Japan’s live industry welcomes several new venues
Japan’s live music industry will benefit from several new venues opening over the coming years, due to a major change in men’s basketball leagues.
New rules for B League top category (B1) teams mean they must attract an average audience of 4,000 per game and build a home venue of at least 5,000-capacity.
This means nine likely new venues will be built in time for 2027. With basketball games taking up only 30 days per year, the remaining availability is a huge opportunity for the live industry, which has long complained about a lack of concert venues.
“The promotion of establishing arenas by B League clubs is a great move,” says Takeo Nakanishi, chairman of Japan’s promoters’ association, ACPC.
“This is a big plus, especially for the live entertainment industry, as it becomes the hometown of each club. Up until now, there were aspects of stadium/arena plans in rural areas that could only be advanced through interaction with the government. The government is now moving in a positive direction, and the private sector has also joined the movement.
“I’m really looking forward to Nagasaki Stadium City, which is scheduled to open in autumn 2024, especially considering its scale. The idea is not to revitalise a city but rather to create a city in Nagasaki.”
“The most important thing is for the newly built stadium/arena to continue to be a profitable venue”
Due to open on 14 October 2024, Nagasaki Stadium City (located in the eponymous prefecture) will comprise a 20,000-seat stadium and a 6,000-capacity arena. This year will also see the opening of the 20,333-capacity K-Arena in Yokohama – which already has concerts from Sam Smith, Saucy Dog and Awich lined up – and the 5,000-capacity Yokohama Buntai.
2025 will see at least five new venues open including The Tokyo A-Arena (cap. 10,000), the Kobe Arena (10,000), Kagawa Prefectural Arena (10,000), LaLa Arena in Tokyo Bay (10,000) and Aichi International Arena in Nagoya (17,000) – replacing the current Aichi Arena inside Nagoya Castle.
Osaka Arena is set to be the largest arena in western Japan when it opens in autumn 2027 as part of a mixed-use development. It is expected to have a capacity of 18,000 and projects 1.8m visitors a year.
In May last year, the Saga Arena opened in the prefecture of the same name in Kyushu’s northwest. The multipurpose 8,400-capacity arena can host a variety of events, from large-scale events such as sports, concerts, and entertainment, to business events such as conferences and exhibitions.
“SAGA Arena has proved very popular,” says Nakanishi. “In any case, the most important thing is for the newly built stadium/arena to continue to be a profitable venue, so we will continue to communicate [with the B League] in order to maintain a win-win relationship. Furthermore, there may be something that will bring great benefits not only to our concerts but also to events and exhibitions, so I would like them to explore various possibilities. It’s like adding more options than just basketball and music.”
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Japan earthquake prompts concert cancellations
A number of music events were cancelled in Japan as a precaution in the wake of the devastating New Year’s Day earthquake.
The BBC reports the death toll has risen to over 160 a week on, with more than 100 people still missing following the 7.6 magnitude earthquake in the remote Noto peninsula, which destroyed hundreds of homes, triggered a large fire and sparked landslide fears. A small tsunami also added to the damage.
According to the Japan Times, the Meteorological Agency has today warned that powerful quakes could continue to hit the area over the next month.
Speaking to IQ, Nobuhiro Nagai, executive director of the All Japan Concert & Live Entertainment Promoters Conference (ACPC) says: “The full extent of the damage has not yet been revealed, but the damage is becoming clearer every day, and it pains me.”
Founded in 1988, ACPC has 76 members and 116 associate members, comprising regional promoters that hold more than 32,000 live concerts and festivals a year all over Japan.
“So far, there appears to be no life-threatening damage to the managers, employees, stage staff, artists, etc. of our association member companies,” says Nagai.
“All of these events were cancelled or postponed due to concerns about aftershocks from the earthquake and to ensure the safety of the halls”
While no major concerts have been impacted, several music and theatre events scheduled for the Hokuriku region in the first two weeks of the year have been called off. Affected artists include rock group Dragon Ash at the 500-cap Kanazawa Eight Hall, dance vocal group Travis Japan at the Toki Messe Niigata Convention Center Convention Hall (cap. 8,000) and a production of The Phantom of the Opera at Kanazawa Opera House.
“All of these events were cancelled or postponed due to concerns about aftershocks from the earthquake and to ensure the safety of the halls,” adds Nagai. “In Kanazawa City, the core city of Ishikawa Prefecture near the disaster area and surrounding cities, concerts and other events have been cancelled to take into account the effects of aftershocks and to conduct maintenance checks on venue facilities.”
Nagai says that performances postponed due to the closure of the Ishikawa Prefectural Concert Hall (cap. 1,500/700) include the Ishikawa Philharmonic Orchestra 127th Regular Concert, the Tokyo Kosei Wind Orchestra New Year Special Concert, and two shows by Japanese group M!LK. Further events at small venues were also shelved.
However, a K-pop concert featuring artists including Aespa, BOYNEXTDOOR, ENHYPEN and &TEAM at the Vantelin Dome, Nagoya (250km from where the earthquake hit) reportedly proceeded as planned on 2 January.
“The area where the earthquake hit is a very small town, not the type of area where any concerts are happening – especially international acts,” Another industry insider tells IQ.
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Creativeman: “We can see light at the end of the tunnel”
Japan’s leading promoter Creativeman says it is “seeing light at the end of the tunnel” as restrictions are gradually lifted.
The Japanese government recently announced plans to increase the cap on the number of people entering Japan from 3,500 to 5,000 per day starting in March.
In addition, the quarantine period for arrivals will be shortened from seven days to three from March, when the country opens to returning foreign residents (not tourists).
However, the quarantine requirement for international artists won’t be determined until next week, according to Japanese promoters’ association ACPC.
Regardless, Creativeman is bullish its marquee festival Summer Sonic will return to Tokyo and Osaka this summer for the first time since 2019 – international artists and all.
“We are confident Summer Sonic will happen this August,” says Creativeman’s Layli Odamura. “The reception at the announcement was so fantastic on every platform. Everyone is very eager and ready for it to happen and feel the heat.”
“We are confident Summer Sonic will happen this August”
The 1975 and Post Malone were recently announced as headliners of the festival, due to take place on 20–21 August simultaneously at Zozomarine Stadium & Makuhari Messe Convention Center in Chiba, a suburb of Tokyo, and at the Maishima Sonic Park in Osaka.
Other international artists lined up for the event are Carly Rae Jepsen, Kasabian, The Libertines, Maneskin, Megan Thee Stallion, One OK Rock, The Offspring, Primal Scream, St. Vincent, Yungblud, All Time Low, Beabadoobee, Easy Life, Fishbone, Kacey Musgraves, Inhaler, Kula Shaker, Rina Sawayama, Squid and the Linda Lindas.
“More and more artists are reaching out and eager to visit or revisit Japan,” maintains Odamura. “We as a promoter are ready for the live market to return and we will continue to assess the situation with the government. There will be multiple headline shows happening towards the autumn onwards too.”
Despite Japan’s strict border controls and quarantine requirements during the past two years, Creativeman has had some success in bringing overseas artists to the country.
Last September, the promoter pulled off Japan’s first large-scale music event that included overseas artists since the pandemic began, Supersonic.
Zedd, Steve Aoki, Clean Bandit, Alan Walker and Aurora were among the overseas artists that performed at the two-day event at Zozomarine Stadium.
“More and more artists are reaching out and eager to visit or revisit Japan”
The festival was considered a test case for reopening Japan’s live industry to foreign acts and, a few months later, Creativeman promoted the first headline tour of an international artist in Japan in 18 months with King Crimson.
In another win for international promoters in Japan, a Creativeman-led alliance successfully lobbied the government to amend its compensation scheme to include domestic shows by foreign artists.
The International Promoters Alliance Japan, which was officially announced last year, includes Live Nation Japan, Udo Artists, Smash Corporation, Hayashi International Promotions and Kyodo Tokyo.
The consortium, completed by Avex Entertainment, Hanshin Contents Link/Billboard Japan, M&I Company and Promax, complements the work of existing music association ACPC, with which it shares members.
The consortium’s next goal is to ease the business visa restrictions for foreign artists to enter Japan with no quarantines, which Asia-based execs say is the biggest challenge facing the market.
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Japan eases 10k capacity limit on mass gatherings
The Japanese government has eased its 10,000-capacity limit on mass gatherings such as concerts following a steady decline in coronavirus cases.
Events across the country can now admit 5,000 people, or 50% of capacity – whichever is larger – while large-scale spaces are permitted to welcome more than 10,000 spectators in Tokyo and other regions previously under a state or quasi-state of emergency. However, events that will involve fans shouting and cheering will be capped at 50% of capacity.
Kyodo News reports the move has been backed by promoters, who have started putting additional tickets on sale for shows in anticipation of hosting larger crowds.
We will continue to work hard to prevent infections so our guests can feel at ease
“We will continue to work hard to prevent infections so our guests can feel at ease,” says a statement from music association the All Japan Concert and Live Entertainment Promoters Conference (ACPC).
The restrictions were in place in 27 of the country’s 47 prefecture and have been gradually eased by the government since 1 October.
Earlier this year, 10 leading Japanese concert promoters announced the formation of the International Promoters Alliance Japan to establish unified guidelines for the safe resumption of events involving international artists.
Led by Creativeman Productions head Naoki Shimizu, the alliance includes Live Nation Japan, Udo Artists, Smash Corporation, Hayashi International Promotions and Kyodo Tokyo – will work closely with the Japanese government, as well as international embassies and consulates.
The International Promoters Alliance Japan is completed by Avex Entertainment, Hanshin Contents Link/Billboard Japan, M&I Company and Promax. The organisation complements the work of ACPC, with which it shares members.
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Japan includes shows by foreign acts in comp scheme
The Japanese government has amended its compensation scheme to include domestic shows by foreign artists, thanks to lobbying from a new consortium of Japan-based international promoters.
The scheme (which goes under the name of J-LODlive) was set up in late January and was partly intended to reimburse organisers for the cost of an event that was cancelled or postponed due to the state of emergency issued at the beginning of the year.
The initial eligibility requirements, published on 19 February, excluded performances by overseas artists but after campaigning from an alliance that includes Live Nation Japan, Creativeman and Billboard Live, the decision was reversed on 17 March.
The alliance, driven by the All Japan Concert & Live Entertainment Promoters Conference (ACPC), was formed last December and is completed by ALC, Hip, Kyodo, M&I, Promax, Smash Cooperation and Udo.
The 10 promoters are working closely together in cooperation so that international touring in Japan can go back to normal
The 10 promoters are working closely together in cooperation so that international touring in Japan can go back to normal.
The consortium’s next goal is to ease the business visa restrictions for foreign artists to enter Japan with no quarantines.
For the first time in 10 weeks, no part of Japan is under a Covid-related state of emergency, signalling hope for the organisers of spring festivals.
According to ACPC, a number of domestic festivals are due to take place from this April with up to 10,000 attendees, including the inaugural edition of Love Supreme Jazz Festival Japan.
The festival will make its debut in the 375-hectare Chichibu Muse Park, just outside Tokyo, on 15 and 16 May 2021.
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Tokyo venues reopen as 1,000-cap. events allowed in Japan
Music venues in the Japanese capital of Tokyo have now been given the go-ahead to reopen, despite the city being subject to more stringent restrictions than elsewhere in Japan.
The government in Tokyo withdrew its temporary closure request on smaller live music venues, nightclubs and similar entertainment establishments, as well as lifting all other restrictions on businesses, on Friday (19 June), as the city embarks on the final stage of its reopening plan.
Small venues in Tokyo, which have been deemed high-risk spaces throughout the coronavirus crisis, had been placed under stricter restrictions than those in other parts of Japan, where indoor concerts of up to 100 and outdoor shows of up to 200 people have been allowed to take place since the start of June.
Tokyo governor Yuriko Koike has attributed recent spikes in reported coronavirus cases – the city recorded 48 new infections in a single day last week, its highest daily infection rate since the start of May – to heightened efforts to track infections and better cooperation from the nightlife industry in testing.
The government is asking those working at entertainment establishments in the city to regularly undertake coronavirus tests; retain customer contact information for a month; and maintain a two-metre distance from others.
Music venues in the Japanese capital of Tokyo have now been given the go-ahead to reopen, despite the city being subject to more stringent restrictions than elsewhere in Japan
The capacity limit on events elsewhere in Japan has now increased to 1,000, with indoor venues operating at no more than 50% capacity and outdoor events obliged to ensure sufficient distancing is maintained between guests, staff and performers.
If all goes to plan, the government will increase capacities to 5,000 from 10 July and scrap maximum capacity limits altogether from 1 August, although maintaining the need to implement distancing measures.
It is estimated that around 150,000 concerts had been cancelled in Japan by the time of lifting the state of emergency at the end of May, with a loss of 330 billion yen (€2.7 bn) to the industry.
In order to alleviate pressures on event organisers and others in the business, the All-Japan Concert and Live Entertainment Promoters’ Conference (ACPC), Japanese Federation of Music Producers (FMPJ) and Japan Music Business Association (JAME) recently launched a subsidy programme for the entertainment industry, J-LOD Live, to support the costs of the production and international digital distribution of live event footage.
The trio has also launched the Music Cross Aid fund to support those working in the Japanese live entertainment industry.
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Mixed fortunes for live events as Covid-19 spreads
The live music industry is being affected differently in markets around the world by the continuing spread of coronavirus (Covid-19), with over 110,000 cases now reported worldwide.
Politicians in the UK today (9 March) reiterated that there was no need to cancel large events to prevent further spread of the virus.
At the International Live Music Conference (ILMC) last week, top agents expressed their resolve to carry on with business as usual, with CAA’s Emma Banks saying the agency would not take shows off sale “unless we have to”.
Reacting to a suggestion from Germany’s health minister Jens Spahn that all events over 1,000 capacity be cancelled due to Covid-19, DEAG today announced that “all events will be carried out according to scheduled dates regardless of the number of participants.”
“DEAG will carry out a responsible analysis of each event in close coordination with the respective artists, their partners and of course the local authorities and will make an appropriate decision on a case-by-case basis,” reads the statement.
A spokesperson from German powerhouse CTS Eventim, which operates in 15 markets across Europe, states that Covid-19 is having only “isolated effects” on its business, such as in Italy and Switzerland.
“The majority of our events and functions take place in the summer and in the second half of the year,” continues the Eventim spokesperson. “Based on the current situation, there is no reason to believe that the major festivals will not be held outdoors in the summer. We cannot observe an increased return of purchased tickets.”
“Based on the current situation, there is no reason to believe that the major festivals will not be held outdoors in the summer”
The Italian government recently extended its ban on all public gatherings in the north of the country until 3 April, whereas all events in Switzerland over 1,000 capacity have been banned until 15 March, in a measure deemed “disproportionate” by Swiss Music Promoters Association (SMPA).
In France, a ban imposed on events over 5,000 capacity led to the cancellation of Tomorrowland Winter, set to take place from 14 to 21 March at the Alpe d’Huez ski resort.
“It is with a heavy heart that we have to inform you that the French government has decided to cancel this year’s edition,” reads a post on Tomorrowland Winter’s Facebook page.
“The French government is taking drastic measures regarding the Covid-19 virus in France. Therefore they are enforcing the cancellation of large events, bringing together people from different nationalities on closed festival grounds and event locations.”
Asian tour dates by international acts including Avril Lavigne, Green Day, BTS, Mariah Carey, Stormzy and Khalid are among those to have been called off amid coronavirus concerns.
A joint statement issued by Japanese music bodies reads: “We have decided to cancel or call off the majority of shows, following a recent request to cancel or postpone events from the government.”
The bodies, including Japanese promoters’ association (ACPC), federation of music producers (FMPJ) and association of music enterprises (JAME), state they will work to provide all the appropriate information to the public and “deliver high-quality entertainment again soon”.
Events in the United States have also taken a hit recently, with the cancellations of Austin showcase festival and conference SXSW and the Miami edition of EDM event Ultra Music Festival.
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Coronavirus causes ‘immense’ issues for Asian live industry
As the number of cases of coronavirus rises daily around the world, many international tours have put the brakes on visiting China and surrounding countries for the foreseeable future.
Speaking to IQ last month, promoters in China predicted that the coronavirus-related disruption to live shows would worsen in the coming weeks. Cases confirmed of the novel coronavirus (2019-nCoV) in China at the time stood at 7,700.
Two-and-a-half weeks on, and numbers of the virus have sky rocketed. As of this morning (Tuesday 18 February), it is believed that 72,869 people have been infected by the coronavirus, which has claimed at least 1,873 lives worldwide.
The vast majority of cases have been found in China, where the virus originated. According to the China Association of Performing Arts, around 20,000 shows have been cancelled or postponed between January and March in China and Hong Kong, costing the sector RMB 2 billion (US$286 million).
“As all venues remain closed, we have cancelled more shows in February and March,” Zhang Ran, director of international business at Modern Sky tells IQ. US alt-rockers the Pixies were among artists affected, cancelling upcoming dates in Shanghai and Beijing.
Modern Sky, China’s biggest festival promoter, recently streamed a number of past editions of its Strawberry festival, to “bring an element of fun” to housebound music fans.
“We hope that the festivals and artists (such as Two Door Cinema Club and Mac Demarco) can all be moved to the second half of the year”
The 2020 editions of Strawberry festival, which takes place in Shanghai, Beijing, Chengdu and Hangzhou, have also been affected, with Modern Sky in talks with already-booked international artists as the events “will all likely be rescheduled for the second half of the year”.
“We hope that the festivals and artists (such as Two Door Cinema Club and Mac DeMarco) can all be moved to the second half of the year, but we can’t really confirm anything yet because it’s all dependent on how the virus situation develops,” continues Zhang.
“Right now everyone is just staying in doors and working from home, in the hopes it will help it will all be resolved more quickly.”
The Chinese live event sector is not the only one feeling the impact of the coronavirus outbreak, with many promoters halting the entire Asian leg of tours.
AEG, for example, called off the Asian leg of Khalid’s Free Spirit tour on Friday, postponing dates in Thailand, Singapore, Indonesia, the Philippines, Malaysia, India, Japan and South Korea. UK grime artist Stormzy last week postponed the Asia dates in his HITH world tour, in addition to the cancellation of shows by K-pop artists GOT7, Taeyeon, Seventeen and NCT Dream, among others.
“[The coronavirus] has immensely affected most, if not all, live events in general across the region,” Tommy Jinho Yoon, president of Korea’s International Creative Agency (ICA) tells IQ.
“[The coronavirus] has immensely affected most, if not all, live events in general across the region”
“Most headline shows and some of our festival are being pushed back or even, in a lot of cases, cancelled because of the coronavirus situation,” says the ICA president, who cites shows by artists including Post Malone, Camila Cabello and Kenny G, as well as “many top-drawing K-pop artists”.
In Japan, as well, it seems that a number of shows are being affected by the coronavirus, although not quite to the same extent. Four dates by Korean girl group EXID have been postponed, as well as a few fan meet-and-greets, Katsuhiko Kondo, a spokesperson for Japanese promoters’ association ACPC tells IQ.
ACPC members are taking action to prevent the spread of infection at live shows, including providing disinfectants and mouthwash within venues and encouraging concertgoers to wear surgical masks.
Live entertainment behemoth Live Nation is another promoter focusing on preventative action.
“Live Nation is monitoring the situation closely. The safety of artists, patrons and staff is our top priority and we will continue to act on advice from the authorities on the coronavirus and take precautionary measures in line with prevention efforts,” a spokesperson tells IQ.
As the uncertainty rumbles on and the coronavirus continues to spread, the long-term effects for the Asian live sector remain uncertain. As ICA’s Jinho Yoon states: “We just have to pray and hope that this gets resolved soon.”
Photo: Emilio Herce/Wikimedia Commons (CC BY 2.0) (cropped)
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Tokyo unveils new 15,000-seat Ariake Arena
The Ariake Arena, a new US$340 million and 15,000-seat venue in the Japanese capital, was inaugurated on Sunday (2 February), with a performance from J-pop band AKB48.
The arena, which will host volleyball and wheelchair basketball at the upcoming 2020 Tokyo Olympics and Paralympics, will be used to stage entertainment and cultural events after the games.
A concave roof is the main feature of the venue, which includes both a main arena and “sub arena”, minimising the need for lighting and air conditioning. The arena will be accessible to all, in keeping with new priorities of the Japanese live music business.
The new events space will help to address the scarcity of large venues in the world’s most populated city.
“The big story in Japan – the big story in Tokyo, specifically – is the lack of venues,” Live Nation Japan president John Boyle, told IQ last year.
“Tokyo has a population of 37m people, and for a market that big, there’s five or six venues that are bigger than 10,000 capacity. In LA, there’s probably 15 or 20 for a market that is a fraction of the size.”
“The big story in Japan – the big story in Tokyo, specifically – is the lack of venues”
Ariake Arena joins current big show favourites the Tokyo Dome (55,000-cap.), Makuhari Messe convention centre (9,000-cap.) and the Saitama Super Arena (37,000-cap.).
It is one of a number of new venues being created for the Olympics, along with the 68-80,000-capacity New National Stadium, 15,000-capacity Oi Hockey Stadium and the 10,000-capacity Musashino Forest Sport Plaza, which has already played host to Judas Priest, with upcoming concerts from K-pop band NCT 127.
The Olympics has also seen the temporary closing of “some large, pivotal venues”, Takao Kito, director of Japanese promoters’ association ACPC told IQ, which has led to a decline of event numbers.
“When the competition venues are restored to their original condition after the Olympics, and new venues are constructed in the metropolitan area, this issue will be solved,” explained Kito. “Actually, we guess venues will be rather oversupplied because of the upsurge of venues.”
Read the whole of IQ’s Japanese market focus here.
Land of the rise in fun: Why booming Japan is such a tough market to crack
Photo: Edo Village/Wikimedia Commons (CC BY-SA 4.0) (cropped)
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Japanese live biz focuses on accessibility
Improving accessibility is a new priority for the Japanese music business, as industry associations work with UK-based music charity Attitude is Everything to establish the first steps to becoming more inclusive.
Japanese promoters’ association, the All Japan Concert and Live Entertainment Promoters Conference (ACPC), hosted the charity, which is dedicated to improving deaf and disabled people’s access to live music, as its first international guest at the Tokyo International Music Market (Timm) conference last month.
Attitude is Everything presented five key, universal concepts that underly its work: access is about identity, connection, passion and escapism; accessibility is relevant to everyone; people are disabled by the barriers they encounter; creativity and collaboration are key; and disability affects a diverse range of people, who are the real experts on accessibility.
“Although there are some challenges in terms of budget limitations and venue facilities, let’s get the ball rolling from what we can fo on our own”
A panel discussion entitled ‘Music Without Barriers: Improving Accessibility to Live Entertainment’, followed the presentation, hosted by ACPC, Japanese Music Culture Export and supported by Japan’s British Council.
The panel was moderated by Manami Yuasa, head of arts at British Council Japan and featured panellists Gideon Feldman, head of programming at Attitude is Everything; Jacob Adams, head of research and campaigns at Attitude is Everything; and ACPC director Nobuhiro Nagai.
“Although there are some challenges in terms of budget limitations and venue facilities, let’s get the ball rolling from what we can fo on our own,” urged the panellists.
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