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 notable recognition led to an exclusive interview with Billboard Japan, where Saito offered in-depth insights into EMPIRE’s strategic framework, the evolving global streaming landscape, and the distinct challenges confronting Japan’s music industry.

Saito’s career in the music industry began after spending her formative years in the United States and completing her university education. She started as an assistant at AAM, a company specializing in music producer management, before moving to SONGS Music Publishing as an A&R executive, where she helped secure major deals for global artists including Diplo, Lorde, and The Weeknd. Following her impactful tenure, she played a pivotal role in establishing Downtown Music Publishing’s Japan office before eventually joining EMPIRE in 2023.

Founded in 2010, EMPIRE initially distinguished itself as a music distribution company with a deliberate focus on hip-hop—a bold move at a time when genre-specific distributors were rare. The company’s founding vision was to champion and distribute music from underrepresented communities, a philosophy inspired by CEO Ghazi Shami’s immigrant background and his experiences growing up in San Francisco’s vibrant street culture. Over time, EMPIRE strategically expanded its operations to include label and publishing services, extending beyond its hip-hop roots to reach emerging markets in Africa and Asia. The company remains dedicated to empowering independent artists by offering flexible contracts and diverse opportunities, demonstrating that success can be achieved through innovative, non-traditional pathways. A prime example of this evolution is Shaboozey, a rising Black country artist under EMPIRE’s roster.

In her current capacity, Saito’s geographical focus is the Asia-Pacific region, particularly Asia. She collaborates closely with EMPIRE’s teams in Singapore and Indonesia, leveraging the company’s multicultural and globally diverse workforce. According to Saito, this diversity fosters a strong sense of unity and collaboration across all levels of the organization.

On the global front, music streaming growth has slowed overall, yet expectations for expansion remain exceptionally high in Asia, Africa, and South America. Saito highlighted a recent deal she brokered in Cambodia, a market where Spotify only launched in 2021, symbolizing the early yet rapid growth of streaming in new territories. VannDa, an artist signed through a Cambodian label, exemplifies this rise—garnering hundreds of millions of YouTube views in a short time. Similarly, Myanmar and Laos, both home to predominantly young populations, exhibit strong enthusiasm for adopting digital music platforms.

However, a persistent challenge across Asia remains low royalty rates, especially compared to Japan, which enjoys the region’s highest rates. Saito emphasizes that constructive international dialogue is essential to resolving such disparities and promoting sustainable industry growth.

Japan occupies a unique position in the global music ecosystem, where traditional CD sales coexist harmoniously with modern streaming trends. Saito expressed admiration for Japanese artists’ unwavering dedication to artistic excellence and their deep, personal connection with fans. However, she noted that Japan’s approach to fan engagement—often centered on lifelong emotional bonds—differs significantly from Western practices, particularly in the U.S. This cultural distinction can occasionally hinder seamless global integration. Moreover, the definition of “success” varies widely—some artists pursue Grammys for cultural recognition, while others prioritize Billboard chart dominance for commercial success.

Despite these contrasts, optimism is rising within Japan’s music scene, fueled partly by K-pop’s global influence, highlighting the need for adaptability, innovation, and bold creativity.

The U.S. music industry has undergone seismic changes over the past two decades, with the most significant being the rise of independent music. Two decades ago, the term “independent label” evoked images of small, alternative bands. Today, artists across all genres are reclaiming ownership of their work, choosing to self-release their music. Saito believes Japan could follow a similar trajectory. While traditional systems serve idol groups effectively, singer-songwriters, bands, and rappers may thrive better under independent management, gaining greater creative freedom and control. She predicts continued strong growth in the independent sector, compelling major labels and agencies to adapt accordingly.

In today’s hyper-digital age, where trends shift overnight, artists face the challenge of building lasting brands that go beyond fleeting viral fame. Labels and management teams play a critical role in helping artists shape enduring identities and cultivate loyal fan communities. Saito underscores that artists are essentially entrepreneurs, and must carefully chart their career paths with strategic foresight. She clarifies that EMPIRE rejects a “one-size-fits-all” approach, instead functioning as a strategic partner for visionary artists, empowering them to grow beyond traditional industry limits.

EMPIRE has already begun collaborating with Japanese artists, such as Litty, who launched her career just last year. Litty participated in a songwriting camp organized by EMPIRE, collaborating with international musicians and demonstrating an eagerness to learn and evolve—a reflection of EMPIRE’s global outlook and commitment to talent development.

Globally, the music industry is witnessing increased attention toward non-Western music scenes, evident in Billboard’s recent expansion into Africa. Saito observes a growing desire among Black and Asian communities in the U.S. to reconnect with their roots, which is reflected in the international success of artists from these regions, including K-pop’s meteoric rise. This movement, she notes, reflects a broader global acceptance of cultural diversity. Given the United States’ position as the world’s largest and most multicultural music market, it acts as a gateway for global music exposure through social media and streaming platforms.

Saito concludes by emphasizing that Asia represents an immense, largely untapped potential, and EMPIRE’s strategic mission is to leverage its global strengths while tailoring approaches to the cultural and market dynamics of each Asian country.