Renowned Songwriter-Producer Shintaro Yasuda On Working With BINI, LISA, and Ariana Grande

In an era where the spotlight is often fixated on the artist at center stage, it’s easy to forget that some of the most defining moments in music happen long before the mic is turned on.

Songwriters and producers are the unseen architects of sound — sculpting emotion, narrative, and sonic identity behind the scenes. Their fingerprints are etched into every beat drop, every hook that lingers in your head, every lyric that cuts deep. It’s in this creative crucible where careers are shaped and history is made — and few exemplify this silent force quite like Asian-American songwriter-producer Shintaro Yasuda.

With a career that spans continents and genres, Yasuda has become a quietly indispensable figure in several facets of modern pop music. Whether he’s crafting a slick R&B groove for an American chart-topper or laying down hyper-polished hooks for a K-pop powerhouse, his signature lies in his versatility and precision. From intimate studio sessions in Los Angeles to global writing camps in Seoul, Tokyo, or even in the Philippines, Yasuda has spent years building a discography that reads like a passport stamped with international acclaim. For he’s not just making hits — he’s also helping artists tell their stories in the most sonically compelling ways possible.

Take Ariana Grande’s Eternal Sunshine and Positions, two career-defining albums (with completely varied sounds) that reveal the depth of her vocal artistry and emotional range. Yasuda’s touch is subtle yet unmistakable, infusing the records with lush textures, innovative arrangements, and a modern pop sensibility that feels both resonant and forward-thinking. Then there’s also his work in the K-pop universe — producing breakout hits like LE SSERAFIM’s unapologetically bold (and dare I say, one of their best songs) “Antifragile” while most recently contributing to LISA’s genre-pushing debut solo album ALTER EGO. These records don’t just make a splash — they redefine the confines of their genre.

Yet Yasuda’s influence isn’t confined to the global scene. As the Philippines’ music scene begins to shimmer under a global spotlight, Yasuda has found a new frontier in P-pop, collaborating with stars like BINI on “Cherry On Top” and BGYO with their latest key track “Divine.” His work on each track’s production elevates their sound, blending international polish with local flair, helping to shape a uniquely Filipino pop identity that’s meant to catch fire across Asia. For an artist who thrives on evolution and cross-cultural synergy, it’s a natural progression — and a powerful reminder that behind every great pop song, there’s often a visionary like Shintaro Yasuda pulling the strings.

In this exclusive interview with Billboard Philippines, Yasuda opens up about the art of music production, and what he’s learned from his experiences working with Ariana Grande, LISA, LE SSERAFIM, and BINI –– alongside how all these experiences have pushed his approach to his craft even further.

Billboard Philippines: Can you share a bit about your early career and what initially drew you to music production and songwriting?

Shintaro Yasuda: I was originally a classical and jazz-trained pianist, and growing up, I was in [a] band and [an] orchestra. In my early teens, I started to discover pop, hip-hop, R&B, rock, and Latin music. I started playing keys for many local acts, which inspired me to want to create the music that I loved.

So who were your biggest musical influences growing up, and how have they shaped your songwriting and production style?

There were so many. Music from my parent’s countries, to everything from the ’90s and 2000s. I was always discovering music from different time periods and loved finding obscure music. I think it allowed me to have an open mind while listening and kept me well-rounded when it came to creating.

Working with high-profile artists like Ariana Grande, XG, Le Sserafim, and Yugyeom on several of their tracks is quite an impressive achievement. How do you manage to inject pieces of your creative vision into your collaborations with them?

Thank you! Everyone has something so special to bring creatively, and I always try to offer whatever I can to bring their vision to life.

For most of these aforementioned acts, you’ve worked on several of their biggest hits (XG and “Woke Up,” LE SSERAFIM and “Antifragile,” and Ariana Grande with “The Boy Is Mine,” “Eternal Sunshine,” and “Off The Table”). How does it feel to see millions of listeners enjoying the fruits of your labor?

It’s a dream come true! It’s such a crazy and beautiful feeling when someone tells me how a song I made has affected their lives.

With all the people that you’ve gotten to work with, how do you approach producing and co-writing for such a diverse lineup of artists?

I always go in and connect with the artist first so I can help them tell their story and bring their vision and creative ideas to life. [There are] lots of conversations about everything from the music that we do together to our personal lives in general. 

Can you walk us through your creative process when developing a track for an artist? And how do you balance your own artistic vision with the artist’s needs?

The artist is always my priority. Any artistic and creative decision I make is based on the vision of the artist. [And] it’s most important for me to align with the artist. It’s also such a special feeling when the artist loves being involved with the process and making creative decisions together.

Given that, what are the tools or techniques that you usually rely on most when crafting a new song?

Being a good listener! Whether it’s the actual music or being someone the artist can open up to. It’s really all about coll

Recently, you co-wrote and co-produced P-pop group BINI’s latest hit single, “Cherry On Top.” Can you tell us how exactly that collaboration with the group came about?

I was fortunate enough to be invited to the Philippines along with an insanely talented group of creatives, where we spent a week writing music and enjoying the beautiful island.

Can you share a memorable experience or anecdote from this collaboration?

While making “Cherry On Top” we had the pleasure of having Maloi and Colet in the room and writing with us! It felt like a bunch of friends enjoying the ocean views and having fun making music. It was really inspiring to see how involved Maloi and Colet were in the writing process. 

When listening back, I could hear them thinking about and imagining whose parts would be performed by whom. Maloi also blew me away, coming in with some amazing ad-libs at the end of the chorus in “Cherry On Top.”

How was it like to work with such beloved musical icons from the Philippines?

It was one of the greatest experiences I have ever had the pleasure of being a part of. Not only were every artist ridiculously talented, but they were some of the nicest people I ever met. I’m so lucky to have worked with them and made new friends!

On the Billboard Philippines Hot 100 charts, you have had several tracks that have resonated strongly with Philippine listeners given their high-charting positions on our local charts. How does it feel to have your work recognized by listeners on this side of the world?

I’m not sure if it’s even hit me yet! It’s obviously such an honor and achievement, but the most special feeling behind it was the creative process and knowing how the artists felt throughout the journey.

Given all the people involved in the process of making a song, how do you navigate creative differences when working with other musicians or producers?

I’m so lucky and grateful to be working with the individuals I work with because the priority is always the artists. We all have one common goal and that’s to listen and create amazing music for the artists. When that’s the goal, everything else just happens to fall into place.

As an Asian-American artist, how has your cultural background influenced your music and approach to production?

I think it’s allowed me to wear different hats and be able to adapt to any situation or genre. Today, music is an especially diverse mix of genres so it’s really cool to pull from different sides of my background and experiences to create something new, especially with all the people I get to work with.

Looking to the future, are there any upcoming projects or collaborations that you’re particularly excited about? Are there any long-term goals or aspirations that you have for yourself within the music industry?

There’s so much [that I want to say], but you’ll have to wait and see. *laughs* Yet for myself, I just want to continue growing as both a musician and a person, and to keep collaborating with amazing talent worldwide.

What advice would you give to aspiring producers and songwriters who are looking to break into the music industry?

Finish everything you start. Whether it’s a track or a lyric idea, no matter if you think it’s good or bad, I think it really helps you grow as a creative. I’ve also found that something that may not be for you, might be exactly what someone else is looking for. 

There are so many incredibly talented people in this industry, and for me, the process collaboration is the greatest thing ever. Find people you love working with and stick together, and make amazing music!