“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.
“Why isn’t this on Spotify?”
It’s a question nearly every global fan has asked at some point. Whether you’re discovering Ae! group for the first time through a drama or revisiting the legendary discography of DOMOTO (formerly KinKi Kids) when cleaning your shelves, chances are, at some point, you’ve hit a wall trying to find their music on global streaming platforms. And if you have managed to find it, the catalog is often fragmented, inconsistent, or frustratingly delayed.
At first glance, it’s easy to assume the blame lies with “the company”—usually STARTO ENTERTAINMENT. But the truth is more complicated, involving decades-old contracts, shifting media ecosystems, and a business model built in an era where CDs were king.
Before we go further, it’s important to clarify that what follows isn’t the absolute truth, nor is it meant to represent official statements. These are well-informed perspectives and educated interpretations based on our own experience working within the Japanese entertainment and music industries, combined with academic study of music business structures. The specifics may vary case by case, and things are always shifting behind the scenes—but this is the closest picture we can responsibly provide from the outside looking in.
With that being said, what’s really stopping all the wonderful and addictive STARTO music from reaching your playlists? Let’s unpack it.
The Short Answer: Rights Are a Mess
When a song is created under the traditional Japanese label system, several parties typically get involved: the label, the producers, the songwriters, and the talent agency. STARTO, as a talent agency, does not produce the music itself. Instead, it oversees the artist’s image, branding, and career direction—while the label (like Universal, Victor, or Storm Labels) handles production, release, and revenue.
STARTO might consult on song selection, and it has the power to veto content that doesn’t fit the artist’s narrative. But when it comes to what happens after a song is released—including streaming decisions—STARTO’s hands are often tied.
Who Really Owns the Songs?
In Japan, the concept of 原盤権 (genbanken or master rights) plays a key role. These rights determine who has control over the original recording and its distribution. In STARTO’s case, the record label typically owns the master rights—meaning they alone decide whether the music goes on streaming platforms like Spotify or Apple Music.
STARTO, on the other hand, often retains what’s called secondary reproduction rights. That means they can reuse the song in concerts, Junior performances, or video content—but not sell or distribute the original track. So while STARTO has influence, it doesn’t control the release chain in the way fans might assume.
For example, Storm Labels, founded under Julie’s leadership, was created as a STARTO-adjacent label to ensure the company had more say in music negotiations. But even Storm operates like a traditional Japanese label—with the same rights structures and the same incentive issues. It’s not an in-house streaming solution; it’s a bargaining chip to ensure STARTO stays competitive among larger label players.
The landscape of labels is a labyrinth of its own, so we’ll be going into the labels and their roles in a future Table Talk. Stay seated!
Streaming Is a Terrible Business (For Now)
Even if labels had full freedom to stream everything, they might choose not to—especially when the music predates the streaming era. Why?
- Streaming revenue is minimal compared to CD sales.
- Older songs require renegotiation of contracts with every songwriter, producer, or third party involved—many of whom never agreed to streaming in the first place.
- Japanese consumers (their main target market) are still more CD-loyal than most international markets, which keeps physical sales viable.
And here’s another key factor: most STARTO talents make significantly more from merchandise than they do from music sales or streaming. Goods like shop photos, acrylic stands, tour merchandise, and special event items often generate far more revenue for both the talents and the agency. These items are exclusive, collectible, and tied closely to fan experience—making them both emotionally and financially valuable. While streaming provides global access, it yields only a fraction of a yen per play. For agencies and idols alike, merchandise offers a much clearer return.
That said, streaming has its own major advantages, especially when it comes to visibility and accessibility. It allows new fans—especially international ones—to discover artists without needing to import physical albums. Songs shared easily on platforms like Spotify or Apple Music become passive marketing tools that spread naturally across social media and fan communities. Streaming also provides a public measure of popularity, which can influence media opportunities and brand interest. So while the monetary payoff is small, the promotional value of being available on streaming platforms is significant and long-term.
In other words, unless a label sees a clear return on investment, the effort to re-license and release older material may not be worth it—especially if that group is no longer active.
But Some Groups Are Streaming—What Changed?
You may have noticed that groups like Kis-My-Ft2, WEST., A.B.C-Z, Hey! Say! JUMP, and even DOMOTO are gradually releasing their back catalogs on streaming platforms. This is no accident.
In these cases, their labels saw an opportunity: revitalize interest in older songs to support current releases or anniversaries. Streaming, in these cases, functions more as promotion than profit. This is how most Western and K-pop labels have approached it too—songs become marketing tools for tours, albums, and merch.
It’s easy to understand why newer groups like Snow Man, SixTONES, King & Prince, Kento Nakajima, Travis Japan, and Naniwa Danshi, are present on streaming platforms—these groups were launched or rebranded in an era where digital consumption was already standard, and their contracts are more likely to reflect that. But for older groups, the calculation is different.
Groups like NEWS, SUPER EIGHT, and DOMOTO have long-standing careers with deeply invested fanbases, and those fanbases are often still active and purchasing goods. For their labels, streaming becomes a tool not only to re-engage nostalgic listeners but also to introduce the group to newer audiences—especially when anniversaries, new releases, or tour revivals are on the horizon.
The profitability here doesn’t come from the streaming numbers themselves, but from the increased engagement. A classic hit resurfacing on playlists can remind lapsed fans why they fell in love with the group—and potentially push them toward concert tickets, merch, or new releases. In that sense, the value of streaming is indirect, but powerful.
STARTO isn’t blocking this. But if the label sees no upcoming business reason to invest in re-releasing a catalog, it won’t happen.
What About SMAP, KAT-TUN, or V6?1
Here’s where it gets thorny. Many older contracts didn’t account for digital platforms, and some involve ex-members, foreign songwriters, or producers who would need to renegotiate rights for streaming. Labels would also have to navigate whether those members are still publicly marketable—or, in some cases, legally reachable.
It’s not that it’s impossible. It’s just that the cost and risk often outweigh the reward.
So, “Spotify When?”
Sooner or later, Japan will shift fully into the streaming economy—just like every other music market has. We’re already seeing movement. Newer groups debut with digital releases in mind, and catalog drops tied to anniversaries are becoming more common.
But for legacy acts or less active groups, streaming may still take years—unless fan demand meets a moment of strategic opportunity.
There’s no one “right” way to support your favorite group. With the rise of social media, fan engagement has expanded far beyond buying CDs or merchandise. Sharing music clips, creating fan content, participating in conversations, and streaming officially released content all help raise awareness and visibility—even if you’re not spending money.
That said, if you do have the means to support through physical or digital purchases, that’s always a win for everyone involved. CD and merch sales still matter in the Japanese market, especially for talent agencies and labels watching numbers closely.
- Engage on streaming platforms when songs are released—data matters.
- Share music legally and visibly through social channels to help new fans discover it.
- Politely advocate through fan communities and interest campaigns to show labels and agencies that international fans are listening.
- Support in ways that work for you—fandom is not a financial contest.
- Understand the business behind the glam—frustration is fair, but informed fandom has real power. It also helps to be mindful of the sources we rely on. Sometimes translations, summaries, or insider claims can be unintentionally skewed or interpreted in ways that match a specific narrative. Critical thinking is important—especially in international fan communities where nuance can get lost across language and context.
In the end, streaming is more than just a convenience—it’s a bridge. It connects artists with new audiences across borders and generations, while giving long-time fans a way to revisit the memories tied to each song. It opens doors to discovery, nostalgia, and emotional connection. No matter when or where you encounter their music, streaming ensures it’s there—waiting to be found, remembered, and cherished all over again.
We hope this article has helped shed some light on the complexities of music rights and streaming in the STARTO world. “Spotify When?” is a valid question—but as we’ve explored here, the answer often lies far beyond the artist or agency alone.
If you’re passionate about seeing your favorite group on streaming platforms, let’s keep the discussion going. Your voice, your interest, and your advocacy all matter. Share your thoughts, your favorite releases, and what you’d love to see available next.
At Dumpling Box, we’re always happy to support conversations like these. Whether you’re a fan hoping to spark interest, a translator helping fans stay informed, or an industry contact looking to connect—this is the kind of table we’ve built this platform for.
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.
More Table Talk on Dumpling Box
- At the time of writing this article, V6 was not on streaming, but has since joined the digital landscape. ↩︎