From the code “81,” a new music experience begins in Tokyo.
On Saturday, June 27, 2026, 81 MUSIC FESTIVAL will make its debut at TOYOTA ARENA TOKYO in Odaiba, Tokyo.
Named after “81,” Japan’s international country code, this new festival brings together artists who transcend genres and borders, including THE KID LAROI, R3HAB, MRAK, JOHN MARTIN, VINI VICI B2B MR.BLACK, NIGHT TEMPO, ALAN SHIRAHAMA, 3LI¥EN, and MARVY.
81 MUSIC FESTIVAL is not simply a festival that brings international artists to Japan, nor is it one confined to the domestic music scene. It was created with the vision of building a new cultural platform in Odaiba, Tokyo that connects Japan with the world.
We spoke with Yuuki Yoshiyama, Executive Producer of 81 MUSIC FESTIVAL, about the story behind the festival.
Q. First, could you tell us about the background behind launching 81 MUSIC FESTIVAL?
I have been involved in a wide range of festivals and music events, including EDC JAPAN, GMO SONIC, and COMMON GROUND MUSIC FESTIVAL at the Osaka Expo Main Arena. I have also been active in the music scene as an artist and DJ for 30 years, performing at many international festivals and events, including Tomorrowland.
Through those experiences, one thing I have always felt is that the world is looking for Japan as a platform, and that Japan holds unlimited potential in what it can share with the world.
Tokyo is an incredibly attractive city on a global scale. Food, fashion, anime, art, technology, hospitality — there are very few cities where such diverse cultures exist at such a high level. At the same time, in the field of music festivals, I have always felt that there is still much more we can express from Tokyo and from Japan to reach the world.
“81” is Japan’s country code. I see it not just as a number, but as a kind of code that connects Japan to the world. With 81 MUSIC FESTIVAL, I want to create a place where international top artists, globally active artists from Japan, and next-generation talent intersect, all starting from the energy of Japanese culture and the city itself. That is the vision behind this festival.
Q. What is most important to you in terms of the festival concept?
The most important thing is that this is a festival born in Japan while being connected to the world.
“81” is Japan’s country code. That means this festival carries the context of Japan from the very beginning. It is not just about inviting international artists to Japan, but about thinking carefully about how Japan can communicate itself to the world. That perspective is very important to us.
Another key point is not dividing music by genre.
EDM, pop, hip-hop, house, techno, trance, rave — there are countless genres, but I believe music should be much freer and more naturally mixed. Today’s listeners do not discover music only through genre. They encounter music through mood, experience, and emotion.
That is why I want 81 MUSIC FESTIVAL to be a place where someone may come for one artist they love, but by the time they leave, they have discovered another genre or another artist. I want it to be a festival that opens up new entrances into music.
Q. There are already many music festivals in Japan and overseas. What makes 81 MUSIC FESTIVAL different?
What we value is creating a place where Japanese culture connects with the world, starting from “81,” Japan’s country code.
Bringing an established international festival brand to Japan may be easier from a branding perspective. But isn’t it also exciting and challenging for a brand born in Japan to set sail toward the world?
Artists active on the world’s top stages and artists who carry Japanese or Asian contexts while communicating globally will come together in the same space. It is not only about bringing overseas culture into Japan, but also about how Japan can share something with the world. I believe that is where the meaning of this festival lies.
When a festival takes place, not only do artists gather from around the world, but guests also choose the festival as one of the purposes of their trip. That means the experience goes beyond attending the festival itself. It becomes an opportunity to encounter the culture of that country and experience its appeal through many different touchpoints.
In fact, cities such as Las Vegas during EDC and Amsterdam during ADE are said to generate hundreds of billions of yen in economic impact. This is not caused by the festival alone, but by the wave created by destination-based events.
I also believe that “81,” an IP based on our country code and identity, has the potential to become a platform not only for festivals, but also for art, creativity, fashion, and many other forms of culture.
Q. What are the highlights of the lineup?
THE KID LAROI has been booked in what we call the APEX position, a role that goes beyond a traditional headliner. I think many people still clearly remember his recent Coachella performance with Justin Bieber.
Although he is only 22 years old, he is already an iconic figure in the global pop scene. He moves across pop, hip-hop, dance music, and alternative sensibilities, and has a strong influence on younger generations. I believe he represents the kind of open and borderless festival that 81 MUSIC FESTIVAL aims to become.
R3HAB is a DJ and producer with an extraordinary track record at festivals around the world. I have known him for many years, and this time he has promised us a truly special showcase as a world premiere. I believe he is one of the clearest expressions of the uplifting energy and sense of unity that dance music and festivals can create.
Then there is MRAK, who will finally make his long-awaited Japan debut. Two years ago at GMO SONIC, we brought ANYMA to Japan for the first time. Now, as the creative partner of Tale Of Us and a key figure in Afterlife, I think Japanese fans will have huge expectations for what kind of stage MRAK will bring. Since he has been focusing deeply on production, I have a feeling he may bring many new tracks to the stage.
And of course, JOHN MARTIN. It is no exaggeration to say that his voice has defined some of the biggest festival sing-along moments around the world. I can already vividly imagine songs such as Swedish House Mafia’s “Don’t You Worry Child” and Sebastian Ingrosso’s “Reload” echoing throughout Toyota Arena.
With VINI VICI B2B MR.BLACK, we have also realized a B2B set that will be performed in Japan for the first time. Their music is trance-driven and hard-hitting, yet also catchy and easy to connect with. They are truly floor-focused artists who make people want to dance.
In addition, NIGHT TEMPO, ALAN SHIRAHAMA, 3LI¥EN, and MARVY will join the lineup as artists connecting Japan, Asia, and the global scene. NIGHT TEMPO is an artist who reinterprets Japanese 1980s pop music in a contemporary way and shares it with the world. ALAN SHIRAHAMA, known for his work with EXILE, GENERATIONS, and PKCZ®, is also gaining international presence as a DJ and producer. This lineup is not only about major international names, but also about Japanese culture and Japan-born artists connecting with the world on the same stage.
Q. What are your thoughts on TOYOTA ARENA TOKYO as the venue?
Odaiba is a very symbolic location within Tokyo. It has the ocean, a sense of openness, and the energy of a major tourist destination. Being able to hold the festival at the newly opened TOYOTA ARENA TOKYO in that location carries great meaning for a festival born in Tokyo.
Because it is an indoor arena, the event is not affected by the weather, and we can pursue a high level of quality in sound, lighting, and visual production. Festivals can sometimes carry the image of being physically demanding outdoor events, but we want to create an environment where even first-time festivalgoers, including younger audiences, can enjoy the experience comfortably and safely.
When I produced the festival at the Osaka Expo, there were many first-time attendees of all ages, and I was struck by how freely everyone enjoyed themselves. I still feel that there are many fixed ideas and biases around festivals and dance music in Japan. There are not enough opportunities in this country for people to simply enjoy sound beyond different boundaries. I believe that experiencing those opportunities is essential for creating culture.
A festival is not just a place to watch live performances. It is a place where your values can expand. You may encounter an artist you did not know, share the same song with the person standing next to you, and leave with your view of the world changed, even if only slightly. That is the kind of experience we want to deliver.
Q. Finally, what kind of festival do you hope 81 MUSIC FESTIVAL will become in the future?
As I mentioned earlier, this festival began with “81,” Japan’s country code and a symbol of Japanese identity.
That is why, while music is at the center, I want it to become a platform where various forms of Japan-born culture — fashion, art, visuals, food, technology, tourism, nightlife, and more — connect with the world.
Beyond the experience of the event itself, I want to create a state where new culture continues to emerge under the name “81,” through year-round collaborations, content creation, and partnerships with cities and brands. I also hope this platform can shine a spotlight not only on talent in Japan, but also on talent from across Asia and around the world, starting from Japan as a cultural hub that continues to attract global attention.
On the day of the festival, of course I hope people come to see the artists they love. But I also hope they enjoy the entire experience from beginning to end and encounter many different kinds of music along the way.
The melodies, the voices, the visuals, the atmosphere of the venue, and the energy of everyone gathered there — there are moments that can only be born when all of these elements come together.
Together with everyone, I want 81 MUSIC FESTIVAL to become the beginning of a new culture.
We look forward to seeing you in Odaiba on June 27, 2026.
81 MUSIC FESTIVAL Executive Producer
Yuuki Yoshiyama
Yuuki Yoshiyama has served as Executive Producer of some of Japan’s leading dance music festivals, including EDC Japan from 2017 to 2019 and GMO SONIC from 2023 to the present. In 2025, he also produced COMMON GROUND MUSIC FESTIVAL at the Osaka Expo, co-hosted with the Embassy of the Kingdom of the Netherlands.
At the consulting firm he leads, Yoshiyama has spent more than 25 years solving business challenges across a wide range of fields, including marketing, branding, event production, management, organizational development, and human resources. His books have sold a total of over 900,000 copies.
He has also overseen entertainment-related initiatives for international hotel groups and has successfully produced a variety of collaborations and events in the field of Japanese food culture, an area that continues to captivate audiences around the world. In addition, he has worked as a lifestyle content producer for foreign investment funds, major department stores, luxury media, and other organizations, curating hybrid forms of content across industries.
As a DJ and artist, Yoshiyama has been active in music for more than 30 years and has released numerous original tracks worldwide. He has performed at Tomorrowland Belgium for two consecutive years, became the first Japanese artist to perform at Tomorrowland Winter, and has appeared at some of the world’s leading festivals and events, including EDC Las Vegas, EDC Thailand, EDC China, and EDC Korea. With performances in more than 15 countries, he continues to work globally as one of Japan’s leading producers.
