From Harajuku To The World: How ASOBISYSTEM Is Breaking The Rules Of Japanese Pop Culture

Japanese pop culture has never fit neatly into one category.

Its music moves between J-pop, rock, hip-hopHip-HopA cultural movement and music genre that began in the Bronx in the 1970s, built on rapping, DJing, beatmaking, and sampling. Hip-hop has a strong Filipino scene, with artists writingGo to Hip-Hop Glossary, idol music, anime soundtracks, and virtual performance. Its artists often exist at the intersection of music, fashion, technology, theater, and visual art. Even when audiences cannot fully understand the language, there is something unmistakable about the emotion, precision, and imagination behind it.

That creative collision sits at the heart of ASOBISYSTEM.

Established around the vision of “From Harajuku to the World,” the Japanese entertainment company has helped develop artists who challenge traditional definitions of what a pop act can be. Its roster includes global names such as Kyary Pamyu Pamyu and ATARASHII GAKKO!, alongside a new generation represented by groups like FRUITS ZIPPER and the wider KAWAII LAB. project.

Through ASOBIEXPO, the company is bringing those different worlds together — not simply as a music festivalMusic FestivalA multi-act live event, held over one or several days, featuring many performers across genres and stages. Festivals create community around music and attract tourism, and the Philippines hosts aGo to Music Festival Glossary, but as an entry point into contemporary Japanese culture.

“Through my own experiences traveling abroad to see Kyary Pamyu Pamyu and ATARASHII GAKKO! perform, whether on world tours or at music festivals, I’ve seen firsthand just how many people around the world share a genuine love for Japanese music and culture,” ASOBISYSTEM CEO Yusuke Nakagawa shares with Billboard Philippines.

While Japanese entertainment already commands an enormous international following, the executive believes a gap remains between discovering the culture online and experiencing it firsthand.

“Japan has so much content that can appeal to the global audience,” he explains. “But there are still challenges when it comes to fully bringing that content to the international market and creating opportunities where those overseas can actually experience the content themselves.”

ASOBIEXPO was created to help bridge that distance. The event gathers music, fashion, art, and other creative expressions within one space, allowing audiences to encounter Japanese culture as a complete ecosystem rather than through a single genre or medium.

A Culture That Cannot Be Contained

Few artists embody ASOBISYSTEM’s boundary-breaking philosophy more completely than ATARASHII GAKKO!

The four-member group has become known internationally for its unpredictable performances, expressive choreography, and fearless combination of music, dance, theater, and performance art. But challenging expectations was never a calculated strategy. According to the group, it was simply the most natural path forward.

“From the moment we formed, we always wanted to go diagonally instead of straight,” ATARASHII GAKKO! tell Billboard Philippines. “We never wanted to be typical. We wanted to do what we considered ‘not normal,’ and that felt fun to us. Living inside that feeling is what naturally brought us here.”

Their performances are difficult to describe precisely because they are designed to escape definition. The closest word the group can offer is the Japanese concept of seishun, or youth — not merely as an age, but as a way of giving everything to the present moment.

“We define it as throwing everything we have into this one moment,” the group explains. “Lately, we’ve been building our setlists around a sense of ‘live feeling,’ playing with tempo and dynamics so the crowd and we become one.”

That experience changes according to the country, audience, and type of stage. A festival demands something different from a solo concert. Rather than reproduce the same performance in every market, ATARASHII GAKKO! responds to the energy in front of them.

“We feel like chameleons, always changing,” they say. “Words can’t fully capture it. You never know what’s going to happen at our live shows. Just come experience it. We’d love for you to feel it with all five senses, without holding onto any boundaries.”

That freedom is grounded in the relationship between its four members. Their fearlessness does not come from an absence of uncertainty, but from the complete trust they have built in one another.

“There’s absolute trust between us on stage,” they share. “Because of that, we can freely express whatever we’re feeling in that moment.”

As their stages have grown larger, that sense of individuality has become even more important. For ATARASHII GAKKO!, commanding a festival is not about making every performance bigger or repeating a proven routine. It is about ensuring that every gesture carries purpose.

“It’s not about repeating the same performance like copy and paste,” they explain. “What matters is how much intention we put into every single movement, letting what comes from our core seep through. In the end, we feel like that intention is what reaches all the way out to people, no matter how far.”

The Original Global Pop Icon

Long before Japanese pop culture became as immediately accessible across borders as it is today, Kyary Pamyu Pamyu was already giving the world a vivid new vocabulary for understanding it. Her surreal visuals, unmistakable fashion, and genre-defying pop helped turn kawaii from a Japanese idea into a word international audiences could recognize and claim for themselves.

“I’m not very conscious of it, but I may have played a small part in spreading kawaii, a culture that originated in Japan,” Kyary tells Billboard Philippines. “People overseas often say ‘KAWAII!’ to me rather than ‘CUTE!’ and that makes me very happy.”

Her global impact was built through the complete union of music, fashion, and art. For Kyary, those elements have never been separate accessories to the work; together, they are the work. She credits the bold imagination of hair and makeup artist Shinji Konishi and the distinctive production of Yasutaka Nakata as essential parts of the identity she brought to the world.

“Fashion is something that can never be separated from me when communicating the individuality of Kyary Pamyu Pamyu,” she explains. “There is great attention to detail in the music, fashion, and art, and that is how Kyary Pamyu Pamyu came together.”

Although her work has influenced a generation of artists and creators, Kyary says that influence was never the result of following a predetermined blueprint. “I don’t think about it consciously,” she shares. “I’ve simply done what I wanted to do at each moment. As I continue my career, I make a strong effort never to lose sight of that original core: doing what I want to do.”

That same spirit gives ASOBIEXPO its distinct character. For Kyary, the event feels less like a competition between performers and more like a celebration created by one artistic community. Held in part to commemorate ASOBISYSTEM’s anniversary, it offered its artists a chance to thank their fans and reconnect with colleagues they rarely see amid their individual schedules.

“At large festivals, you can sometimes feel that you have to leave your mark, or that the audience’s reaction will be compared with that of other artists,” she says. “It can feel a little like a battle. ASOBIEXPO doesn’t have that at all. It’s an event that we build together with our friends from the same agency.”

By bringing together acts as varied as ATARASHII GAKKO!, CUTIE STREET, FRUITS ZIPPER, and ASOBISYSTEM’s bands and singer-songwriters, the festival captures what Kyary describes as the “now” of Japanese entertainment. Its common thread is not a single genre but the ability to communicate beyond language through sound, fashion, character, and world-building.

“Whether it’s the word kawaii, which is understood around the world, the costumes and visual worlds, or the idea of Harajuku itself, I want audiences to experience expressions that are truly MADE IN JAPAN,” she says.

Discovering a New Kind of Kawaii

While ATARASHII GAKKO! represents the exhilarating freedom of breaking every rule, FRUITS ZIPPER is redefining another globally recognized aspect of Japanese identity: kawaii culture.

Formed under ASOBISYSTEM’s KAWAII LAB. project, the group introduces listeners to NEW KAWAII — an uplifting philosophy that encourages people to embrace their individuality and recognize what makes them uniquely charming.

For FRUITS ZIPPER, ASOBIEXPO carries a special sense of responsibility. Unlike other festivals where they arrive as invited performers, this event represents the broader creative family to which they belong.

“Our mindset changes a bit with ASOBIEXPO because it’s an event organized by ASOBISYSTEM,” FRUITS ZIPPER member Mana Manaka explains. “We don’t assume we’re going to perform just because we’re part of the agency. We believe this event comes together thanks to the hard work of many senior artists and staff members. But strangely enough, we feel as if we’re part of the organizing team ourselves.”

For FRUITS ZIPPER member Karen Matsumoto, returning to the event is also personal. After being unable to complete part of the previous year’s performance because she was unwell, the experience became motivation to come back stronger.

“I was really sad about that, and it fueled my desire to perform at this event again,” she says. “I’m so happy to be back this year. FRUITS ZIPPER has grown a lot over this past year, so I hope everyone can see how we’ve changed.”

The group’s appeal extends beyond its music. Its colorful visual language, choreography, and fashion all contribute to its identity. At ASOBIEXPO, the members debuted costumes created in collaboration with Japanese fashion brand HOUGA, demonstrating how idol culture can serve as a meeting point for several creative disciplines.

“KAWAII LAB. has a range of songs so diverse that they can’t be categorized simply as J-pop,” FRUITS ZIPPER member Manaka says. “You don’t often come across idol music like ours overseas, so we really hope the audience will enjoy it. When it comes to Japanese idols, I would also love for people to pay attention to our costumes.”

That combination of sound and style reflects ASOBISYSTEM’s belief that Japanese creativity is strongest when its different forms are allowed to interact.

Why Japanese Music Is Connecting Now

Japanese music has had dedicated international communities for decades, often introduced through anime, video games, film, and online fandom. What has changed is the speed and scale at which audiences can now discover it.

Streaming services have made music instantly accessible across borders. TikTok, YouTube, and other social platforms have allowed even highly specific sounds and subcultures to find their audiences without first passing through the traditional machinery of the global music business.

“There have always been people overseas who love Japanese music and culture,” ASOBISYSTEM CEO Yusuke Nakagawa says. “But today, thanks to streaming services and social media, discovering and listening to the same music across borders and languages has become the norm.”

Japanese music is also increasingly being recognized beyond the categories with which international audiences have historically associated it.

“Not only music from anime and video games, but also J-pop, idols, hip-hop, and many other genres are reaching international audiences through a variety of channels,” he continues. “Japanese music has always been characterized by diversity and creativity. The environment to share this is now better established than ever before.”

For FRUITS ZIPPER Manaka, Japanese music possesses a quality that can be recognized even before a listener knows where it comes from.

“One time, when I was overseas, I heard a song playing in the background and thought, ‘The intro sounds like a Japanese song,’ only to find out it really was a J-pop song sung in Japanese,” she recalls. “It’s hard to explain exactly what makes it different, but there’s something that gives a song that distinctive J-pop sound.”

Matsumoto believes the connection is also emotional. Even before international listeners translate the lyrics, the brightness of the music can communicate a feeling.

“When I listen to songs by KAWAII LAB., I feel like my self-esteem gets a real boost,” she says. “Even if you don’t understand Japanese, I think the melodies alone can naturally make you feel more energetic and lift your spirits. If you translate the lyrics and learn what they mean, you’ll probably feel even more positive.”

Made in Japan, Built for the World

Although ATARASHII GAKKO! does not set out to present a literal showcase of Japanese traditions, the group believes its identity inevitably carries the sensibilities of where its members were raised.

“We’re not trying to directly present Japanese culture,” the group explains. “But we do think the sensibility and posture of having grown up in Japan lives inside AG!’s energy.”

Through their performances, those Japanese foundations interact with different audiences, stages, and cultures, creating something new in the process.

“We hope people feel something new and interesting born from that mix, that multiplication,” they add. “And if it makes you think, even just a little, ‘I want to go to Japan,’ that would make us happy. We always carry the feeling of being MADE IN JAPAN.”

That exchange is central to ASOBIEXPO’s purpose. The event is not only designed for existing fans. It is meant to create moments of discovery—where an audience member arrives for one artist and leaves curious about another, or where a performance opens the door to a deeper interest in Japanese fashion, art, and culture.

“Someone attending ASOBIEXPO from overseas may watch a live performance and think, ‘I want to listen to more songs by this artist,’” says ASOBISYSTEM’s CEO Yusuke Nakagawa. “Or they may become more interested in other aspects of Japanese culture. We hope ASOBIEXPO can become someone’s gateway to discovering more about Japan.”

Building With Southeast Asia

The Philippines and Southeast Asia represent especially important possibilities for Japanese artists.

The region already has deeply established communities built around anime, gaming, fashion, and Japanese music. Its highly connected audiences are also quick to discover emerging artists, participate in online fandoms, and turn digital interest into real-world support.

“There are already many people in the Philippines and Southeast Asia who love Japanese music and culture,” notes ASOBISYSTEM CEO Yusuke Nakagawa. “Many initially become interested in Japan through anime and video games, and from there, expand their interests to music, fashion, and more.”

However, meaningful global expansion requires more than exporting an existing formula. It demands an understanding of each market and a willingness to collaborate with the communities within it.

“It’s not simply a matter of bringing Japanese methods over as is,” he emphasizes. “It’s important to understand the local culture and the people there, and to build a culture together.”

ASOBISYSTEM has already begun taking that approach through its partnership with POPS and the launch of KAWAII LAB. auditions across five Asian countries. The project reflects a wider vision: not only bringing Japanese artists into Southeast Asia, but also discovering new possibilities within the region itself.

FRUITS ZIPPER hopes to be part of that growing relationship.

“There are still so many of you we haven’t met yet, so we’d love to come visit you someday,” Matsumoto says in a message to fans across the Philippines and Southeast Asia. “Please keep listening to FRUITS ZIPPER. We hope our music gives you lots of energy and happiness.”

Kyary shares that hope, imagining a future in which the event itself can travel alongside its artists. “I hope everyone at ASOBISYSTEM can continue spreading their wings around the world so that, someday, we can hold ASOBIEXPO in the Philippines,” she says. “Please look forward to it.”

For ATARASHII GAKKO!, the next chapter brings new territories, new stages, and new audiences. But its message remains rooted in the place where its journey began.

“FROM TOKYO WITH LOVE!” the group declares. “We’re reclaiming our pride in repping Tokyo. From Tokyo to the world, we’ll keep delivering our hearts.”

That phrase could just as easily define the movement ASOBISYSTEM is building through ASOBIEXPO: unmistakably Japanese in its foundations, unrestricted in its creativity, and ready to connect with the world on its own terms.

Photographs by Yuna Yoshimori, Takahiro Higuchi, Aki Ishii, and Koki Iwamoto.