Taeko Saito, Senior Vice President of business development and strategies for Asia Pacific at EMPIRE, has been honored on Billboard’s Global Power Players list, marking her inaugural appearance. This significant recognition led to an interview with Billboard Japan, where Saito provided extensive insights into EMPIRE’s strategic framework, the dynamic evolution of streaming markets worldwide, and the distinct challenges currently facing Japan’s music industry.

Saito’s professional trajectory in the music sector commenced after spending her formative years in the U.S. and completing her university education. Her career began as an assistant at AAM, a company specializing in music producer management. Subsequently, she transitioned to SONGS Music Publishing as an A&R, where she was instrumental in orchestrating deals for notable artists including Diplo, Lorde, and The Weeknd. Following her impactful tenure there, she played a key role in the establishment of Downtown Music Publishing’s Japan office before ultimately joining EMPIRE in 2023.

EMPIRE, founded in 2010, initially distinguished itself as a music distribution entity, with a deliberate and early focus on hip-hop. This strategic specialization emerged at a time when genre-specific distributors were a rarity. The company’s foundational vision was to champion and disseminate music from communities that were often underrepresented, a philosophy deeply influenced by CEO Ghazi Shami’s immigrant background and his immersion in San Francisco’s street culture during his upbringing. Over time, EMPIRE strategically diversified its operational scope, venturing into label and publishing services and expanding its musical genre interests beyond its original hip-hop core to encompass diverse regions such as Africa and Asia. The company is committed to empowering independent artists by offering a spectrum of flexible contract structures and opportunities, thereby illustrating that success is achievable through various innovative, non-traditional pathways. An illustrative example of the contemporary diversity within their artist roster is Shaboozey, a rapidly ascending Black country artist.

In her current capacity, Saito’s primary geographical focus within EMPIRE is the Asia-Pacific region, with a particular emphasis on Asia. She collaborates closely with EMPIRE personnel stationed in Singapore and Indonesia, leveraging the company’s inherently diverse global workforce. This multicultural composition, she notes, fosters a strong sense of team cohesion and collaborative spirit with the headquarters.

Regarding the global music streaming market, while the overall rate of growth is showing signs of moderation, expectations for expansion remain exceptionally high in regions such as Asia, Africa, and South America. Saito highlighted a recent deal she facilitated in Cambodia, a country where Spotify only became available in 2021, underscoring the nascent yet burgeoning music industry in these territories. VannDa, an artist signed through a Cambodian label, serves as a compelling testament to this rapid growth, having garnered hundreds of millions of views on YouTube within a relatively short timeframe. Furthermore, countries like Myanmar and Laos, characterized by their predominantly young populations, exhibit a strong eagerness to adopt and embrace new digital services. However, a significant systemic challenge persists on the business front: the prevalence of notably low royalty rates across many Asian nations, particularly when contrasted with Japan, which enjoys the highest rates in the region. Saito firmly believes that ongoing, constructive international dialogue is indispensable for effectively addressing these intricate issues and stimulating sustained growth.

Japan occupies a distinctive position in the global music landscape, notable for the harmonious coexistence of traditional CD sales and modern streaming consumption. Saito conveyed her profound admiration for the unwavering dedication Japanese artists exhibit towards artistic quality and their meticulous, genuine care for each individual fan. Nevertheless, she observed that the Japanese methodology for music presentation and fostering fan engagement, which frequently involves nurturing enduring, lifelong connections, deviates considerably from practices prevalent in overseas markets, particularly the United States. This underlying cultural disparity can, at times, impede seamless global connectivity. Furthermore, the very definition of “success” often varies; while some artists may aspire to a Grammy for its symbolic cultural impact, others prioritize achieving top positions on the Billboard charts for commercial triumph, and these two distinct objectives do not invariably converge. Despite these inherent differences, a palpable sense of optimism is emerging within Japan’s music industry, partly inspired by the global ascendancy of K-pop, underscoring the critical importance of adaptability and a sustained spirit of innovation and challenge.

The U.S. music scene has undergone profound transformations over the past two decades, with the most impactful shift being the dramatic rise of the independent music movement. Whereas two decades ago, “independent label” primarily conjured images of alternative bands, today, artists spanning all genres are increasingly asserting ownership of their rights and independently releasing their music. Saito posits that Japan could realistically navigate a similar evolutionary path. While traditional industry structures may effectively serve idol groups managed by producers, singer-songwriters, bands, and rappers who originate their own material might discover greater empowerment and creative control through independent management of their work. Saito anticipates continued robust growth within the independent market, a trend that will necessitate substantial adaptation from established major labels and agencies.

In today’s hyper-accelerated digital milieu, where audiences rapidly transition from one trend to the next, artists are confronted with the formidable task of cultivating enduring brands that transcend fleeting viral moments. Labels and management teams assume a critically important role in assisting artists to forge a robust brand identity and foster a loyal, dedicated fan base. Saito underscores that artists, fundamentally acting as business owners, must meticulously evaluate their chosen career trajectory. EMPIRE, she clarifies, does not adhere to a “one-size-fits-all” model but rather functions as a strategic partner for artists possessing the vision and acumen to strategically evolve and expand their ventures, with EMPIRE confidently asserting its capability to facilitate greater growth than traditional industry setups.

EMPIRE has already initiated collaborations with Japanese artists, including Litty, who embarked on her music career just last year. Litty recently participated in a songwriting camp hosted by EMPIRE, where she engaged in creative collaborations with international artists, showcasing an evident eagerness to absorb new knowledge and adapt. This global focus is also reflected in broader industry trends.

The global music industry is observing a marked increase in attention directed towards non-Western music scenes, a trend underscored by Billboard’s recent launch in Africa. Saito observes a compelling desire within both Black and Asian communities in the U.S. to reconnect with their ancestral roots and cultural identities. This inclination is mirrored in the growing global triumph of artists from these regions, particularly the phenomenon of K-pop, which signifies a broader societal embrace of diverse identities. Given the United States’ preeminent status as the world’s largest and most multicultural music market, it serves as a pivotal conduit through which diverse musical expressions propagate globally via social media platforms and streaming services. Saito concludes by emphasizing that Asia represents an immense, largely untapped potential, and EMPIRE’s strategic objective is to effectively leverage its inherent strengths while meticulously tailoring its approaches to the distinct cultural and market landscapes unique to each country.