Miyakoshi:

In order to continuously grow in the existing domestic market going forward, it is essential to sustainably develop and increase the number of artists as the pillar of profit. For the realization of this goal, we think it is important to further enhance the "infrastructure power" of Amuse.

Miyakoshi:

I believe there are two elements. One is the capability to develop artists to achieve commercial success, and to provide the high-quality environment necessary for their growth in a timely manner. Another is thorough communication with artists.

Miyakoshi:

Yes. We add value particularly by creating what the artists cannot create on their own. We consider artists the raw material, and develop them while judging not only the currently existing talent, but also their potential position within the industry, where they can shine to the greatest degree when they grow in the future.

Miyakoshi:

That's why it can be one of our strengths. In our production office, there are artists specialized in music such as the Southern All Stars and Perfume. Like Masaharu Fukuyama, some artists do both music and acting. Each actor has a completely different character. By utilizing the various practices, know-how, and personal connections we have accumulated in the music and acting industries, we are confident that we can develop the artist with the certainty of success.

BABYMETAL is one of the recent development and success examples. In Japan, they just held a solo live show at Budokan in March 2014, and they are becoming popular in Europe and the US via YouTube. They performed on the main stage at the Metal Rock Festival in the UK and Canada, and they also received an offer and performed as the support act of Lady Gaga in the US in July. In the US, they have been ranked 1st on the iTunes overseas album chart.

Miyakoshi:

It is a fusion of idol and metal rock. They were originally an idol group of our “Kids Business Office” in Amuse. We thought it might be interesting to combine their charm as an idol and heavy metal, and formed BABYMETAL.

Miyakoshi:

In addition to the cuteness of their performance, the three members have specialized in vocal and dance only, and they never compose or play the music. In the world of heavy metal, which places importance on tradition and the views of "stylized beauty,” BABYMETAL is full of the unusual in its presence. Therefore, there was initially a significant controversy over whether they should be accepted as a metal group. The controversy extended not only to the YouTube comments, but also to a prominent heavy metal and rock magazine abroad, which featured them and covered the controversy.

Miyakoshi:

While the controversy still continues, there are quite favorable reviews, such as: "BABYMETAL is one form of entertainment brought by a Japanese production office that completely integrates disparate elements (the most conservative heavy metal and idol) together without compromise.”

As this comment indicates, we believe the high quality of our entertainment has paved the way for acceptance abroad. Music played by elite professionals, the intensively polished dance of members directed by the choreographer for Perfume: these are the elements that only Amuse could have prepared. In addition to the planning, we have prepared the best environment that suits the plan, and have thoroughly implemented it. Consequently, BABYMETAL is completely established as entertainment. That's why they are favorably reviewed and accepted as part of the new form of metal, I believe.

Miyakoshi:

Close communication with artists is required when determining the direction of activities. Activities of artists are not determined solely by the production office. Therefore, we take their aspirations into account, and sort out the options that we have, in order to achieve both their aspirations and commercial success during the course of our association.

For example, ONE OK ROCK will go on tour in Latin America and Europe this fall. In this tour, we will move frequently, visit various cities, including smaller cities, and give live performances, just as foreign bands would do. The live environment is much tougher than in Japan, but the artists themselves are resolutely prepared and have high aspirations. That is why they can take on the challenge, and we will produce and support them as the production office.

The allocation of revenue is another area where communication with artists becomes quite important. With the artists’ full consent, the earned revenue of the artist is partly generated from the infrastructure of Amuse, so we need to receive the proper share. It is important to mutually respect each other’s opinion, and go with win-win relationships. Without establishing the trust relationship properly, the long-term relationship over 10, 20, or 30 years cannot be sustained.

Miyakoshi:

Many people understand that the Southern All Stars and Fukuyama did not leave Amuse even after they became big artists, because the communication between us is successful. In the same way, I think it shows the value of belonging to Amuse. We believe the artists stay with us for the long term because we can actually build a win-win trust relationship with the artists.

Miyakoshi:

Recently, we established a consolidated subsidiary named TOKYO FANTASY Inc., jointly with the management company of SEKAI NO OWARI, and began their management. These cases do not happen frequently, but offering a wide range of value chain of Amuse (in-house production of business around the artists, expansion of overseas bases, etc.) to external artists may potentially become a new business. In the sense of bringing up the possibility, I think this is a very symbolic case.