In December 2024, Takeshi Okada was appointed the new President and CEO of Warner Music Japan (WMJ). Previously, as part of Universal Music, he served as the Managing Director of EMI Records, where he played a pivotal role in the release of numerous hits. What does he hope to accomplish at WMJ? Billboard JAPAN spoke with him about global collaborations, WMJ’s comprehensive deal with Yuki Chiba, and his vision for the future.
You’ve been appointed the CEO of WMJ. What kind of potential did you see in the company that led you to accept the position?
Even before joining WMJ, I could tell that Warner Music had “artist-first” in its DNA. Warner Music is home to many artists who are driven by a relentless pursuit of great and quality music. I’ve seen WMJ as a company that could stand by them and help their remarkable works reach and inspire audiences worldwide. That impression hasn’t changed since I joined. By leveraging this strength, driving the digital transition, and strengthening strategic collaboration with WMG headquarters and affiliates worldwide as a global major, I believed we could deliver greater value to artists. That’s why I accepted the offer to serve as President and CEO.
You’re only 41 years old. Do you feel like you’re under any pressure having been appointed CEO at such a young age?
Honestly, what made me most nervous was not so much taking the CEO position, but changing companies for the first time in my career. I had been at the same company since I graduated from University.
That said, for a long time I’d been wanting to take on a new challenge when I entered my 40s, so I saw this as the right opportunity at the right time, and I decided to take it on.
What do you currently see as the pressing tasks facing WMJ?
First off, we need to strengthen our digital efforts. WMG has succeeded in adapting pioneering technologies and digital marketing globally, leading to the breakthroughs of many new artists through streaming. Artists like Alex Warren and sombr are finding success on the charts, with new talent breaking through one after another. Their music is, of course, wonderful, but another factor behind their songs becoming huge hits is their skillful use of influencer marketing and social media. Japan has a lot to learn in this area.
Another priority is building the right organizational structure. We need to discover new artists, support their ambitions, help them steadily grow their fan base, and deliver their music to as many people as possible through stronger digital marketing. In July, we carried out an internal organizational reform, the first since I became CEO, with the aims of streamlining and better integrating this process.
It feels like over the past few years, WMJ hasn’t had as strong a presence on the charts as Warner Music has in the U.S.. What do you think is behind that?
I think we have been doing each piece well individually, but I think there is room for tighter, more strategic integration between “making great music” and “promoting” it. I expect the recent organizational reform to help strengthen that connection effectively, and that’s where I want to focus our efforts first.
Looking at charts, like Billboard’s charts, you can see that music trends are constantly evolving. Sometimes you’ll think that you missed a trend, but it ends up circling around and you catch it on the upswing. I’m certain that, in this constant stream of change, WMJ’s music will one day be aligned with the cutting edge of the time again. So while staying true to our strengths and individuality, I want us to add new competitive elements and create hybrid approaches that will increase the likelihood of hits.
Specifically, what kind of organization are you planning to create?
Labels have a tendency to rely on past formulas once they’ve had success. That’s something I have to remain vigilant about myself. But when it comes to digital marketing, there’s no formula that guarantees success. Instead, whether it’s tie-ups or social media strategies, we have to develop unique approaches every time. That’s why in the reform, we aim to build a system where we can create and execute customized marketing strategies for each individual artist and project.
Restructuring the marketing division also allows expertise and best practices to be shared across teams. That’s very meaningful. For instance, even though the music genres differ, I’m sure there are people who love both TWICE and Aimyon. In that case, an approach that worked for TWICE could be applied to Aimyon as well. It may go against recent industry trends toward segmentation, but I’d rather create a structure where teams collaborate across boundaries.
We also need to strengthen our data analysis teams. Instead of relying only on intuition, we should analyze data across different artists and apply a data-driven approach to strategy and decision-making.
Do you receive advice from other Warner Music territories?
Yes. Global DSPs and social media platforms operate globally, so we exchange best practices with other markets.
In February, you signed a global label deal with PSYCHIC FEVER. A lot of boy groups are trying to go global. What kind of potential do you see there?
This is our first collaboration with LDH, so we’d like to work with artists with potential to succeed on the world stage. Beyond the group’s collective appeal, each member’s unique personality and diverse backgrounds give them the strength to take on the world. I’m looking forward to seeing their future success.
Looking at their streaming figures for this year, using Luminate, Japan accounts for around 63% of their streaming views, and the US accounts for around 11%. A relatively high percentage of listeners are outside Japan, and they’re in a wide range of countries in regions such as Southeast Asia and Latin America.
In the past, the belief was that first you need to become successful in Japan, but actually we’re seeing more and more artists who take off overseas first. We’re living in a really fascinating time in which hits can be made from either direction.
How do you think the global Warner Music Group sees Warner Music Japan?
In conversation with its executives worldwide, I’ve found that they all love Japanese culture—whether music, food, or fashion. That gives us a strong foundation: people already admire Japan. Naturally, they expect Japanese music to spread further globally. The rise of Latin, K-pop, and Afrobeats worldwide has shown us that national borders and language are no barriers to hits. And now global fans are looking to Japan for what’s next. Importantly, they don’t just see Japanese music as “J-pop.” They’re intrigued by its diversity—from hip hop and rock to Vocaloid and internet-inspired genres. I also believe, as many in Japan’s music industry do, that it won’t be just one superstar, but a wave of many artists’ songs catching on that will truly showcase the breadth and appeal of Japanese music.
In what areas do you think the Warner Music Group has particularly high expectations for Japan?
Japan is the second largest music market in the world, so of course, there’s a strong expectation to grow market share, especially in streaming.
At the same time, there’s an expectation that we open up overseas markets. As a global company, we’re in a position to help Japanese artists succeed abroad and also to expand the fandom-driven business model that has flourished here into international markets. That could drive new revenue streams globally.
In some countries, like the US, where the growth of streaming has tapered off, the big question is what the next growth engine will be. Increasingly, people are talking about “superfans.” In that context, I’m often asked, “Why are CDs still selling in Japan?” What was once seen as “old-fashioned” is now being re-examined as a potential next business model. I’d like us to share Japan’s knowledge and experiences more proactively with our overseas teams.
In closing, could you talk a bit about the future you see for WMJ?
Recently, we announced a comprehensive deal with Yuki Chiba. He has said that he envisions himself winning a Grammy, and if we can support him in achieving that, it would be a powerful symbol of Japanese music truly being recognized globally. Beyond recording, by supporting his management, merchandising, and live productions, we can maximize opportunities and fully contribute to his global career. I’m excited about this.
Chiba plans to relocate to LA, collaborating with local creators. His unique artistry won’t change, but through collaborations, new possibilities may emerge in unexpected ways. That’s something I’m really looking forward to.
This could pave the way for more Japanese hip hop to chart, even in the U.S. Billboard rankings.
If we start seeing Japanese hip hop—or any genre—enter the U.S. charts, it would be a huge source of encouragement and inspiration for many artists here.
This announcement marks not only my first artist signing as CEO but also a clear statement that WMJ is entering a new phase of evolution. I want us to be a trusted partner that stands by artists’ dreams and careers, providing the professional support and solutions they need. And five years from now, I want WMJ to be at the center of Japanese artists’ global success stories.
At the same time, I want WMJ to be a company where young music professionals are able to challenge themselves without fear of failure and seize opportunities. This industry has always given young people a chance—I myself am an example of that. And now, in this transformative era where old models no longer guarantee success, young people have the chance to leap straight into being frontrunners. It’s an exciting time, and I hope many young talents will take the challenge.
—This interview by Seiji Isozaki and Naoko Takashima first appeared on Billboard Japan
