For musicians who want to play in Japan
Real bookings at livehouses and festivals, artist visa, backline, local PR and a Japanese host on the ground.
[PLACEHOLDER: X tours organised in the last 24 months · average of Y dates per tour]
What a Western booking agent cannot give you in Japan: real access, and a host who solves problems in Japanese.
Livehouses in Tokyo, Osaka, Kyoto and Fukuoka. Festivals that take foreign artists. Deal closed before the flight.
Artist-visa paperwork, ATA carnet for instruments, hotels sorted.
Interviews with Japanese media, posters at the livehouses, and content for your Japanese audience before the show.
Where do you fit?
You want real dates at livehouses or festivals, not a self-funded holiday tour.
[PLACEHOLDER: real one-line case: "Name played 7 dates in 12 days, closed 2 sync licences"]
See how we build a tour →
You are releasing in Japan and want people who already move international artists there.
[PLACEHOLDER: real one-line case about a release]
See how we build a release →
You want the festival and the livehouse route without getting lost in Japanese paperwork.
[PLACEHOLDER: real one-line review from a traveller]
See how we build a trip →
Not everyone fits
Honest comparison
| Do it yourself | Generic travel agency | BtheMusic! Japan | Do nothing | |
|---|---|---|---|---|
| Access to the circuit | Only what your network already gives you. | None. | Direct. Named contacts. | Zero. |
| Language | You figure it out. | App translator. | We work in Japanese. | — |
| Time invested | 200+ hours. | 40 hours of calls. | 10 hours on your side. | 0 hours. |
| Visa risk | High if you have not done this before. | Not their job. | We handle it. | N/A. |
| Typical price | [PLACEHOLDER: $$] | [PLACEHOLDER: $$] | [PLACEHOLDER: $$] | 0 (and 0 result). |
| When it wins | If you already live in Japan. | Never for music. | When Japan is part of the real plan. | If Japan is a fantasy. |
If your current booking agent already has a Tokyo office, work with them. If not, you will pay the learning curve in your first three months.
What happened when they worked with us
[PLACEHOLDER: 3-piece indie rock band, first time in Japan, 2026]
[PLACEHOLDER: 7 dates in 12 days, 2 sync licences signed, 42k views on the official clip]
[PLACEHOLDER: Latin label launching its artist in Japan, 5-track EP]
[PLACEHOLDER: in 3 Japanese playlists, 12 press reviews, release party at 180 attendees]
[PLACEHOLDER: group of 4 city-pop fans, first trip to Japan]
[PLACEHOLDER: Fuji Rock VIP + livehouse route in Tokyo and Osaka, 10 days with no logistics hiccups]
How we work
Which cities, how many realistic dates, what visa, what budget. No inflated numbers.
Direct negotiation with livehouses and festivals. Deal closed before you book the flight.
Artist visa, ATA carnet, backline, hotels and transfers between cities.
Interviews in Japanese media, footage captured, and a plan to come back on a bigger budget.
Add to the package
A month between tour dates to write or record with Japanese artists.
Attaches to: Base tour
A day in the studio with a Japanese engineer to cut an EP or live session.
Attaches to: Base tour
A Japanese videographer at two dates and delivery of 3 short social clips.
Attaches to: Base tour
Three steps
We read your audience, your material and your budget.
Outcome: You know which cities and how many dates are realistic.
Direct negotiation with livehouses and festivals.
Outcome: Deal closed before you book the flight.
Visa, backline, transfers and local PR.
Outcome: You arrive, play, and return with footage and contacts.
Where the scene already follows us
The livehouses we work with recommend us to their contacts. That is the only filter that matters in Japan.
What they say
"[PLACEHOLDER: featured testimonial, 2 or 3 specific sentences]"
"[PLACEHOLDER: testimonial 2]"
"[PLACEHOLDER: testimonial 3]"
[PLACEHOLDER: 100+ verified reviews across Google and Trustpilot]
Questions we get
If you are paid to play in Japan, yes. We handle it.
We rent local backline. You travel with guitars and cymbals only.
From a door deal to a small guarantee. The tour does not pay for itself on fees alone. The real return comes from recorded material and the contacts.
Sometimes. When the profile fits with local publishers, we connect them.
Rarely. You usually start at livehouses and mid-sized festivals. Fuji or Summer Sonic tend to come on the third or fourth trip.
Tokyo and Osaka. Kyoto and Fukuoka on a second pass.
No. Japanese audiences value 5 phrases to introduce the songs. More than that is up to you.
First step
Tell us about your band, what you have already recorded and what you want to do in Japan. Within 48 hours we tell you if this is the moment and what budget you need.
Request a tour diagnosticFinal step
We will tell you the truth, whether we fit or not.
Request a tour diagnostic