Nana Wu
Naoki Shimizu, President of Creativeman Productions, a pivotal force in Japan’s live music landscape, has been recognized among Billboard’s Global Power Players, a prestigious list acknowledging leaders driving the music business’s success outside the United States. This marks Shimizu’s inaugural selection, a testament to his three-decade-long influence and the company’s significant contributions to the global music industry. In an exclusive interview with Billboard JAPAN, Shimizu delved into the evolving dynamics of event promotion, the vast potential of the festival industry exemplified by Creativeman’s flagship SUMMER SONIC, and his ambitious vision for expanding Japanese music’s international footprint.
A Legacy Forged in a Changing Industry Landscape
Creativeman Productions, co-founded by Shimizu in 1990, has navigated profound transformations in music consumption and artist promotion. Shimizu, who ascended to the presidency in 1997, reflected on the dramatic shift from an era dominated by physical media to today’s digital-first environment. "Back when physical CDs were the primary way people listened to music, you could get a fairly accurate sense of an artist’s drawing power simply by looking at their sales figures," Shimizu explained. This straightforward metric provided a clear barometer for booking decisions and market appeal. However, the advent of the digital age has necessitated a far more nuanced approach. "Today, music consumption is largely digital, we have to analyze data at a much more granular level," he noted, highlighting the reliance on digital metrics such as social media engagement, video views, and streaming numbers. This granular data analysis is now paramount for understanding an artist’s true reach and potential audience in Japan.
The method of introducing international artists to the Japanese market has also undergone a significant paradigm shift. Historically, record labels played a central role, orchestrating extensive promotional visits that were costly and time-consuming. Shimizu observed, "More recently, however, we’ve seen a growing number of emerging artists gain exposure through appearances at music festivals." This trend underscores the increasing importance of festivals as discovery platforms, offering artists direct access to fanbases and a vibrant stage for showcasing their talent without the prerequisite of a major label promotional push. This evolution reflects a global trend where festivals serve as crucial incubators for emerging talent and a primary gateway for international acts to penetrate new markets.
Creativeman’s Diverse Festival Portfolio: Beyond SUMMER SONIC
While Creativeman Productions is often synonymous with SUMMER SONIC, which commenced in 2000 and has since become one of Asia’s most iconic multi-genre music festivals, the company boasts an extensive portfolio of events catering to diverse musical tastes. SUMMER SONIC, typically held across multiple stages in Tokyo and Osaka, draws hundreds of thousands of attendees annually, featuring a blend of international headliners and prominent Japanese artists. Its success lies in its ability to curate a broad appeal, cementing its status as a cultural cornerstone for Japanese music enthusiasts.
Beyond its flagship, Creativeman orchestrates a variety of irregularly scheduled and annual events, each designed to capture specific market segments. These include GMO SONIC, a festival dedicated to electronic dance music (EDM), tapping into Japan’s vibrant club culture. For fans of heavier genres, LOUD PARK and PUNKSPRING serve as premier destinations for metal and punk rock, respectively, attracting dedicated international and domestic followings. The New Year’s event, rockin’on sonic, provides a unique festive experience, while the GREENROOM FESTIVAL offers a distinct surf culture-themed event, blending music with lifestyle elements. This diverse array of offerings demonstrates Creativeman’s strategic foresight in identifying and cultivating niche markets, allowing the company to maintain a broad appeal across various demographics and musical preferences.
Global Expansion: SUMMER SONIC Bangkok and Future Horizons
Creativeman’s success in Japan has naturally drawn international attention, leading to numerous inquiries about exporting the SUMMER SONIC brand. Shimizu revealed that while many countries express interest, the actualization of such projects requires a highly concrete and detailed proposal. This meticulous approach recently bore fruit with SUMMER SONIC Bangkok, organized in Thailand in both 2024 and 2025. "The promoter in Thailand, though, came to us with a very concrete and detailed proposal. That gave us confidence that it could actually work," Shimizu recounted, emphasizing the year-long preparation that preceded its successful launch. A crucial factor in this venture’s success was the "strong support from the Thai government, including various subsidies," underscoring the importance of governmental backing for large-scale cultural events seeking to establish an international presence.
The success of SUMMER SONIC Bangkok highlights the immense potential Shimizu sees in global expansion. The Southeast Asian market, with its rapidly growing economies and burgeoning youth populations, presents fertile ground for live music events. Looking ahead, Shimizu expressed a keen interest in bringing a Creativeman event to China, a market he describes as "huge," with a significant appetite for Japanese music, encompassing both mainstream and niche acts. He acknowledged the political nuances, stating, "If relations between Japan and China continue to improve, I’d definitely like to start preparing for that challenge." Industry analysts note that entering the Chinese market, while challenging due to regulatory complexities, offers unparalleled scale and audience engagement, making it a strategic priority for many global entertainment companies. Shimizu’s proactive stance reflects Creativeman’s commitment to being at the forefront of Asian live music expansion.
Strategic Alliances: 88rising and the Global Platform for Asian Artists
In a notable new venture, Creativeman partnered with 88rising, a prominent global music company focused on Asian and Asian-American artists, to bring HEAD IN THE CLOUDS to Japan for the first time in March 2026. This collaboration underscores Shimizu’s long-standing relationship with Sean Miyashiro, CEO of 88rising, a partnership that nearly materialized with SUPERSONIC before its cancellation due to the COVID-19 pandemic. "He respects what we do, and we respect what 88rising does, so we have always been on the same wavelength," Shimizu noted, illustrating the foundational trust between the two entities.
Despite an exceptionally tight timeline—the decision to hold the event was made in December 2025 for a March 2026 festival—the execution was remarkably smooth. Shimizu acknowledged the inherent risks but highlighted a shared entrepreneurial spirit with Miyashiro, remarking, "Sean and I are a lot alike, so we both were like feeling ‘I’m sure we can work this out.’" The festival successfully assembled an impressive lineup, achieving one of Shimizu’s key objectives: "to introduce Japanese artists to the 88rising team."
Shimizu clarified that this partnership was not merely about launching a new festival, but rather a "longer-term vision, focusing on the future of the scene/industry." He envisions HEAD IN THE CLOUDS Japan evolving into a crucial platform for Japanese artists seeking international exposure. While a single performance may not guarantee a world tour, sustained development of the festival could "help open more doors for Japanese artists to expand their activities overseas." This strategic alignment with 88rising, a company with proven success in elevating Asian talent globally, positions Creativeman as a key facilitator for Japanese music’s international growth, regardless of whether the event becomes an annual fixture.
Navigating Changing Consumption: The Rise of Digital Discovery and Live Engagement
The Japanese music market has witnessed a notable shift in recent years, with domestic and Korean music dominating charts, leading to a perceived contraction in the market share of Western music. However, Shimizu offers a more nuanced perspective on the impact of this trend on event promotion. He argues that while traditional charts might reflect a particular bias, digital platforms have fundamentally altered how audiences discover and engage with international music. "Just look at TikTok or YouTube—you can come across countless videos from artists you’ve never heard of before," he observed. This democratized discovery process means that fans are no longer solely reliant on radio or record store promotions for exposure to global acts.
This digital immersion has profoundly changed the live concert experience. Shimizu highlighted the increasing phenomenon of fans singing along and participating in call-and-response moments at live shows, often knowing the lyrics and fan interactions beforehand. "That’s because they can learn the songs and even the audience interactions beforehand by watching videos at home. Going to a concert is no longer the first time people encounter an artist or their music," he explained. The live experience has thus expanded beyond the two hours spent at the venue, becoming a multi-faceted journey encompassing pre-show digital engagement and post-show reliving of performances online. This continuous loop of engagement, Shimizu believes, transforms a live concert from a one-time event into a repeatedly enjoyable form of entertainment, creating "almost limitless possibilities for the future."
Creativeman’s Enduring Philosophy: Creativity, Risk, and Global Recognition
Looking ahead, Shimizu reiterated Creativeman’s core mission: "First and foremost, we want to continue building on what we’ve been doing for years—bringing international artists to music fans in Japan and expanding those opportunities even further." The company’s standing has been globally acknowledged, with Pollstar recognizing Creativeman alongside industry giants like Live Nation and HYBE as one of Asia’s leading promoters. This recognition validates Creativeman’s strategy and operational excellence, and Shimizu expressed a desire for more global awareness of independent Japanese promoters striving to develop the local live music industry.
A cornerstone of Shimizu’s leadership philosophy is encapsulated in his advice to employees: "Don’t make decisions based on sales alone." He firmly believes that Creativeman’s greatest strength lies in its creativity—its ability to conceptualize and build festivals from the ground up. This spirit of innovation drives the company to be "more innovative and forward-thinking than anyone else," always seeking to be the first to tackle new challenges. While acknowledging the necessity of financial viability, Shimizu champions calculated risk-taking: "you’ll never achieve anything new unless you’re willing to take risks." He encourages his team to pursue new ideas, advocating for a minimum two-to-three-year commitment to new ventures rather than expecting immediate returns. As a leader, Shimizu positions himself as a staunch supporter, empowering his team with the confidence and resources to transform creative ideas into reality.
Elevating Japanese Music: The Role of Awards and Industry Collaboration
Shimizu also addressed the upcoming second MUSIC AWARDS JAPAN, an initiative born from the collaboration of five major music industry organizations in Japan. He underscored the awards’ significance due to this broad industry backing, yet also highlighted a need for clearer focus. "While one of the awards’ greatest strengths is the fact that they bring together people from a wide range of backgrounds and positions, I also feel that their overall focus and direction have yet to be fully defined," he stated. He advocated for a thorough evaluation of their impact and direction post-this year’s events.
Crucially, Shimizu sees the awards playing an "important role…to help introduce Japanese music to the world," a mission he believes is more vital than ever for Japan’s music industry. He expressed hope that the awards would leverage insights from current challenges and initiatives to evolve into a powerful platform capable of elevating Japanese music on the global stage, akin to how national awards in other countries champion their local talent internationally.
In a broader context of industry collaboration, Shimizu discussed the joint venture NINE BY NINE, established by Sony Music Entertainment and Universal Music to plan and operate music festivals across Asia. He found this collaboration "very natural," recognizing the extensive networks of these major labels in helping Japanese artists reach Asian audiences. Creativeman itself is actively exploring opportunities to operate festivals in other parts of Asia and sees potential for future collaborations with entities like NINE BY NINE.
Further diversifying its partnerships, Creativeman is currently working with Bandai Namco on plans for a music festival centered around anime culture, a testament to the global appeal of Japanese cultural exports. Shimizu emphasized the goal of taking these unique formats overseas, collaborating with a wide range of companies and partners to bring Japanese music to audiences across Asia and eventually, the rest of the world. This multi-pronged approach, blending internal innovation, strategic partnerships, and a clear vision for global expansion, positions Creativeman Productions and its leader, Naoki Shimizu, as key architects of the future for Japanese music on the international stage.
