“Table Talk” is a Dumpling Box series that dives deeper into the news or topics shaping the world of entertainment. Rather than just simply reporting headlines, Table Talk unpacks the meaning, impact, and context behind the major announcements and developments. It’s where surface-level news turn into thoughtful conversations—offering readers a space to reflect, question, and better understand what these changes mean for the artists, the industry, and the culture at large. Like lingering at the table after the main course, it’s where the real discussions begin.
Whenever STARTO artists announce international concerts, the excitement is often followed by a familiar wave of disappointment: “Why not here?”
Fans in countries not listed on the tour poster are left wondering if they were overlooked, ignored, or just not loud enough. But the truth is, international tour stops are chosen based on far more than just fan demand. It’s a multi-layered decision involving logistical hurdles, business partnerships, and brand strategy.
This article explores why some countries make the list—and why others don’t.
Why Not Everywhere?
International touring is expensive, complicated, and resource-heavy, and that might go without saying. But aside from the financial standpoints, there are some other things worth considering.
STARTO groups typically begin with national tours that span major arenas and domes across Japan—big, successful ones at boot. Only when timing, resources, and market potential align does an international opportunity open up.
For example, Travis Japan’s overseas performances—such as their concerts in Los Angeles, New York, and several cities across Asia—were the result of years of groundwork beyond just rising popularity. Their training period in the U.S., combined with early strategic planning and international promoter partnerships, laid the foundation for their global activities. As the first STARTO group to officially debut with a global strategy in mind, Travis Japan has performed abroad more frequently than their agency peers. That international focus has been part of their branding and rollout from the very beginning.
While Snow Man has primarily focused on domestic expansion, they’ve also made deliberate efforts to grow their presence overseas—most notably in Thailand. Their participation in events like Japan Expo Thailand (both in-person in 2020 and virtually in 2022), and their recent high-profile performance at Summer Sonic Bangkok 2025, reflect a gradual but intentional international push. These appearances have been carefully selected to maintain performance quality while leveraging local fan enthusiasm and member Koji Mukai’s cultural connection to the region. That said, the group’s elaborate production style still makes full-scale tours abroad challenging at the moment to scale outside of highly prepared locations.
Naniwa Danshi’s 2024 Asia Tour marked a major milestone in their international efforts, with performances in Taipei, Seoul, and Hong Kong. This tour not only proved their rising popularity across the region but also demonstrated how STARTO could scale their concert experience abroad without compromising on quality with the right planning, infrastructure, and logistics. The group’s careful rollout in these markets shows how successful international touring often starts with strong domestic momentum, followed by strategic, regionally focused outreach.
Meanwhile, Hey! Say! JUMP has historically performed in countries like Taipei and Hong Kong, with notable overseas activities including their concerts in Taipei (2019) and Hong Kong (2012). These appearances were made possible thanks to strong regional fanbases and the presence of capable local promoters who could meet the agency’s requirements.
Although the group has primarily focused on Japan in recent years, their past international engagements highlight that STARTO is willing to bring established groups abroad when local infrastructure and timing align, but only when the conditions—promoters, fan demand, and infrastructure—aligned.
It’s not a matter of preference—it’s a matter of feasibility.
Investors and Promoters: The Real Gatekeepers
Here’s something many—fandoms worldwide—don’t realize: the agency doesn’t decide where to tour entirely on its own.
International concerts require the involvement of local event organizers or promoters—professionals who pitch the idea, secure venues, and take on the financial risk of hosting a show. If no promoter reaches out, or if the proposal isn’t solid enough, the tour stop simply won’t happen.
This also means a country with a passionate fanbase may still be skipped if no credible local team has initiated contact or if past events in that market have performed poorly. On the flip side, even a smaller fanbase country can land a concert if the promoter is proactive and experienced.
In short: STARTO can’t tour where nobody has invited them—and not every invitation makes sense from a business or branding perspective.
Venue Availability and Technical Limitations
Another thing to consider is how STARTO concerts are known for high production values: complex stage setups, screens, lighting rigs, and intricate choreography. Many venues outside Japan either can’t support the technical requirements or would require the show to be heavily scaled down.
STARTO is generally reluctant to present a version of a concert that feels like a downgrade. If the overseas venue can’t match the scope and spirit of the Japanese performance, they may choose not to go at all.
While many might agree in unison that attending a show in Japan won’t ever beat a show anywhere else, it’s still something that needs to be considered due to the branding of the artist.
A STARTO concert isn’t just about live music—it’s a curated experience that reinforces the group’s image and storytelling. Presenting a compromised version overseas risks harming the group’s brand, especially when social media allows clips to be instantly compared worldwide.
This is why the agency is often cautious. If they can’t ensure the international version of a tour meets expectations, they may decide it’s better to wait. But not only for the sake of the artists, but for the fans too.
If fans can’t get a somewhat balanced experience to what they would have experienced in Japan, then it’s not worth it.
Why Some Countries Get Picked (and Others Don’t)
Countries with established J-pop event infrastructure—like Korea, Taiwan, Hong Kong, and some parts of Southeast Asia—are often prioritized. These regions have:
- A history of hosting Japanese acts
- Promoters with experience and industry connections
- Fans who are used to buying physical merch and tickets in line with Japanese practices
- Venues suited for STARTO-level production
This doesn’t mean other countries aren’t important—just that the pieces haven’t aligned yet.
Can this change? Absolutely. With the right momentum, nearly anything is possible.
Some countries outside Asia (like America, Sweden, France, and various parts of Latin America) are building stronger fan infrastructure every year. Online support, event collaborations, fan-run projects, and connections with local Japanese cultural organizations can all help signal to both STARTO and local promoters that there’s a viable opportunity.
It takes time, consistency, and a bit of luck—but it’s not out of reach.
Touring Is a Business, Not a Checklist
At the end of the day, international touring is about more than who wants it the most. It’s about who can host it the best.
STARTO tours—like many others in the industry—depend on local partners, logistical readiness, and the ability to deliver a concert that meets their standards. That’s why your country might not have made the list this time—but it doesn’t mean it never will.
Behind every show is a long chain of people working to make it happen. And every fan—no matter where they are—has a role in helping those pieces come together.
Fans know their local area better than anyone, and that insight can be incredibly valuable. Making things happen takes more than one voice—but it always starts with one.
If you know of a local event or organizer who might be interested in hosting a STARTO artist, consider gently sharing your enthusiasm with them.
Sometimes all it takes is someone starting the conversation. Encouraging local organizers to explore the possibility and reach out to the agency can help open doors—especially when there’s clear community support behind the idea.
We hope this article has helped shed light on the often invisible complexities of international concert planning and why ‘just bring them here‘ is never as simple as it sounds. If you’re passionate about seeing STARTO artists in your country, let’s keep the conversation going—share your thoughts, your ideas, and your local knowledge.
At Dumpling Box, we’re always happy to connect fans, venues, and event organizers where possible. Whether you’re a fan hoping to spark local interest or an organizer curious about how to get involved, don’t hesitate to reach out.
We also hope that Table Talk can become a space where thoughtful, industry-minded conversations like this are welcome. It may not always be as flashy or fun as cheering for a new release or reliving the magical moments of a live show—but understanding the realities behind the scenes is part of what makes fandom more informed, empowered, and connected.
If you’ve read this far, thank you for taking a seat at the table. Let’s keep learning together—and building the kind of fandom where curiosity and collaboration can thrive.
