Japan’s Music Industry Organization CEIPA And The TOYOTA Group Are Back in L.A. This December 1 & 2

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Awọn ennichi ’25 ti a ṣe nipasẹ CEIPA × TOYOTA GROUP – “MUSIC WAY PROJECT”
Awọn iṣowo ti o ni ifihan meji awọn eto: ennichi ’25 Japanese Music Experience LA, eyi ti a fi awọn awon eniyan a imọran lati awọn agbara ti Japanese music, ati awọn ennichi ’25 Japanese Music Industry Mixer, designed to showcase the potential of Japan’s music business to industry professionals in the United States. Through these two complementary approaches, the project aims to enhance the global recognition of Japanese music and promote its sustainable growth.

Event Overview
With the goal of fostering globally successful artists originating from Japan, this event marks the starting point of a broader initiative to elevate Japanese music into a new global standard. Additional live events are planned to be held in various regions around the world as the project continues to expand.

‍“ennichi ’25 Japanese Music Industry Mixer”
Date: Monday, December 1, 2025
Venue: JAPAN HOUSE Los Angeles
Tọkasi: Ile-iwe titun ti Japanese music lati Japan-US Creative Scene
Panelists: Kyary Pamyu Pamyu, ☆Taku Takahashi (m-flo), Peyote Beats (ever.y inc.), 
Moderator: Jeff Miyahara ‍Organizer: CEIPA × TOYOTA GROUP “MUSIC WAY PROJECT” / The Japan Foreign Trade Organization (JETRO) Los Angeles
Special Support by: Agency for Cultural Affairs, Government of Japan
Ni ifowosowopo pẹlu: Consulate-General of Japan ni Los Angeles / JAPAN HOUSE Los Angeles
Tọkasi nipasẹ: Ministry of Economy, Trade and Industry (METI) / The Japan Foundation, Los Angeles
Subsidized by JLOX+
Nọmba: Nọmba-only; tọ si awọn agbaye

“ennichi ’25 Japanese Music Experience LA”
Performers: Awich, f5ve, JP THE WAVY, PSYCHIC FEVER from EXILE TRIBE *In alphabetical order
Date: Tuesday, December 2, 2025 
Venue: Aurora Warehouse (1770 Baker Street, Los Angeles, CA 90012)
Attendance: Approx. 2,500 people
Food Vendors: Honda-Ya, Soma Suisan, Tenkatori, Tsukiji Gindaco, UMACHA
Japanese Festival Games: Super Ball Scooping, Yo-yo Fishing, Rubber Gold Fish Scooping, Face Painting
Awọn siwaju sii, a ni awọn ipa miiran nibi ti o le gbadun awọn iwoye ti a Japanese ‘ennichi’ festival, gẹgẹbi taiko drum iṣeto ati a tuna-cutting show nipasẹ Soma Suisan.
Website: https://www.ennichi.info/
Presented by: CEIPA × TOYOTA GROUP “MUSIC WAY PROJECT”
Special Support by: Agency for Cultural Affairs, Government of Japan
Supported by: Ministry of Economy, Trade and Industry (METI) / Consulate-General of Japan in Los Angeles / Japan External Trade Organization (JETRO) Los Angeles / The Japan Foundation, Los Angeles / JAPAN HOUSE Los Angeles
Subsidized by JLOX+

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ennichi ’25 Recap
Oṣu Kẹsan Oṣu Kẹsan, ọjọ kan ti o tobi, CEIPA × TOYOTA GROUP “MUSIC WAY PROJECT,” ni ifowosowopo pẹlu JETRO Los Angeles, hosted the ennichi ’25 Japanese Music Industry Mixer, a conference designed to connect Japanese and U.S. music industry members. The event took place at JAPAN HOUSE Los Angeles with a major Hollywood film premiere happening next door, creating a quintessential Los Angeles backdrop. 

Welcome comments were delivered by President Yuko Kaifu of JAPAN HOUSE Los Angeles. Key speeches were then given by Commissioner Shunichi Tokura of the Agency for Cultural Affairs who is also a renowned composer and producer, Executive Vice President Akiko Okumura of JETRO, and Shunsuke Muramatsu, Representative Director and Group CEO of Sony Music Entertainment (Japan), who concurrently serves as Business CEO of Sony Group, Chairman of the Japan Culture and Entertainment Industry Promotion Association (CEIPA), and President of the Recording Industry Association of Japan (RIAJ). Commissioner Tokura highlighted the importance of international coordination in bringing Japanese creative talent to global audiences. He also noted that the word “ennichi” carries the meaning of “destiny,” referring to encounters that are meant to happen, and expressed hope that the networking at the event would lead to meaningful future developments. 

Akiko Okumura, executive vice president ti JETRO, ti o ba tẹsiwaju, ti o tẹsiwaju awọn aṣayan ti o tobi ti awọn music ati anime Japanese ti o ni tun ninu awọn orilẹ-ede, paapa ni awọn United States. O si tun fẹ lati awọn ifihan yoo mu awọn ifihan ti awọn iroyin American ati awọn ifihan pẹlu awọn pop culture Japanese. CEIPA Chairman Shunsuke Muramatsu ki o si tẹsiwaju awọn ifihan nipa wipe awọn iṣẹ wọn bẹrẹ pẹlu awọn ifihan pe music ni awọn agbara lati ṣeto awọn eniyan ni agbaye.

The panel discussions that followed were moderated by Jeff Miyahara, a music producer ti o ni o dara julọ ni Japanese, Korea, ati awọn US music industries. Panelists pẹlu Kyary Pamyu Pamyu, ⭐︎Taku Takahashi from m-flo, ati Peyote Beats (ever.y inc.), each bringing their own perspective on building careers across boarders. Their conversation centered on finding opportunities in the American market, overcoming cultural and linguistic barriers, and developing sustainable international careers. 

⭐︎ Taku Takahashi bẹrẹ nipa iṣẹ rẹ DJing ni Anime Expo, awọn ti o tobi Japanese pop ile-iwe ni awọn United States, ati pe awọn iṣeduro bi awọn iṣeduro ti awọn iṣeduro ti fi rẹ si awọn agbara ti o dara julọ fun Japanese music ni awọn orilẹ-ede Amẹrika. O ṣe iroyin pe ọpọlọpọ awọn eniyan ni awọn USA ti o kọ Japanese music nipasẹ anime, awọn drama, tabi awọn ere, ati ki o tọju pe awọn iṣeduro ni awọn iṣeduro wọnyi tun fihan si ojuami ti awọn olumulo agbegbe ti o ni o wa. O ṣe iṣeduro pe nibẹ ni o wa diẹ sii awọn iṣeduro ti ọpọlọpọ ninu Japan mọ, ati

Kyary Pamyu Pamyu reflected on her 2012 debut music video, which was released in full on YouTube despite the fact that Japanese labels rarely posted complete videos at the time. She recalled worrying that fans might stop buying CDs, but the global response became the catalyst for her world tour.

Peyote Beats, who has recently become so immersed in Japanese music that he joked he is even “obsessed with enka,” spoke about the natural creative exchange that occurs when working with J-Pop artists. He explained that Japanese and American musical influences blend organically during collaboration and that both sides inspire each other. However, he also pointed out that language barriers remain a significant challenge for global expansion.

The December 2 live event, ennichi ’25 Japanese Music Experience LA, ti a ti tẹsiwaju ni a ile-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe. Awich, f5ve, JP THE WAVY, and PSYCHIC FEVER from EXILE TRIBE, ti o tẹsiwaju awọn gbajumo ti Japanese music laarin awọn agbaye USA.

Igbimọ ti awọn akọkọ ti awọn akọkọ ni awọn girl group f5ve, eyi ti o tẹsiwaju lọ si awọn awujo pẹlu awọn lyrics ti o dara julọ ati awọn ọpọlọpọ awọn ọrọ pop. Awọn oniwe-ọna ti o dara ati awọn English ti o dara julọ nigba ti awọn MC awọn ẹya ara ẹni ti o ṣe awọn iwa-ara, paapa laarin awọn ọkunrin awọn olori. Lati akọkọ nipasẹ awọn setu, awọn ile-iwe lọ si nigba ti awọn oniwe-virus track “Firetruck,”, eyi ti o ti gba diẹ ẹ sii ju 6.6 million awọn gbigbe lori YouTube. Ni ibere ti awọn oniwe-iṣẹ wọn, PSYCHIC FEVER lati EXILE TRIBE ẹgbẹ TSUR

JP THE WAVY ti a tẹsiwaju nipasẹ a ẹya-ara set ti o tẹsiwaju awọn ẹya-ara rẹ bi a rapper ati a music producer. O ti tẹsiwaju awọn ẹya-ara rẹ nipasẹ awọn iṣẹ-ṣiṣe pẹlu akọkọ akọkọ artist Takashi Murakami ati nipasẹ awọn oniwe-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna icon. Awọn ẹya-ara-ọna rẹ, awọn ẹya-ọna-ọna, ati awọn ipele ti awọn oniwe-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọna-ọ

Awich lẹhinna lọ si ibi, lẹhinna gbọdọ awọn aṣa pẹlu agbara ati iṣeduro iwaju ti o ti ṣe ọkan ninu awọn ọrọ ti o tobi julọ ni Japanese hip hop. Lẹhin ti o gba iyanu okeere nipasẹ awọn oniwe-ọna nipasẹ awọn Coachella Festival 2023 ati ki o si fi aṣeyọri aṣiṣe iyanu ati ki o dinamu. Ni MC rẹ, o si wiwọle siwaju sii nipa awọn oniwe-ọna Okinawa, awọn oniwe-ọna “awọn ati awọn iyanu” si America, ati awọn iyanu ti o ni lati fi ọkunrin rẹ. “Mo ti kọ fun ọpọlọpọ awọn ọdun lẹhinna ti o ti o ti

Awọn akọkọ ti awọn akọkọ US tour ninu awọn ilu kẹkẹsẹ ni February, awọn ẹgbẹ ti a mọ fun awọn fidio music ti o ni ifihan ọpọlọpọ ọpọlọpọ awọn fidio lori YouTube – ṣugbọn awọn oniwe-iwe-iwe-iwe-iwe-iwe-iwe siwaju sii ju eyikeyi ti o ti ri lori awọn iroyin. Awọn ẹgbẹ wọn ti o mu ni iyatọ lati awọn akọkọ track “SWISH DAT” si “Spark It Up,”, eyi ti o mu agbara ni ibi ni akoko ni akoko ni akoko kan. Kọọkan ninu awọn ẹgbẹ ti awọn ẹgbẹ ti a fi awọn ẹya ara ẹni ninu awọn fidio, dansi, ati ifọwọkan, nfun awọn

This year’s ennichi ’25 Japanese Music Experience LA followed the success of matsuri ’25 bẹrẹ ni Oṣu Kẹsan ni Oṣu Kẹsan, eyi ti o ni awọn olumulo pẹlu Ado ati YOASOBI. nigbati matsuri ’25 showcased a wide range of styles, ennichi ’25 tọju awọn ipinnu lori hiphop ati dance pop ati ki o fihan a itọsọna pẹlu ọpọlọpọ awọn ọmọ-ẹrọ, ti o dara julọ ti o tẹsiwaju awọn agbalagba laarin akọkọ Japanese music.Awọn ẹgbẹ ti o ti wa ni ọdun 20 ti o ba fẹ lati ri ọkan artist ṣugbọn ti o ti lọ pẹlu titun iyanu ninu awọn miiran ati ki o ti o ba fẹ lati fi wọn siwaju nigba ti o ba lọ si ile-iwe. Pẹlu awọn gbajumo ti anime-ọna music, awọn gbajumo ti City Pop, ati awọn ipinnu ti Japanese artists lori awọn orilẹ-ede agbaye, awọn awon eniyan ni USA ti wa ni diẹ ninu awọn Japanese music. ennichi ’25 demonstrate that momentum is accelerating and that the path for Japanese artists abroad continues to expand.

[ennichi ’25 Japanese Music Industry Mixer Photo Credits] 
Photo by YURI HASEGAWA

[ennichi ’25 Japanese Music Experience LA]
Awich, f5ve, JP THE WAVY, PSYCHIC FEVER from EXILE TRIBE
Photo by YURI HASEGAWA

CEIPA, ṣeto nipasẹ awọn agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe agbegbe ag www.musicawardsjapan.com.

CEIPA × TOYOTA GROUP “MUSIC WAY PROJECT”
The market for entertainment content is expanding with lifestyle changes brought on by the COVID-19 pandemic and the rise of the streaming business, and Japanese culture is capturing international attention. As Japanese content continues to excite people around the world, CEIPA and the TOYOTA GROUP will co-create a pathway for young people who are pioneering the future of Japanese music to drive the fundamental globalization and sustainable growth of Japanese music: the MUSIC WAY PROJECT. The MUSIC WAY PROJECT will provide opportunities for young talent to thrive and make a greater impact under the slogan “Japanese music drives the world.”

​JETRO is organized and managed by the Ministry of Economy, Trade and Industry (METI), a ministry of the Japanese government that focuses on economic and industrial development through entertainment, innovation, technology, and foreign investment. JETRO currently maintains 76 offices overseas in 50 countries and 48 offices in Japan, including the Tokyo and Osaka headquarters. For additional info, please visit www.jetro.go.jp/usa/about.html.