Japanese industry experts· An interview with Toshiji Inoue, head of Lantis, and Toyoki Ota, executive member of Multiplay Country, in this episode, they will discuss the impact of concerts and the Internet on music. From their conversations, we can also feel the changes that have taken place in the industry.

■At the time of the Tokyo Olympics, there were not enough concert venues!? The possibility of live streaming concerts in real time

Q: In the second interview, the two of them talked about the difficulty of holding concerts overseas. However, although concerts are not very easy to organize, our music can be distributed in the form of letters. On the other hand, concerts are now also available in the form of real-time connections. Have you ever considered a concert in Japan and overseas where you can hear anime songs in real time?

Ota: Yes, of course. Whether it's real-time connection or network delivery, as long as we can do something, we want to try.

Inoue: For example, a performance in Taiwan can be seen in Japan. It's becoming more and more common. Oh, and I'll be a little bit more divergent: due to the Olympics, many venues used for concerts, such as music venues, budokan halls, and Yoyogi Stadiums, are going to be renovated. As a result, we really couldn't find a venue to hold a concert.

Ota: Not really.

Inoue: So the best way to do this is to hold a concert in real time. For example, Shizuoka's concert can be seen in movie theaters in Tokyo, and so on. In other words, similar events held overseas can be watched by people in Tokyo in the same way. The possibility of creating such an environment exists.

Q: Have you ever considered an open-air concert?

Inoue: The Lantis festival is held in the open air. For example, if we want to differentiate ourselves from Animelo SummerLive in terms of style, then there is no doubt that holding a concert in the open air will be more characteristic of Lantis. We also built a shed to create a very unique atmosphere. This year's Lantis festival was held in Tokyo on September 23~25.

Q: The exclusive event in September will be held at a park in Odaiba, Tokyo, so what kind of scale will it be?

Inoue: We don't just let the guests stand there, but we give them a viewing spot, so we can probably accommodate about 10,000 people.

Q: How long will it take to prepare for the festival?

Inoue: Because there is a night noise limit, our end time is certain. I think it's about five or six hours.

Q: Many people will enjoy it?

Inoue: In addition, we will announce the schedule of overseas festivals in September.

Q: Do you have any plans to hold events overseas?

Ota: I'd like to do it again in Taiwan. We would also like to hold the event in a local city in Japan.

Q: We've been talking about overseas for a while, but it's important to tour around Japan.

Ota: From a practical point of view, the singers themselves also tour in Japan, so this is not very easy to do. But if it's a yearly frequency, then we still want to find a place to do it. We surveyed the ASL audience and found that the vast majority of them were from Kanto. Of course, people from local cities also come to cheer, from Hokkaido to Okinawa. Even from overseas, people from Taiwan come over. Overall, about 80% of them are Kanto people.

Q: If we were to choose a relatively small venue from all over Japan instead of a large venue such as Saitama Super Arena, would there be a certain possibility of operation?

Ota: If we were talking about ASL itself, we would need a venue that could accommodate 15,000 people anyway, and if we were to hold a similar event in a local city, we would have to find a venue that could accommodate two or three thousand people. That's where we find it difficult.

■Challenge! Use the Internet to spread the concert out

Q: Can I ask a little bit about the network? Nowadays, people can watch concerts online, but will the scale continue to expand in the future? Or will there be a different approach than before?

Ota: Now there's a "animeloLIVE!" You can watch animations and concerts at will. As long as you become a paid member of this website, you can watch concerts online without buying physical tickets. We plan to promote this type of concert on a large scale in the future.

In this way, the concert venue itself does not need to choose a very large place, and it is enough to accommodate about 300~1000 people. Among them, we will draw a part of "animeloLIVE!" of members can watch on-site for free, while others can experience it online.

Although we at ASL will introduce singers from all walks of life, I believe that you should have more favorites, but it is difficult for us to bring all these people to ASL. And we had to prioritize having multiple singers in one show, so we rarely had a solo concert. However, if the network model is promoted, then the venue for individual concerts will be guaranteed.

If possible, we hope to have similar concerts every week to give guests a sense of value for money and a deeper sense of intimacy with our singers. The concert will also be available to all members online. I think that's the kind of model we're after.

Q: Before I heard about "animeloLIVE!" When this website was launched, I wondered if we could just pay and see an event as big as ASL's. But now it looks like you're going in the opposite direction.

Ota: That's right. I think it's a great thing to have a concert that spreads through the Internet.

As long as we can hold concerts in a down-to-earth manner, then even concerts spread online can still satisfy the audience. In order to achieve this goal, we will continue to work hard.

Q：“animeloLIVE!” Do I need to pay a monthly fee?

Ota: If consumption tax is included, it is 1,100 yen per month (laugh). As long as this money is paid, then everyone can see the concert of any singer.

Inoue: You're really generous (laughs).

Q: How do you make a profit? I think it's incredible. However, if Niconico does something, no matter what the process is, the result is cost-effective.

Ota: Because we fit the concept of "incredible" very well.

Inoue: When niconfarre first came out, they used to have JAMProject hold concerts that could only be enjoyed by those who watched niconico's anime. Of course, there was no audience, so no one applauded even after the song was finished (laughs). The only thing the singers can see is a barrage like "8888". And they were thinking, "That's fine, right?" Who are we supposed to talk to? (laughs)

Ota: We've had a few concerts without an audience, but I don't think it's going to work (laughs). If there was no hot atmosphere at the scene, the concert would not be a concert. Nowadays, although it is a small-scale venue, after all, there are guests entering the venue, and the whole concert atmosphere can be lively. At the same time, online platforms are also booming. That's our ideal form.

Two experts who lead the anime song industry, Shunji Inoue, the head of Lantis, and Toyoki Ota, executive member of the multi-play country, have already given us three interviews. In the fourth interview, they will comment on the future development of the animation industry, especially in what direction the two companies will be headed. And from their conversations, we may also get a glimpse of the way forward for animated songs. The title of the fourth episode is "The Anime Song World in 5 Years".

■ Anime song after 5 years

Q: In the end, let's talk about how the anime song scene in Japan will develop in five years' time. Among them, what are the two companies planning to do in Lantis and Multiplay Country? Even if it's a little bit, I would like to ask two industry experts to imagine what the future holds for five years.

Inoue: Now is a time to think about the next step, and I'm holding a meeting with members in their 35s. Those who are 35 years old are now busy everywhere, and in 5 years they will be 40 years old. We discussed what the industry would become at that time.

Q: What was the outcome of the meeting?

Inoue: During the discussion, we naturally came to the following opinion: we want to hold some concerts where the singers can grow, and we can do what we want to do at our own risk. The whole theme is: if the soul of music is at the heart of an animated song, then what can we do?

When the number of singers in our company increases, it is impossible for the whole environment to allow everyone in the current company to sing the theme song of the TV anime. In this case, how should we train singers? This issue is worth discussing.

We wondered if it would be the best choice if singers could write their own lyrics. If you create a work in your own words, you can get the copyright fee for lyrics and music as a result, and you can also invest money to improve the music environment. I think that's what I should. And how to build such an environment has become the top priority.

If in 5 years, we can't produce the next Nana Mizuki, then the industry will not be able to get better.

Mr. Ota, in terms of scale, how many more customers have been added to ASL today than in the first Animelo Summer Live?

Ota: About 10 times that.

Inoue: If 10 times as many people are willing to pay out of their pockets, then there is a good chance that the singers of anime songs will meet the needs of life, even if they are not at the idol level. This money will help them improve further. They can use their free time to write songs, write lyrics, watch movies, read books, and more. And our greatest mission is to create this environment.

Q: The number of active stages where singers can express themselves is expanding.

Inoue: We've been helping with that, and the singers need to work on it, but in the end, that effort will benefit them. This virtuous cycle continues, and the singers will also show us a mature attitude.

Q: What do you think?

Ota: Luckily, because anime songs are very easy for customers to accept, and if customers are willing to buy the products, there will be no significant decline in our industry. But the entire music market is still shrinking after all. The environment in which you pay directly for music is shrinking. However, we must continue to do what we mentioned above.

Guests can experience the animated music with their bodies and minds, so that they will pay voluntarily. This practice has also led to the continuous growth of the current concert market.

In this regard, we are also seriously considering how to support the concert market through the Internet and how to inject more vitality into this market. “animeloLIVE!” On the one hand, we provide convenience for the performers, and on the other hand, we broadcast the concert live. How to improve this is the problem I am considering.

Concert-centric online delivery services will be profitable, and these benefits will be fully used by the singers. Singers who are already very popular will become more popular, and newcomers will be able to move to a higher level. Wouldn't it be great to be able to provide such a new environment?

Q: If we could do that, the anime songs would be even more influential.

Ota: Our task now is to see how much of a contribution this approach can make. In 5 years, at least the anime song industry should be more prosperous than it is now. Even with a severe shortage of venues, Lantis can do much more, and we have some savings (laughs), so it would be nice if we could have formed such a situation.

I don't know if these things can be completed in five years, but if such a system can be realized in five years, then I think our mission will be considered a success.