Billboard JAPAN talked to ASOBISYSTEM CEO Yusuke Nakagawa about the chances of globalizing Japan’s “oshikatsu” culture.
With their performance on a Korean music TV show, CUTIE STREET’s “Can’t we just be cute? -Kawaii Dakejya Damedesuka?-” has crossed international borders. Seeing this response, KAWAII LAB.
has decided to hold global auditions in five Asian countries. ASOBISYSTEM, the company behind KAWAII LAB. and its artists, like CUTIE STREET, Kyary Pamyu Pamyu, ATARASHII GAKKO!, and FRUITS ZIPPER, will be celebrating its 20th anniversary next year.
Billboard JAPAN talked to its CEO, Yusuke Nakagawa, about the chances of globalizing Japan’s “oshikatsu” culture, his management style of avoiding setting goals, and what it takes to ensure long term success for artists.
In March 2026, CUTIE STREET appeared on a Korean music TV show and performed a Korean version of their song “Can’t we just be cute? -Kawaii Dakejya Damedesuka?-.” This created a lot of buzz, and the group’s Korean shows sold out immediately, leading them to come back to put on additional shows in July.
KAWAII LAB. has been using social media to engage with Korean listeners across the language barrier, such as by posting K-pop dance videos or having a Korean group do FRUITS ZIPPER’s “Watashi no Ichiban Kawaiitokoro” dance.
I think CUTIE STREET’s success was the result of this kind of diligent, ongoing effort.
Even so, it was amazing how it spread like wildfire after their TV appearance. The way it was filmed was also surprising. There were a ton of cameras, even cameras for YouTube.
That’s why the video got released right after the show was broadcast. They only appeared on a single Korean TV show, but their performance spread around the world through YouTube.
They’ve released a music video for the Korean version of the song, too. How do you balance keeping a Japanese feel in videos while also localizing them for other countries, like Korea.
It depends on what triggers it. With CUTIE STREET, I was a little unsure about whether to go with the approach we ultimately did or to make a music video that was more evocative of K-pop.
But after they appeared on M COUNTDOWN and became a hit, I thought about the reasons for their success and it seemed to me that it would be better to keep a Japanese feel.
So we updated the video, keeping the feeling of a Japanese music video and creating a new, improved version of “Can’t we just be cute? -Kawaii Dakejya Damedesuka?-.” We paid a lot of attention to the translation, as well, and we’ve gotten a lot of feedback saying that we really understand Korea.
What countries are you planning to expand into in the future.
KAWAII LAB. is holding KAWAII LAB. ASIA GLOBAL AUDITION 2026, a global audition for people in Korea, China, Thailand, Indonesia, and Vietnam.
So you’re trying to create a group of idols from various different countries.
We haven’t decided on anything specific yet. We might create local groups, we might create one group for all of Asia, we might include Japanese members in the group.
There are a lot of options available to us. As a general rule, I don’t really like picking specific goals. When people pick a goal, they try to squeeze whatever they do into the mold of that goal.
The same is true for business. If you set a goal at the start, it cuts off future possibilities. I think the right approach is to keep thinking about it as you go along and make updates as needed.
With that approach, don’t you run the risk of losing your direction.
I actually think staying flexible about your direction is a strength. More important than the discipline to stay on track, I think, is the willingness to change course when conditions call for it.
If you don’t do that, you’ll never be able to keep up with the times. So when I launch a new project, I’ll decide on a basic concept, but I’ll leave a lot of room for maneuvering, so I can change course as we go.
The March 26 performance of “Can’t we just be cute -Kawaii Dakejya Damedesuka-“ on Korean TV generated a lot of buzz, so we released a Korean version on April 10.
That kind of speediness is essential today. It’s really hard on the employees, though (laughs).
But on the creative front, I have the utmost respect for the opinions of staff and artists. I think the strength of your convictions is important when you’re making creative content, so while I will chime in with some of my opinions, I never go completely against what the creators are saying.
I saw an interview with you elsewhere in which you talked about globalizing “oshikatsu” (Japan’s unique superfan culture) to spread Japanese music around the world.
I don’t think overseas music listeners will, as a whole, engage in Japanese-style “oshikatsu,” but I feel like the people who become fans of KAWAII LAB. are the kinds of fans who could engage in “oshikatsu.” Around the world, there are people who like Japanese global niche content, so I don’t think a market-driven approach would be possible without thinking about how to get those core fans.
Next year, ASOBISYSTEM will be celebrating its 20th anniversary. How do you think the definition of “cute” has changed over those 20 years.
There’s been a lot of change, but there have been even more aspects that haven’t changed. In managing artists, I always place a lot of value on artists themselves having fun and enjoying their work.
I think that feeling of “I love being on stage” or “I’m so happy our song is a hit” is more important than anything else. That’s why I always strive to honor the creativity of artists.
Honestly, I never expected for us to be around as long as we have. I mean, before you know it, ATARASHII GAKKO! is celebrating their 10th anniversary. We never decided to keep at this for a certain number of years, we just kept working, day by day, and I feel like that’s how we got where we are.
One of your most iconic artists, Kyary Pamyu Pamyu, celebrated her 15th anniversary this year. What do you think is the secret to long-term artist success.
Female artists are subject to a lot more ageism than male artists, and in a lot of cases a lot more emphasis is placed on their looks than on their music or their creative output.
I’d like for the name “ASOBISYSTEM” to be recognized around the world. Also, I’d like artists to be able to go out to Los Angeles to perform just as easily as going out to Fukuoka to perform.
I want it to be a world where going to other parts of Japan and going to other parts of the world are everyday things. For people in Europe, travelling across national borders is part of everyday life.
That’s what I’d like it to be for the rest of the world, too. In July, Kyary (Pamyu Pamyu) went to France to perform in Japan Expo Paris 2026, and ATARASHII GAKKO.
did a solo show in London and played at a festival in the Czech Republic, but I don’t think they were able to enjoy the same kind of comfortable environment they do in Japan.
I feel like the question, for both artists and staff, will be how well they deal with environments unlike the ones they’re used to.
But for more people around the world to listen to your music, you’ve got to step up to the bat even more. You need to take advantage of more opportunities to play overseas shows, and more opportunities to appear in the media.
I want to create an environment which presents even more of these opportunities. No matter who the artist is, the more shows you’ve done, the more powerful you are as a performer.
So what’s important is how much you can get out there, and I think that whenever you have the chance, you have to go for it.
This interview by Naoko Takashima first appeared on Billboard Japan.
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