Cloud Nine's Takuya Chigira Talks Ado's WME Deal, Zipangu: Interview

In 2025, Cloud Nine made a significant leap in promoting Japanese music internationally by orchestrating Zipangu, a landmark festival in Los Angeles dedicated solely to Japanese artists. Despite the financial risks, company president Takuya Chigira prioritized the event’s role in encouraging Japanese musicians to engage with overseas audiences rather than immediate profitability. This initiative reflects a broader strategic vision to address longstanding structural barriers within Japan’s music industry and to counteract the migration of talent abroad.

Zipangu’s debut in May attracted a diverse crowd, with approximately 30% identifying primarily as enthusiasts of Japanese culture, including anime and cuisine, beyond just music fans. The festival served as a platform for artists to envision expanded touring possibilities, particularly in North America. Chigira framed Zipangu as a catalyst for Japanese artists to take their performances beyond domestic borders, which historically have been limited by cautious promotion and logistical challenges.

The event’s success was measured not only by attendance but also by a notable surge in streaming activity for the participating acts, which averaged a 2.4-fold increase during the festival compared to the prior week. This digital uplift underscores the impact of targeted international exposure and suggests untapped potential for Japanese artists on the global stage.

Organizing Zipangu presented multifaceted hurdles related to differing technical standards, visa requirements, and taxation rules across countries. Chigira highlighted the steep learning curve experienced by the Cloud Nine team, which operated with fewer than ten staff members handling the festival in addition to their regular duties. These challenges exemplify the knowledge gap that exists for Japanese industry professionals navigating foreign markets, underscoring the need for experiential learning and cultural fluency.

Looking ahead, Cloud Nine intends to institutionalize Zipangu as an annual event in Los Angeles each May, with plans to extend the festival to other regions where Japanese pop culture has established a foothold. This ongoing commitment aligns with the company’s broader mission to cultivate demand for Japanese music internationally and to support artists eager to explore new markets.

In parallel, Cloud Nine secured a representation deal for Ado with the global talent agency WME (William Morris Endeavor). This partnership aims to leverage WME’s regional expertise and resources, complementing Cloud Nine’s Japan-based operations. Ado’s inclusion on Billboard’s 2025 annual touring revenue chart at number 94 demonstrates her rising international profile, and both Cloud Nine and WME are poised to build on this momentum.

Chigira expressed nuanced views on the introduction of the Grammy Awards’ Best Asia Pop Music Performance category. While acknowledging its potential to elevate Asian music visibility, he cautioned against Japanese artists being confined to a regional niche, emphasizing ambitions to compete for mainstream accolades such as Record of the Year or Album of the Year. This perspective reflects a broader aspiration within Cloud Nine to transcend regional classifications and achieve wider global recognition.

Discussing Japan’s music industry more broadly, Chigira identified a reliance on intuition and personal networks over data-driven strategies as a core obstacle to scalable growth. He observed that the industry’s inward focus and limited international outreach have hindered its ability to fully capitalize on the value of its intellectual property. Conversely, foreign markets, notably in South Korea and North America, have demonstrated greater agility and investment interest in Japanese music ventures.

A critical challenge remains the domestic market’s size and stability, which allows many Japanese artists to sustain lucrative careers without pursuing overseas expansion. This security often dampens motivation to confront the uncertainties and hardships of performing abroad, such as navigating unfamiliar logistics and rebuilding support infrastructure from scratch. Yet, Chigira noted that evolving youth aspirations, influenced by the global digital landscape, are shifting toward more ambitious international goals.

Cloud Nine’s ongoing efforts exemplify a proactive response to these dynamics, emphasizing the cultivation of agency capabilities to support artists venturing overseas. The company’s dedication to overcoming practical and cultural barriers signals a strategic pivot designed to retain talent and enhance Japan’s presence within the global music ecosystem. As Japanese artists increasingly seek to extend their reach beyond national boundaries, initiatives like Zipangu and partnerships with international agencies are poised to play a pivotal role in shaping the future trajectory of Japan’s music industry.