Billboard‘s Billboard Global Power Players list recognizes leaders driving the success of the music business outside of the U.S. Kaori Hayashi of Live Nation H.I.P. is the only Japanese woman on the list. Billboard Japan interviewed her in recognition of her selection for the list for the fourth consecutive year, discussing her work bringing some of the world’s biggest artists, including The Weeknd and Bruno Mars – to Japan and her outlook for the country’s live music industry.
Since Live Nation acquired H.I.P. in April 2025, what results or outcomes have you seen so far?
Japan is the world’s second largest music market, but it is also one of the most relationship driven. Whether you are promoting an international artist or helping a Japanese artist grow overseas, success is built over time through trust, consistency and a deep understanding of fans.
For over 40 years, H.I.P. has worked to bring international artists to Japan and create memorable experiences for audiences across the country. Now, as part of Live Nation, we are able to combine the knowledge and networks we have nurtured in the Japanese market with Live Nation’s global network. This really opens up new opportunities for us.
There are a lot of plans for overseas artists to perform in Japan in 2026, as well.
Lady Gaga performed earlier this year in January and The Weeknd will play in September. In January 2027, Bruno Mars will embark on a history-making dome tour, with 12 shows at 6 domes across the country, including two performances in Sapporo, which will be a first for an overseas artist. It’s rare even for Japanese artists.
By becoming Live Nation H.I.P., we’ve deepened our ties with other Live Nation teams around the globe, and now we’re involved in tours and projects from the initial planning stages. Because of that, we can now support artists more effectively and create greater scale where it makes sense. We are also doing a lot more work to help Japanese artists, including Number_i, to connect with international audiences, and this remains a priority for us.
Live Nation HIP was involved in a tie up with Don Quijote and Bruno Mars. Do you see your company as more than just a music promoter?
Absolutely. Live music remains at the centre of what we do, but artists today are looking for deeper ways to connect with fans, and brands are looking for authentic cultural partnerships.
Because of the relationships we have built over many years, we are often well positioned to bring those opportunities together. The Bruno Mars and Don Quixote collaboration is a good example. It was more than just a simple advertisement, it was a partnership made possible because of a strong understanding of the Japanese culture and fans. I think that’s why it resonated with people so much.
Going forward, I believe these types of collaborations will become increasingly important as the worlds of entertainment, culture and brands continue to converge.
How does Live Nation H.I.P view the Japanese market?
Japan remains one of the most important music markets in the world, with a passionate fan base and a strong culture of supporting artists over the long term. At the same time, it is a market unlike many others. Domestic artists continue to account for the vast majority of music consumption and live attendance, which means success here requires patience, commitment and genuine engagement with fans.
Live Nation H.I.P. recognises both the strength and the uniqueness of the Japanese market. There is still considerable opportunity to grow the live entertainment sector domestically while also helping more Japanese artists build international touring careers and reach audiences beyond Japan. We are building momentum on both fronts.
The live entertainment market reached record-high profits in 2025 and is expected to surpass that in 2026. Do you think this level of growth will continue going forward? What challenges do you see?
Around the world, and in Japan, we are seeing strong demand for live entertainment. More artists are touring, more live events are taking place and more fans are attending these events. To continue growing the live music industry in Japan, venues and their availability will play a major role. In the short- term, we see venue availability as a constraint, particularly for large-scale tours. The weak yen is also impacting touring economics, increasing costs for international artists.
From 2026 onward, which areas would you like to focus on (e.g., regions or countries you would like to strengthen in terms of touring/promotions)?
Japanese culture has become increasingly influential globally, whether through anime, gaming, fashion, food or music. We believe live entertainment can play an important role in connecting international audiences with that broader cultural ecosystem.
At the same time, we continue to see strong demand in Japan for international artists. Japanese audiences are incredibly passionate about live music, and we expect to bring more artists to Japan and deliver live experiences at an even greater scale in the years ahead.
Specifically, how are you collaborating with Live Nation?
We have two objectives. The first is to bring even more overseas artists to Japan and provide Japanese fans with the ultimate concert experience. The second is to bring Japanese artists and Japanese music to even more fans worldwide. Artist development sits at the centre of both objectives.
We believe successful touring careers are built over years, not individual shows. Whether we are working with an international artist entering Japan or a Japanese artist expanding overseas, the focus is the same: understanding audiences, building demand gradually and creating long-term opportunities for growth.
Since becoming Live Nation H.I.P., we have been able to approach this work more holistically. We are able to engage much earlier in conversations around touring plans, market strategy and long-term growth opportunities, allowing us to think beyond individual shows and look at how artists can build audiences over time.
We have also been sharing insights into Japan’s live entertainment landscape, so that together we are able to navigate a market which operates differently from many others. This exchange of knowledge has been one of the most valuable aspects of the partnership so far.
The second MUSIC AWARDS JAPAN was held the other day. What are your expectations for the event?
The feedback from Music Awards Japan was very positive. What stood out for me was the interest generated overseas for the event. I see this event growing year by year to become the premier showcase not just for Japanese artists but also for artists across Asia. I’d love to see MUSIC AWARDS JAPAN serve as a bridge between Asia’s music landscape with the world, offering opportunities for new talent and music to gain recognition across borders.
—This interview by Naoko Takashima first appeared on Billboard Japan
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