How Anime Songs Rose to Conquer the World

Recently, it has become common to see multiple anime theme songs occupying the top 10 of Japan’s music charts. For instance, Yoasobi’s “Idol” (the opening theme for the TV anime Oshi no Ko) and King Gnu’s “Specialz” (the opening theme for the Shibuya incident arc in season 2 of Jujutsu Kaisen) both dominated the charts for an extended period and sparked significant buzz on social media platforms.

Thanks to streaming services like Spotify and video-sharing platforms, an increasing number of international listeners are embracing Japanese-language songs in their original form too. This means anime songs are both achieving widespread popularity within Japan and earning high acclaim on a global scale.

1960s–70s: The Birth of Anime Songs

The history of Japanese TV anime is said to have begun in earnest with Astro Boy in 1963. The opening theme, with lyrics written by poet Tanikawa Shuntarō, featured easy-to-remember phrases that highlighted the character and powers of its robot hero. Anime was commonly referred to then as “TV manga for children,” and its theme songs prioritized simplicity, often repeating character names and signature moves to ensure accessibility.

The singer Mizuki Ichirō, later known as the “emperor of anime songs,” once recalled how anime songs were discriminated against in the music and television industries. He noted that anime singers were not allowed to share the same stage as mainstream folk and pop artists, as anime music was regarded as second-rate entertainment for children.

One of the major turning points came with Space Battleship Yamato in 1974. The martial theme song, penned by renowned lyricist Aku Yū, broke away from conventional “hero anthems” for children, in a dramatic composition that resonated with adult audiences. By the late 1970s, anime such as Ashita no Joe and Mobile Suit Gundam introduced more mature narratives, and their theme songs followed suit, emphasizing literary and artistic qualities. This shift gradually challenged the perception that anime was children’s entertainment, expanding the expressive potential of anime songs.

1980s–90s: The Convergence with J-Pop

The “popification” of anime songs leapt forward in the 1980s. In Cat’s Eye, based on the manga by Hōjō Tsukasa, city pop singer Anri performed the opening theme, which became a massive hit. The song was even performed on NHK’s much-viewed New Year’s Eve music show Kōhaku uta gassen, serving as a key precedent for anime songs being accepted as mainstream pop music.

Similarly, TM Network’s “Get Wild,” composed as the ending theme for another Hōjō work, City Hunter, came into powerful combination with the anime’s visual storytelling and became one of the most iconic anime songs in history. These cases accelerated the trend of popular artists performing anime theme songs.

In the 1990s, the boundary between anime songs and J-pop became even more blurred. Major artists like Zard, Wands, Ōguro Maki, and B’z provided themes for Slam Dunk and Detective Conan, producing a string of million-selling hits. Meanwhile, Rurou ni Kenshin featured songs by top J-pop artists such as Judy And Mary, T. M. Revolution, Siam Shade, The Yellow Monkey, and L’Arc-en-Ciel. This solidified the new idea of anime theme songs as chart-toppers, further integrating anime music into the mainstream Japanese music industry.

2000s: Expansion into the Global Market

CD sales had continued to rise after replacing vinyl in the 1980s, but the “CD bubble” burst in 1998, marking a peak before the music industry experienced a sharp decline in revenue. Amid this downturn, attention turned to the anime market, backed by its dedicated fanbase. With core fans actively purchasing physical media (CDs and DVDs) and anime enjoying a strong international following, the industry presented significant business potential. As a result, tie-ins with anime theme songs came to be recognized as a stable revenue source.

The 2000s also saw the rise of the internet, which helped solidify anime songs’ global popularity. For example, the alternative rock band The Pillows gained a cult following overseas through work on FLCL. Similarly, Asian Kung-Fu Generation and Flow, both of whom contributed theme songs for Naruto, embarked on international tours, demonstrating anime’s role in introducing Japanese bands to the global music scene.

With the rise of streaming services such as Spotify and YouTube in the 2010s, anime theme songs reached an even broader global audience, further cementing their presence on the world stage.

2010s to Present: The Rise of Top Artists

Anime songs have now firmly embedded themselves at the center of Japan’s music scene. Anime has become an increasingly attractive tie-in opportunity, often surpassing TV drama theme songs and commercial jingles in potential reach and success. For artists, participating in anime projects offers a pathway to international expansion and winning new fans. Today, anime theme songs are undeniably one of the most crucial channels for music dissemination in both domestic and global markets.

The outdated stigma that anime songs are a sellout has also all but disappeared. Collaborations between top-tier artists and renowned anime directors have taken the world by storm, as seen in Utada Hikaru’s work for the Rebuild of Evangelion film series, Yonezu Kenshi’s partnership with Miyazaki Hayao, and Radwimps’ music for Shinkai Makoto’s films. Music creators now directly engage with anime production teams, crafting songs that delve deeply into the narratives and themes of the works they accompany.

Looking ahead, an even wider range of artists of various genres and generations are expected to contribute to anime theme songs. This will likely include more bilingual lyrics and collaborations with international producers, further emphasizing the global appeal of anime music. A notable example is German DJ and music producer Zedd, who produced both the opening theme “Jaka Jaan” and the ending theme “Nakama” for Dragon Ball Daima. Meanwhile, Yoasobi delivered a highly successful performance featuring their global hit “Idol” at the major US music festival Coachella. These efforts are amplified through platforms like TikTok, ensuring that anime music continues to spread worldwide at an unprecedented rate. Leveraging anime’s massive international reach has become one of the most effective strategies for Japanese music to achieve success on global charts.

As a result, anime songs have shed their past reputation as niche songs for children and are now a driving force in J-pop, generating numerous hits. The deep collaboration between anime creators and music artists enhances the worlds of anime and also allows anime songs to reach global audiences at a speed far beyond what traditional drama or film tie-ins can achieve. With anime being broadcast and streamed worldwide, its theme songs are naturally propelled to global audiences in tandem. The fusion of anime songs and J-pop continues to push the boundaries of entertainment, captivating fans across borders and cultures, and its influence will only continue to grow.

(Originally published in Japanese. Banner photo: Yoasobi performing at the Stagecoach Festival in Indio, California, on April 19, 2024. © Daniel DeSlover/Sipa USA via Reuters Connect.)