UlasanAnime.com – This second part of the article delves into the organizer’s perspective on the Anisong World Matsuri (AWM) events.
JAM Lab was established earlier this year as a platform for industry professionals to research and connect with Japanese management and artists. Given the typical business practices in Japan, initiating contact can be challenging. Anime’s cultural significance is widely recognized, making it beneficial to be accessible when opportunities arise. JAM Lab aims to address this need and bridge the information gap by publishing interviews, translated reports, and ranking news.
JAM Lab has featured interviews with key figures, including the head of SOZO, the company behind the AFA brand, and Mr. Inoue, the head of Lantis and a leading organizer of the Anisong World Matsuri shows. Inoue’s interviews, still being released at the time of this writing, have shed light on the AWM events and the organizational approach. A notable aspect missing from the current discussion is the potential for a Lantis 20th anniversary tour, should it follow previous patterns. At AnimeJapan this year, a public talk session involving the organizers of Anisama, Animax Musix, and Lisani took place. This session is also worth exploring for those interested in the subject, if it can be found on platforms like YouTube or Nico Nico Douga.
It is highly recommended to read Inoue’s interviews in their entirety, as they offer valuable insights beyond the quoted sections, especially for those unfamiliar with his background. The following excerpts highlight key points relevant to AWM and future expectations.
So I’m going to move on to talking about your company Lantis. Now that I know how Lantis all started, can you tell me the type of business Lantis is doing once again?
-So Lantis was established in 1999, and this is our 19th year. In prior to move onto our 20th year, as you know Lantis is a record company that makes anime and game music. Of course we do concerts as well. We are going to join forces with Bandai Visual, which works on motion pictures as well as some of Takeshi Kitano’s movies. Our company is going to be called Bandai Namco Arts starting April of this year. So for people reading this article, the company’s name will change within a few days. The name Lantis will stay as a label and logo.
This quote is included because it marks the transition to Bandai Namco Arts (BNA). It remains unclear if this is distinct from the BN Live Creative sub-brand, as Bandai Namco’s reorganizations can be confusing (a nod to the dissolution of BE USA).
[]With next year marking the 20th year, are there any projects or events that left a big impression on you for the last 2 decades?
-We do a lot of concerts and events with our partner group Bandai Namco Live Creative. We do about 800 shows a year.You might also be interested in : WUGLOVE Bus Tour Part 3: TUNAGO Tour Finale – Wake Up, Girls! 5th Anniversary Live
800!?
-Yes(laughs). Not every day but there are concerts taking places in different prefectures as well. We’ve been able to do a lot of these events and on our 10th year, we did an event called Lantis Matsuri at Fujikyu Highland Conifer Forest. After that, on our 15th anniversary, we did Lantis Matsuri at 4 different prefectures, Aichi, Sendai, Osaka and Tokyo. After that, we were able to do Lantis Festival overseas in Las Vegas, Hong Kong, Taiwan, Shanghai, Singapore, and Korea. Being able to do that with artists that grew up with you as well as well as staffs and making an event from scratch is probably the most memorable thing we ever did. Next year, 2019 will mark our 20th year so we are thinking of doing an event celebrating our anniversary.Different countries too?
-Speaking of different countries, we were able to do Anisong World Matsuri after Lantis Festival. It was a concert consisting of artists not just from Lantis but with Japanese artists and musicians from other labels and companies as well.Seems like the event is going to keep getting bigger.
What’s the advantage and what’s interesting about doing business with specializing in anime songs?
-Well, it’s going to change a little starting next month but, there were no labels that only specialized in anime and game songs. I think the biggest advantage is being able to team up with companies such as Pony Canyon, Kadokawa and other companies and makers to make music as well as motion pictures. The company is going to change but we are still going to be making music and motion pictures with other companies. So that part will not change.
This exchange highlights Lantis’s preparations for its 20th anniversary. The AWM events serve as both a learning experience and a testing ground for future ventures. As Inoue explains, there is a significant fan base, and the key question is whether it will be commercially viable to engage them. Organizing AWM events at Anime Expo, for instance, incurs substantial costs. However, with a clear business interest, the organizers can adapt and scale their operations, potentially allowing the Japanese side to absorb risks and streamline future overseas live events. The second interview further elaborates on this:
I heard about Lantis expanding overseas so I would like to talk about the past, present and future goals. Lantis is getting bigger by year, what triggered you to start thinking about expanding overseas?
-We have a project called JAM Project. It stands for Japanese Animation Song Makers. A project to make Japanese Anime Songs. We started this project around 2000 and in 2008, on their 8th year they were able to hold a concert at the Budokan which was their goal. After that, we had a discussion about what their next goal is going to be. That’s when we decided that we should expand overseas and bring anime songs to the rest of the world.
This expansion appears to be a market-building endeavor rather than a response to pre-existing market research.
You’re probably aware that there are many anisong fans oversea, do you feel that there is a difference in what’s popular depending on the country?
-Not so much anymore. They seem to like similar things but in South America, such as Brazil, Tokusatsu songs seems to be popular. Songs for Kamen Rider was actually broadcasted with the episode. So the attendees would be people who used to watch Tokusatsu when they were younger. In Europe, I noticed Dynamic Production work and anime like Gurren Lagann and Mecha were popular.
This information is somewhat novel, but it raises the question of consumer tastes in South America beyond the known popularity of Tokusatsu, which explains JAM Project’s appeal in Brazil. The text implicitly suggests that Lantis might consider South America for its 20th-anniversary events.
I’ve noticed that Lantis has been attending oversea events for a long time now and now Lantis is holding their own events oversea. Can you tell me a little bit of how it is working with Amuse and holding your own event?
-We do Lantis Festival which is a festival only for Lantis. But I also thought that depending on the place, there is more demand on something that Lantis alone cannot provide. There may be demand for Avex pictures, Sony Music Entertainment, Horipro, and Amuse which helps us book artists internationally because they have branches out in different countries. We are now shifting to work with oversea companies and hold the risk in doing oversea events.
Amuse plays a crucial role in event organization, particularly for AFA and AWM. Their involvement in other countries or regions with less established event infrastructure is less clear. Amuse’s primary function in the context of AWM and similar large-scale events is significant. While proximity and accessibility are key factors for successful American events, they are less critical for AWM-style shows, with the exception of avoiding the need to travel to Japan.
Examining Otakon’s guest list evolution over the years reveals a more ideal backend setup: strong public relations and a history of providing a solid venue for Japanese artists to connect with a large US audience. While promotional efforts exist, they are often limited by the non-profit nature of the organization. Fan merchandise is available, and attendees can enjoy performances without purchasing separate tickets beyond the convention admission. This arrangement, however, restricts artist access due to budget constraints, limiting performers who demand high appearance fees. The inability to leverage economies of scale, due to revenue caps, is also a factor. While an AWM event at AX might involve 150 people, it comprises multiple shows with numerous artists. In a more business-oriented approach, Otakon could consider expanding its scope, similar to how Japan is currently doing.
To conclude this business discussion, consider a hypothetical anecdote. Last year, an anikura event was held at AX, separate from the official AX programming. While billed as an after-party for AWM Day 0, it attracted around 180 attendees, enough to cover all expenses, including some food. Promotion was solely through word-of-mouth, and there are plans to host it again this year.
The main point is that fixed and sunk costs, such as venue rental and human resources for payment processing, registration, and check-in, remain constant regardless of attendance numbers. Whether an event has 100 or 200 attendees, or features amateur DJs or Japanese guests, the core costs do not change. If the budget is set at $5,000, with a maximum ticket price of $25 per person for a 200-person capacity, revenue is capped. Assuming backend costs are reduced to $2,500, this leaves $2,500 for airfare, accommodation for a DJ and their manager, and transportation. This is a very basic scenario.
Using the same figures, if ticket prices could be adjusted (e.g., through crowdfunding with stretch goals for autographs), it might be possible to bring in two guests by increasing the average attendee payment to $38, a modest increase of $13. Even the same volunteer handler could be utilized. In essence, if conventions like Otakon were to sell concert tickets, they could expand their guest roster by offsetting sunk costs. This model allows for the efficient transfer of added expenses to attendees, provided the event is scaled appropriately and meets audience expectations.
For conventions, AWM simplifies this proposition, making the concept more feasible to implement.
