Background and career path

Could you share a bit about your background?

Taeko Saito: I grew up largely in the United States and began my career after university as an assistant at AAM, a management firm for music producers. I later joined SONGS Music Publishing as an A&R, working on projects with artists such as Diplo, Lorde and The Weeknd. After that I helped establish the Japan office for Downtown Music Publishing. Since 2023 I’ve been with EMPIRE, focusing on business development across the Asia-Pacific region.

EMPIRE’s evolution

How would you describe EMPIRE’s business?

EMPIRE launched in 2010 as a distributor with a strong emphasis on hip-hop at a time when genre-specialized distributors were rare. Over time the company expanded into label services and publishing, broadening our operations and artist services to where we are today.

Why did EMPIRE initially prioritize hip-hop?

The focus stems from a desire to amplify music from communities that historically had less exposure. Our CEO, Ghazi Shami, brings an immigrant perspective shaped by street and urban cultures in San Francisco, so hip-hop felt like a natural foundation. That said, our roster now spans many genres and regions — from Africa to Asia — and includes emerging crossover artists such as the Black country performer Shaboozey.

With streaming dominant, artists can release music independently without a traditional label. Many creators, however, are still learning how to navigate the options. EMPIRE positions itself as a partner that offers flexible contract models and tailored opportunities, helping independent artists discover alternative routes to sustainable careers beyond legacy systems.

Focus on Asia-Pacific

You lead efforts in the Asia-Pacific region. How is the team organized?

Our Asia efforts are centered on diverse, regionally based teams — I work across Asia with colleagues in Singapore and Indonesia among other locations. EMPIRE’s multicultural staff and collaborative HQ support make cross-border cooperation more seamless and effective.

Streaming markets and growth

Streaming growth appears to be slowing yet still expanding, particularly in Asia, Africa and South America. How does EMPIRE interpret that landscape?

Expectations for Asian growth remain high. For example, we recently signed a deal with a label in Cambodia — a market where Spotify only launched in 2021. That shows how nascent some streaming markets still are. Artists like VannDa, who’ve accumulated hundreds of millions of YouTube views, demonstrate how quickly local stars can surge in visibility when services and infrastructure catch up.

Despite momentum, royalty rates in many Asian countries remain comparatively low. Japan is an exception with relatively higher rates, but elsewhere payments lag behind markets outside Asia. Addressing that requires multilateral negotiation and sustained advocacy to improve remuneration and long-term sustainability.

Japan’s hybrid music market

Japan often balances CD sales with streaming. What’s your perspective on that coexistence?

I admire how Japanese artists and teams prioritize craftsmanship and fan care. That kind of meticulous approach fosters deep, long-term fan relationships — something that isn’t always replicated in other markets. Cultural preferences shape how music is presented and consumed, so formats that excel in Japan may not translate directly elsewhere. Still, the growing global interest in Asian music, including the precedent set by K-pop, is opening new opportunities and encouraging experimentation.

Definitions of success also differ: some artists aim for commercial chart dominance, others pursue critical recognition like Grammy consideration, and many seek cultural impact or enduring fan loyalty. These goals require different strategies, and acknowledging that nuance is essential for artists and their teams.

Changes in the U.S. and the rise of independence

Have you seen notable shifts in the U.S. music industry over the last decade or two?

The most striking change is the expansion of the independent sector. Two decades ago, “indie” often meant alternative rock acts; now artists across styles retain ownership and release independently. Japan could follow a similar trajectory: while producer-led idol models and agency-driven projects will remain important, singer-songwriters and creators who own their work may increasingly choose independence. When that market grows, majors and agencies will need to adapt their business models.

Viral moments are common, but they don’t guarantee longevity. Building a brand and nurturing a dedicated fan base is what creates sustainable careers. EMPIRE views artists as entrepreneurs — partners who can scale their creative work into broader businesses. We’re selective about who we sign because we want to ensure we add unique value and help artists grow more effectively than they might elsewhere.

EMPIRE and Japanese artists

Are any Japanese artists currently on EMPIRE’s roster?

Yes — we recently signed a rising artist named Litty, who began releasing music last year. She participated in a songwriting camp we hosted and collaborated with international writers and producers for the first time. Her eagerness to learn and adapt was inspiring and underscored the potential for cross-border creative exchange.

Global attention on regional scenes

With Billboard and others expanding coverage in Africa and beyond, what does that wider recognition mean?

Part of the U.S. audience’s embrace of African music reflects a desire to reconnect with roots and broaden cultural understanding. Similarly, as more Asian artists gain global exposure, listeners are rediscovering and elevating music that wasn’t always visible in Western mainstream channels. This broader recognition signals a shift toward greater plurality in global music consumption, where cultural identity and authenticity often resonate strongly.

Diversity as an engine for discovery

Do you think the U.S.’s multicultural population helps music from many countries spread internationally?

Absolutely. The globalization of music is being driven by increased openness among listeners and the rapid dissemination enabled by social media and streaming platforms. Asia still has enormous untapped potential, and EMPIRE aims to apply its strengths while tailoring strategies to each country’s unique ecosystem. Going forward, adaptability and a willingness to experiment will be key to unlocking new markets and sustaining growth.

This interview by Naoko Takashima originally appeared in Billboard Japan.