Chapter4: Solid Live Entertainment Business and Royalties

Regarding Live entertainment, the number of spectators stayed solid, and increased by 3% compared to the prior year. A bad influence because of the Great Eastern Japan Earthquake and the accident at the Fukushima nuclear power plant have been a concern, but regarding the crisis there is also the side that the value of emotional support through music has been re-evaluated.

The phenomenon that foreign artists worry about performances in Japan applied only to some, and did thus not cause big damage.

In addition, apart from the numbers in table5, live concerts by so called amateur and Indies bands in small venues are progressing.  These small scale live houses are spreading across the country in the heart of big cities and create networks. With a scale of several hundred people and more than 3-5 bands performing every day, these stages are sustaining the base of Japan’s live entertainment.

Hereafter, in order to see the changing tastes and likes (different from mainstream), a rather broad range of generations including elder and younger has to continuously go to concerts for which a great effort is necessary. 

The number of concerts that take advantage of digital cinema distribution systems (ODS)[1] has increased. The company Live Viewing Japan specializing in ODS has been founded and creates solid results. As a service live viewing has a new revenue system and at the same time is a promising form of music export, since it also responds to the needs of overseas fans that want to see a concert of Japanese artists.

I also would like to touch upon “Club Regulation Issues”.

The regulations affecting clubs that focus on DJ events, are unmasking social problems. Because these clubs are often late-night businesses they are subject to the“Fueiho”[2]  and thus the cases of police arrests for illegal business have increased. The correspondence on police’s side has changed, because the decision that clubs are becoming breeding grounds for drug dealing and underage drinking seems to be working. Unfortunately, in the past this was the case in some venues, though most clubs are managed soundly and do not allow minors to enter late at night. Not to forget, clubs are transmitting music information, and play a cultural role as centers for communication. The so called dance-music[3] genre is a DJ driven global music scene. Over the years, it has greatly contributed to the development of J-Pop music. And if clubs would disappear from Japan, because of tighter police regulations, we have to be aware that this would cause irreparable damage on the Japanese music scene and music business. Thus, the reevaluation of the merits of clubs in Japan and the formation of a social consent including the operating existent laws is desired. To do this, it goes without saying that on club management side a wholesome management and the legal disclosure of information is necessary.

Copyright revenues have also continued leveling off.  Table -6 shows, the collection of transition charges by copyright control and management organizations other than JASRAC (Japanese Society for Rights of Authors, Composers and Publishers), for example JRC (Japan Rights Clearance) which is similar to JASRAC has been increasing in recent years. This is probably an evidence for the penetration of the music business.

I think it is an important task to well balance the right protection and promotion of distribution of new services in the IT business together with more transparency in distribution and collection.

〜from “WHITE PAPER of DIGITAL CONTENTS in JAPAN” (supervised by METI)
 (translation:Benjamin Tag)

【table-5:Number of shows and audiences】



[1] Other Digital Stuff 

[2] Businesses Affecting Public Morals Regulation Law

[3] a genre of pop music 


About yamabug

Music Producer consultant of contents business C.E.O. of BUG corporation director of Federation Music Producers Japan. in details ☞ Twitter ☞
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