ennichi ’25 Japanese Music Experience LA
December 1 & 2, 2025
Live Report by Christan Copeland
Photos by Yuri Hasegawa
The Japanese music scene is no stranger to Western media and fans. While many artists have hovered at the cusp of breaking through the market, the business side of the music industry has presented frequent obstacles. The Japanese government is now backing the ennichi ’25 initiative, which seeks to elevate the country’s creative soft power.
Day 1: The Mission and the “Wake-Up” Call
The mission began at JAPAN HOUSE Los Angeles with a panel titled “Exploring the New Chapter of Japanese Music from the Japan-US Creative Scene”, focusing on the goal of a global “renaissance”. The panel, moderated by HYBE Japan’s Jeff Miyahara, featured guests panelists Kyary Pamyu Pamyu, Taku Takahashi (m-flo), Peyote Beats (ever.y inc.).
The audience was welcomed by President Yuko Kaifu of JAPAN HOUSE Los Angeles, followed by remarks by Commissioner Shunichi Tokura of the Agency for Cultural Affairs, Executive Vice President Akiko Okumura of JETRO, and Shunsuke Muramatsu, Representative Director and Group CEO of Sony Music Entertainment (Japan). Commissioner Tokura, noting that the word “ennichi” carries the meaning of “destiny”, made the objective clear by stating that, while Japan possesses vast creative potential, it is essential to have coordinators and producers to bind creators to the international community. The government is finally “willing to support” this movement to help artists spread their wings.
During the panel, veteran artist Taku Takahashi gave a brutally honest assessment of why Japan has lagged behind. Takahashi recalled “stupid” mistakes of the past, such as Japanese companies refusing to put music on YouTube and making physical media nearly impossible for Western fans to buy. “Japan was dying slowly,” he noted, explaining that while Japanese labels were busy “deciding” on bookings, K-Pop artists moved with a speed that snatched up all the international slots.
Global icon Kyary Pamyu Pamyu reinforced the mission to stay authentic. She shared her personal motto of “making the impossible possible” and reflected on her debut music video “PonPonPon”, 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.
Hearing these industry conversations, a singular thought came to mind regarding Japan’s failed attempts at international expansion: The “Business of Music” has functioned as a ball and chain to artists’ growth. The difference between the Japanese and Korean markets is not the quality of talent; it is accessibility and authenticity. In an era where global content is a click away, keeping artist content under rigid licensing restrictions snuffs out engagement. International fandoms cannot be built solely on English songs, as those typically capitalize on a fandom already established. The most striking advice of the evening was a warning the Japan House Consulate relayed as a tip from the Recording Academy: “Don’t become westernized. Stay Japanese.”
Day 2: Ennichi ’25 – The Sound of Authenticity
The second day of the event took place at “Ennichi ’25 Japanese Music Experience LA”. Outside the industrial warehouse venue, a DJ booth was situated alongside food vendors and trucks like Tsukiji Gindaco highlighting Japanese festival foods. This outdoor area allowed attendees to move from the music to an outdoor patio where they enjoyed meals and drinks before entering the performance space. Traditional festival games provided fun activities such as yo-yo fishing, super ball scooping, rubber goldfish scooping, and face painting. High-energy spectacles, including a taiko drum performance and a masterful tuna-cutting show, further immersed the crowd in the heritage behind the modern sounds.
Inside the warehouse, the audience filled a standing room area in front of the stage while VIP ticket holders sat in a lounge equipped with a large screen displays. This immersive atmosphere captured the festival spirit, but the true test of the “stay Japanese” theory happened on stage through the artists themselves.
f5ve
F5ve opened the night with a vibrant hyper-pop aesthetic, moving through a set that balanced sugary melodies with gritty Tokyo street style. Members Sayaka, Kaede, Ruri, Miyuu, and Rui displayed sharp visuals rooted in the high-fashion “gyaru” culture that matched the frantic energy of the set. The performance moved from the metallic, glitchy production of “Lettuce” to the viral, house-inspired choreography of “Firetruck”. A standout moment was the inclusion of “Sugar Free Venom”, their collaboration with BloodPop, which showcased their ability to blend J-Pop sensibilities with global trends. The group also slowed things down with the sweeter tones of “I Choose You” and “Magic Clock”, proving their vocal range. The set reached its zenith during “Underground”, as TSURUGI of Psychic Fever made a surprise appearance for a synchronized dance break. F5ve’s technical precision proved they walk the sonic bridge between Tokyo pop and international airwaves by owning their identity, not mimicking it.
JP THE WAVY
The energy increased significantly as the audience size effectively doubled for the hip-hop sets, surging into the space until the floor was packed wall to wall. JP THE WAVY proved that authenticity is the true gateway to the West. He opened with “I’M FROM JAPAN” and moved through high-velocity tracks like “WAVEBODY” and “GO GO GO”, peaking with “Tokyo Drift Freestyle”. During his performance of “Bushido”, it was clear he was not mimicking an American sound; he was “paving the way” by staying in his own pocket. He closed with the viral “Cho Wavy De Gomenne”, a reminder that his global appeal was built on being unapologetically himself.
Awich
Awich followed with a masterclass in bridging the cultural divide. She instantly commanded the room with the hard-hitting “Gila Gila”. The narrative weight of her set, detailing her resilience through tragedy and her pride in her Okinawan heritage, prompted one audience member to call out, “That’s why you’re a queen!” The energy reached a fever pitch when Lupe Fiasco appeared as a surprise guest to perform “Wax On-Wax Off”, proving that the U.S. audience respects the mastery of the craft over the convenience of translated lyrics. Her onslaught of Japanese verses was proof that fans are not looking for a Western-styled artist; they want a performer who owns her narrative.
Psychic Fever from Exile Tribe
As the night progressed, a distinct “changing of the guard” took place on the floor. While the hip-hop fans had dominated the space, the Psychic Fever from Exile Tribe fandom took over for the finale. The seven members—KOKORO, WEESA, TSURUGI, RYOGA, REN, JIMMY, and RYUSHIN—each brought a distinct individual flair. They opened with the ninja-themed “SWISH DAT”, moving quickly into the Caribbean-infused “Spark It Up” and the romantic “Gelato”. The Los Angeles fans were especially vocal for their massive global hit “Just Like Dat feat. JP THE WAVY”. The group also delivered a dedicated “Psyche Cypher”, allowing the rap unit to execute three distinct beat switches. After performing the nostalgic 80s R&B-tinged “Paradise”, they concluded the night with the hard-hitting “Talk to me nice”, featuring complex choreography complete with flips and krumping elements that left the audience on a high note.
Ready to Fly
The boundaries of music have been quickly dissolving in our fast-paced interconnected world. Ennichi ’25’s showcase proved that the U.S. is eager for more access to Japanese talent. However, the business “ball and chain” problem remains the primary inhibitor. The industry must move past the idea that assimilation—such as singing in English just to pander—is the answer.
Success can be found in the unapologetic authenticity seen in performers like Awich and JP THE WAVY. The “hard truth” is that western fans aren’t looking for a filtered version of what they already have; they are looking for the raw, unpolished soul of Japan that has been locked behind licensing red tape for decades. It is time to trust the quality of the work and remove the licensing restrictions that block accessibility. Only then will the wings of Japanese entertainment finally take flight.
Website:
https://www.ennichi.info/
