FUGA Space Shower Interview with Japan’s Music Man

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Distributors that facilitate music distribution across various platforms have become an essential entity not only for DIY musicians but also for record labels and management companies. Beyond organizing global music distribution to platforms like Spotify, Apple Music, LINE MUSIC, YouTube, and TikTok, they oversee royalty collection and provide extensive data gathered during the process, which is increasingly vital for music marketing.

One of the world’s leading distributors, Downtown-owned FUGA has partnered with Space Shower in a joint venture to expand its services in Japan. We had the opportunity to interview FUGA’s president, Christiaan Kröner, and Senior Vice President, Global Marketing Services, Craig May, during their visit to Japan.

Management Combining Expertise in Distribution and Labels

Music Man Interviewer: First, could you introduce yourselves? What kind of music do you like?

Christiaan Kroner: I used to like Guns N’ Roses.

MM: Ah, we’re from the same generation then.

Craig May: I enjoyed grunge music. I started with Pearl Jam and Nirvana, then got into Britpop with bands like Blur and Oasis. Now, I listen to all kinds of genres.

MM: Those are some amazing bands. Do you play any instruments?

CK: I play guitar and piano.

CM: I used to play drums, but I’m not very good at singing (laughs).

MM: Next, could you tell us about your background? What did you do before joining FUGA?

CK: My career in the music industry started at a startup called SellaBand, which was a pioneer in music crowdfunding. It was a platform where unknown artists could raise $50,000 to produce an album with top producers and studios. Fans who contributed would earn a share of the sales revenue from CDs or digital files.

However, it seemed crowdfunding was a bit ahead of its time. Platforms like Kickstarter later emerged, and unfortunately, SellaBand went bankrupt after five years. After that, I joined FUGA. The previous CEO of FUGA was a friend of mine and asked if I could help out until I found my next job. In 2012, I started by answering client inquiries in the support department.

MM: So, you started as support staff when you joined?

CK: Yes. Initially, I thought it was just a temporary position, but I quickly noticed similarities between SellaBand and FUGA. It didn’t even take a month before I decided I wanted to grow with the company and add value to it.

At that time, FUGA was simply a distribution platform that delivered content from one side to the other. It wasn’t an aggregator that added value to the content or licensed it to DSPs (Digital Service Providers). I helped launch “aggregation services,” establishing licensing agreements with DSPs like Spotify and Apple. I also worked to develop the marketing and royalty accounting departments. From a team of nine at the start, I became COO as the company grew.

MM: How many staff members does FUGA have now?

CK: We have about 230 staff working globally.

MM: That’s a significant expansion. Craig, could you share your background as well?

CM: This year marks my 25th anniversary in the music industry. I started my career at Mushroom Records in Australia, where I worked as a sales rep, visiting stores to sell CD singles and albums. After that, I joined EMI, where I worked for nine years, transitioning from sales to marketing. Eventually, I became a product manager for international artists like Katy Perry, Snoop Dogg, and Nick Cave, as well as local artists, for the Australian market.

Following my time at EMI, I joined Sony Music, where my alternative music background led me to work with major international artists such as Calvin Harris and Kings of Leon.

Later, I moved to Dew Process, a joint venture label with Universal Music, owned by Paul Piticco, who also runs the Splendour in the Grass festival in Australia. We often collaborated with Fuji Rock Festival headliners. For instance, when Coldplay and Kanye performed at Fuji Rock, they also headlined in Australia. The label worked with a variety of international and local artists, including Mumford & Sons and The Hives.

Subsequently, I was entrusted with managing Shock Distribution, Australia’s largest independent distributor. We handled CD distribution and manufacturing for all physical products in Australia and ran our own record label. In 2013, at the age of 35, I became the youngest executive in a major Australian music company.

During this time, I met my current wife. She was working in Australia, but she decided to move to London. I followed my heart and moved to London as well. She is now the Head of Legal at FUGA.

MM: So both of you work at FUGA?

CM: Yes. I’ve always loved British music, especially Britpop, and I wanted to test myself in the global market. In London, I spent several years working for Red Bull. As the International Director of Red Bull Media House, I was responsible for managing Red Bull Records outside the U.S., covering regions such as the UK, Europe, Asia, Africa, and South America. It was an incredible organization where I learned how marketing, branding, and culture intersect. Afterward, I joined Ditto, which offers a DIY platform and artist services. As Global Head of Artist & Label Services, I worked on major releases in the U.S., including records by Chance the Rapper.

MM: Chance the Rapper’s rise as an independent artist through digital marketing was groundbreaking.

CM: Absolutely. I also worked with artists like Stormzy and Dave in the UK music scene. While at Ditto, I encountered FUGA, as Ditto was one of FUGA’s clients.

In early 2020, I received a call about the Head of Global Marketing & Streaming position at FUGA. Four years have passed since then. When I joined, we were a team of 14. Now, my team has grown to 50.

MM: You now oversee FUGA’s global marketing services. Could you elaborate on your role?

CM: Yes. Our team functions like a global marketing agency that clients can use according to their needs. We have staff in 20 countries working within local markets to help clients identify fans and build a global presence, enabling the international expansion of their music.

MM: Your extensive experience and insights are invaluable to Japan’s music industry.

Why FUGA Partnered with Space Shower

MM: As someone familiar with the Space Shower Group, I’m curious why FUGA chose Space Shower as a partner.

CK: FUGA is headquartered in Amsterdam, and since the Netherlands is a small country, we’ve always looked outward. Our goal has been to establish a global distribution service, enter major music markets, and make a strong presence.

Our growth strategy has been to place personnel in each market, add marketing and operations staff, and build teams in alignment with regional growth.

However, we realized that Japan is quite different from other countries. With numerous labels and the world’s second-largest music market, the unique market structure and cultural differences made us understand that a standard approach wouldn’t work here. Thus, we sought a partner with deep industry expertise and exceptional local knowledge.

That’s when we found Space Shower. From our first meeting, it was clear they shared a similar approach to ours. They understood the industry’s shift to a digital phase and were actively exploring new opportunities. While Japan has taken time to adapt to this new reality, with the industry being conservative at the time, Space Shower stood out as a forward-thinking player in the market.

By combining our technology with their specialized understanding of the Japanese market, we could create a strong and effective unit. That’s why we were convinced Space Shower was the ideal partner.

MM: When I heard the news, I thought it made sense. Space Shower, which had acquired Boundee (an independent label distribution company integrated into the headquarters in 2011), seemed like a good match for FUGA. Boundee had experience in digital distribution for many artists, which I believed would complement your technology well.

CK: Exactly. Space Shower had a solid market share and expertise, along with an automated system for data and content distribution through Boundee. They also had aspirations for more international expansion.

By collaborating, we’ve not only enhanced distribution technology but also paved the way for international marketing and opportunities for Japanese artists to expand overseas.

The Foundation for Exporting Japanese Music

MM: Exporting Japanese music has become a major topic in the Japanese music industry. Recently, there was news about a new music award, Music Awards Japan, which aims to become the Grammy Awards for the streaming era in Japan and Asia. It seems like a good time to discuss how to export and distribute music globally, especially to Asia.

CK: That’s exactly what’s happening now. Taking cues from the success of K-POP, Japan is considering similar moves, and I believe it’s absolutely possible. With its robust music industry, Japan has significant opportunities to expand its music overseas.

MM: From your perspective as someone overseeing global marketing, what are the key points for Japanese artists when distributing music globally?

CM: The most important thing is understanding who you are, what story you want to tell, and who you want to reach.

Currently, we approach artist marketing as brand building. This includes visuals, the tone of social media communication, the message they want to send to the world, their identity as an artist, what they aim to express, and, of course, having great music.

Creating a story that resonates with people is crucial. A compelling story makes it much easier to connect with people who can relate through social media and digital marketing.

You can’t just start something and hope it works. You need a plan and a clear target audience.

Additionally, it’s vital to understand international markets and work with partners who can provide insights into what works in different regions like the Philippines, Indonesia, Singapore, and Korea. This is similar to our partnership with Space Shower. Understanding local nuances is necessary to capture the hearts of fans in each market.

Music is global, but the way it’s consumed differs by market. Each country has unique media, social platforms (like LINE in Japan or WeChat in China), and communication methods.

Collaborating with teams that understand global strategies while crafting a story that explains who you are and why people should care is essential. And, of course, having outstanding music is the most important factor.

MM: I see. So storytelling is key.

What is Label Service (Marketing Service)?

MM: Distribution used to be a systematic business, but now it seems the focus has shifted toward artist services, such as label services and marketing. Why has this change occurred?

CK : When I first started in the distribution business, access and connectivity were the priorities. Back then, many platforms were emerging, and distribution primarily revolved around downloads, such as the iTunes Music Store.

As the industry transitioned to the streaming era, it became crucial to establish systems that connected with all digital service providers (DSPs), like Spotify. We ensured content was delivered effectively by maintaining hundreds of endpoints.

The next step was making content stand out on DSPs. This remains important today, as being featured on specific playlists is key to growing a track’s reach.

However, that alone is no longer enough. We now need to take a holistic approach to increase visibility across various platforms, not just DSPs but also social media and other parts of the broader digital ecosystem. The goal is to connect with fans in multiple ways.

Streaming services have evolved, incorporating advanced algorithms and data analysis. To ensure music reaches the right audience through these algorithms, we need to strategically place it across all relevant platforms.

As an organization, we had to adapt to this new world and its rules. The only constant in the music industry is change.

In a rapidly changing world, it’s hard to predict what will happen even three years from now. The key is being agile and ready to pivot at the right moment.

Our label services have evolved from simple pitching (pushing tracks to DSP playlist editors) to a more fan-centric approach, considering ways to connect directly with fans. What used to be the role of labels—building connections—has now become something we actively do ourselves.

MM: For readers unfamiliar with terms like “label service” or “artist service,” could you explain?

CM: FUGA’s marketing services are designed to encompass everything large labels, smaller music companies, and DSPs do for artists and clients.

This includes creating marketing plans, managing social media, producing videos, and designing artwork. We’ve made these services available a la carte, like a restaurant menu.

We offer flexible services tailored to client needs. For instance, smaller labels may not have all the necessary resources. An artist might excel at social media but need help with graphics or pitching to DSPs. Our global team fills these gaps, enabling clients to focus on their strengths.

Whether it’s A&R that excels but needs marketing support, a sales team that requires social media assistance, or a need for graphic design expertise, we provide the necessary tools.

Clients can choose from our menu of services based on their needs. This could range from support for an entire roster of artists to a single campaign or artist. We’ve essentially built a marketing agency that complements what clients are already doing.

MM: That sounds like SPACE SHOWER FUGA’s marketing services. It’s clear how it differs from traditional labels.

Easier and Harder in the Streaming Era

MM: Craig, you began your career in the CD era. How do you think things have changed or stayed the same since then

CM: What’s changed is accessibility to music. In the past, fans listened to the radio and might buy one CD a week or month. They’d listen to that CD repeatedly, memorize all the lyrics, and even come to love tracks they initially didn’t like because that was all they had.

Now, you can listen to any song in the world at any time on your smartphone. Our mission today is to identify people who might like a particular piece of music and deliver it to them at the right time and place, fostering an emotional connection.

Streaming starts as a passive experience, but the goal is to get listeners to actively engage by liking or following an artist. Eventually, we hope they’ll share the music, connect via social media, and perhaps buy tickets or merchandise.

This process, often referred to as a “fan funnel,” transitions fans from passive enjoyment to active participation. We guide fans on this journey based on the stories artists want to share.

Music has always been about identity. When I was into grunge, I wore band T-shirts and flannel shirts. Music is still a crucial part of people’s identities, whether they’re ravers, rock fans, pop enthusiasts, or K-POP fans. While genres differ, self-expression through music has remained constant across generations.

This will always be true because music is the most universally consumed art form. It makes people cry, dance, get angry, and feel joy—it’s intrinsic to the human experience.

In that sense, marketing is easier today because you can deliver music anywhere at any time. But what matters most is how you connect with people.

Our focus is on how to turn someone into a fan and make music a part of their identity.

MM: I completely agree. Christian, this is often referred to as the era of data-driven marketing. Algorithms require data, and promotions depend on data analysis. But people haven’t changed, have they? Isn’t it just a new way to promote to the same audience?

CK: One thing is clear—there’s far more data now than ever before.

In the streaming era, we have immediate access to listener consumption trends. Whether it’s in Japan, China, Australia, or the U.S., we can know by the end of the day which fans engaged with which tracks.

By combining all this data, we can make more informed decisions in a shorter time frame about the next steps.

This contrasts sharply with the analog era when sales reports arrived much later. Back then, finding ways to connect with fans was a challenge, but it’s easier now.

However, as Craig mentioned, the sheer volume of music today makes capturing people’s attention much harder than before.

MM: I see. It seems some aspects have become easier, while others have become more challenging.

CM: It’s not just about streaming. Now, we also have access to data about people’s lives. Since everyone shares their lives on social media, we can understand not only their music preferences but also what food they like, whether they have pets, and how they spend their time.

In the past, you didn’t know anything about someone who bought a CD. Now, you can access all this information, delivering music at the right place and time to create meaningful connections.

MM: Hearing your insights has clarified digital marketing for me.

 Label Services for Record Labels

MM: In Japan, distributors are often associated with platforms like TuneCore, which enable DIY artists to distribute their music globally. In contrast, FUGA operates as a B2B company serving record labels and also offers innovative services like label services. Could you explain how FUGA provides label services (marketing services) for record labels to clarify this for our readers?

CK: DIY artists who choose not to sign with a label and handle everything themselves can use distributors to release their music.

However, for DIY artists, the challenge lies not in distributing their music but in getting people to notice it—this is the marketing aspect. Simply releasing music doesn’t mean the job is done.

Building connections with fans requires methods such as forming partnerships, assembling a team, or establishing a strong social media presence. Historically, this has been the role of labels. They craft an artist’s profile and image, promote it, release music, and connect the artist’s profile with their music to build a fanbase.

A good distributor supports labels in strengthening these efforts.

We understand the digital space, maintain relationships with various DSPs, and know how to position music effectively. We also understand user-generated content (UGC) platforms like TikTok and YouTube, which are critical for launching meaningful digital campaigns.

By creating marketing plans tailored to each endpoint and providing access to data, we help labels achieve these goals. This is what sets a good distributor apart. We offer much more than just access to Spotify.

MM: I see. What are your thoughts, Craig?

CM: Over the past 15 years, music has largely shifted to the digital space. However, music’s essence—art, passion, and storytelling—has remained the same. As Christiaan mentioned, it all comes down to relationships.

Whether it’s a label or a management company, relationships are the most critical aspect. Artists need support and guidance to shape and share their stories with the world.

There are excellent DIY platforms globally. I’ve worked at such companies before, and they do a great job in terms of access. But they often fall short when it comes to providing relational support. This is where we come in.

Our mantra is “Global Profile, Local Presence.”

In Japan, as we’re building with Space Shower, we establish local relationships. Local teams tell the artist’s story, build relationships with local DSPs, and ensure that labels and artists can deliver their music to as many people as possible, fostering emotional connections.

MM: Has the label service (marketing service) already started in Japan with Space Shower?

CK: It’s still in its early stages. Space Shower Networks Inc. has its own label and connections to all the elements needed for label services.

Currently, through SPACE SHOWER FUGA, we are distributing music, conducting DSP marketing, and securing playlist placements. The next step is to incorporate all the elements that Space Shower Networks offers with its own label to further develop the service.

We aim to make these resources available to labels distributing through SPACE SHOWER FUGA.

MM: I’m looking forward to seeing it grow.

Differences Between SPACE SHOWER FUGA and Other Distributors

MM: One basic question: Globally and in Japan, there are various distributors. What sets your company apart from others?

CK: The most distinctive feature is our partnership with Space Shower. We formed a joint venture with a Japanese company that truly understands the music industry.

Some competitors merely bring their international business to Japan and translate it into Japanese. In contrast, we ensure that our services are fundamentally Japanese while adding our technology and global reach.

This approach makes us unique and is why we’ve established a strong position in global markets.

CM: Beyond the Japanese market, FUGA’s biggest USP (Unique Selling Proposition) is that we are one of the world’s largest B2B distributors, working with a diverse range of clients and distributing vast amounts of music. This gives us access to a wealth of data.

From a marketing perspective, having more data allows us to better and more quickly understand what’s happening in the market—consumption patterns, trends, and developments. The world moves incredibly fast.

By leveraging access to extensive data and an excellent data science team, we analyze and derive insights to provide clients with actionable intelligence that helps them stay competitive.

Reflections on the Japanese Music Industry

MM: Craig, you have experience working with Japanese companies, such as sending artists to Fuji Rock Festival. How does working with Japanese companies compare to working with Western ones?

CM: I genuinely enjoy working with Japanese companies. There’s a sense of respect and a commitment to achieving a complete understanding, which I find unique compared to other markets.

It may take a bit longer to achieve goals, but that’s because mutual understanding and building trust are vital here. This approach differs from Western business practices, but I find it very rewarding.

MM: Christian, how has your experience been while launching SPACE SHOWER FUGA in Japan?

CK: I’ve also thoroughly enjoyed it. Japanese companies take a long-term view. They don’t choose partners on a whim or move to the next option just because it’s cheaper. They genuinely want to understand and form partnerships with their business collaborators.

This approach to partnerships significantly impacts how we work, as we aim to support our clients’ success and co-create new services and products with them. This aspect of partnerships is a unique feature of Japan’s industry.

CM: From a marketing perspective, Japan is consistently an incredibly exciting market because its fan culture operates on a completely different level compared to many Western markets.

For example, I visited Tower Records in Shibuya this Wednesday, and I was amazed to see entire floors dedicated to K-POP and J-POP. You don’t find that in Western record stores anymore—they’re much smaller now.

In Japan, multiple formats are available, and fans show their love and appreciation for artists by purchasing all of them. It’s truly inspiring.

I’ve always been moved by how integral music is to people’s identities here in Japan.

Collaborating with the Space Shower team to bring international artists to Japan while simultaneously helping Japanese artists reach international markets is genuinely exciting. I look forward to expanding this passion for music to other markets.

Challenges and Opportunities in Japan’s Music Industry

MM: As you mentioned, Japan’s music market is diverse in both format and content. What are your thoughts on the current challenges facing the Japanese music industry?

CK: I see many opportunities. There is still a significant physical market in Japan, and while it is declining, the pace isn’t too rapid. At the same time, streaming is growing. I believe this combination is incredibly powerful.

That’s one aspect. Another significant opportunity is exporting Japanese music globally. While this is still in its early stages, I think the world is beginning to embrace it.

If Japanese companies not only export music as it is but also make it more globally appealing—such as incorporating English versions—then Japan’s music, paired with the global distribution infrastructure, can truly adopt a global perspective. This is a substantial opportunity.

I believe the Japanese industry can continue to grow from here. One challenge, which is less a problem and more an area where we can assist, is data. Many music companies in Japan have a long history but lack comprehensive data.

In the past, music was released on CDs and cassettes, but there hasn’t been a clear method to digitize this content and optimize it for modern digital distribution.

This is a current challenge, and FUGA is well-positioned to support this transition. Because, ultimately, this challenge leads to another opportunity. Content that isn’t currently in the right format can achieve digital success once properly optimized.

So yes, it’s both a challenge and an opportunity.

MM: Less of a problem and more of a chance, then.

CM: The way people consume music has changed worldwide. Access to any song is now easier than ever. Good music, when handled properly, will always find its audience.

What the Korean market has achieved with K-POP, and the way it has expanded globally, serves as an excellent blueprint—not just for Japan but for any music culture looking to share its content with the world.

Recently, some Japanese companies have begun to approach international expansion from the outset. Avex’s XG and ONE OR EIGHT are great examples. Rather than succeeding domestically and then expanding overseas, they target English-speaking audiences from the start.

This reflects a shift in mindset among Japanese companies.

Previously, unique rock or alternative acts like Otoboke Beaver, which could perform at international festivals, managed to find their audience abroad. Now, however, we’re seeing companies take an interest in commercial pop music with initiatives that target international audiences right from the beginning.

Given our strong foundation in Korea, we’ve been involved with many K-POP projects. We’re now witnessing similar movements in the Japanese market. I’m very excited to work with the Space Shower team and clients to help globalize the incredible music coming from this market.

MM: I agree. It seems like a shift is happening in the music industry—moving away from the mindset of “exporting from Japan to the world” to embracing both Japan and the world from the very start, much like other industries.

A Message to Japan’s Music Industry

MM: Finally, could you share a message with our readers, particularly those in the Japanese music industry?

CK: Success comes from continually seeking change. Don’t dwell on the past—look ahead and focus on the opportunities in front of you, rather than clinging to traditional methods. The world is changing, and the industry is evolving with it. Staying in step with that change and finding the right partners to help realize those opportunities is crucial.

CM: There’s never been a more exciting time to work in the global music industry because the barriers to access have been removed.

If you have great music, a compelling story, and a strong image, and you can connect with people, success is within reach. In the past, there were many gatekeepers who could block progress, and you needed to convince a lot of people. But now, you can directly reach your fans.

While this era offers a vast array of options, it also means that if you have outstanding music and a captivating story, you can find your audience directly.

This will become increasingly important in the future, and it’s precisely what will unlock global opportunities for Japan’s music industry.

MM: One final question—when do you feel happiest at work?

CK: I feel happiest when clients and staff are energized and learning. That’s the key point—never standing still.

Since I started working at FUGA in 2012, nothing has ever stayed the same. There’s always been growth, new services added, and innovations implemented. That’s what keeps me excited. It’s never boring. I’ve never had the feeling of “having to go to work.”

CM: My weekly highlight is the global music meeting we hold on Wednesday afternoons. Everyone from around the world joins online to discuss upcoming releases and priorities.

Seeing people from across the globe gathered on one screen, supporting clients and their artists in finding their audiences and building connections—it’s an extraordinary experience.

When I look at the screen and see 50 team members there, I’m reminded of the team we’ve built, the value we provide to clients, and how everyone loves being part of this project. Realizing that we’re creating something that’s changing how the music industry operates makes it the best moment of my week.

We are incredibly fortunate. Every day, we work within music, talk about music—how many people can say that? Don’t you feel the same way?

If someone had told my 14-year-old self that I’d have a 25-year career in the music industry, I wouldn’t have believed it. We’re truly lucky. Being here in Tokyo, talking about music with you, is such a privilege. I feel incredibly fortunate.

MM: I think this will make for an excellent article. Thank you both for your time today.