Los Angeles became a crossroads for Japan’s fast-growing global music scene as CEIPA and the TOYOTA GROUP’s “MUSIC WAY PROJECT” brought ennichi ’25 to the city in early December. Across two days — an industry mixer on Dec. 1 and a 2,500-capacity concert on Dec. 2 — the event showcased Japan’s rising international influence and the artists shaping its next chapter.

The weekend opened at JAPAN HOUSE Los Angeles, where Japanese and American music professionals gathered for the Japanese Music Industry Mixer. Composer and producer Shunichi Tokura, Japan’s Commissioner for Cultural Affairs, highlighted the meaning behind ennichi — “destined encounters” — and the potential for new collaborations to emerge from them. Akiko Okumura, Executive Vice President of JETRO, pointed to the deep fandom for Japanese music and anime in the U.S., while Shunsuke Muramatsu, CEIPA Chairman and Sony Music Entertainment Japan CEO, emphasized music’s unique power to create cross-cultural ties.

Producer Jeff Miyahara brought together Kyary Pamyu Pamyu, ☆Taku Takahashi (m-flo), and LA-based Peyote Beats to talk Japan’s global sound. Takahashi recalled Anime Expo crowds singing Japanese lyrics in unison — proof the scene is crossing borders. Kyary credited her 2012 YouTube debut for launching her worldwide, while Peyote Beats highlighted how Japanese music shaped his sound and fuels his mission to connect the U.S. and Japan.

The next night, Aurora Warehouse was transformed into a multisensory festival space for the ennichi ’25 Japanese Music Experience LA concert. With taiko drumming, Japanese street food, yo-yo fishing, and a live tuna-cutting show greeting guests, the event blended traditional festival roots with contemporary music culture.

Pop group f5ve kicked off the performances with sleek choreography and confident English MCs, bringing the crowd together with their viral hit “Underground.” Their set included a surprise appearance from PSYCHIC FEVER’s TSURUGI during “Underground,” igniting early excitement. Their momentum has been further recognized internationally, as their album Sequence 01 was recently selected for Billboard’s The 50 Best Albums of 2025: Staff Picks.

Rapper JP THE WAVY followed with a stylish, high-energy set that drew one of the night’s loudest reactions when he dropped his remix of “Tokyo Drift.” Awich then delivered the evening’s emotional pinnacle, sharing stories of her Okinawan identity and personal loss before bringing out Lupe Fiasco for a surprise performance of “Wax On Wax Off.

Closing the night was PSYCHIC FEVER from EXILE TRIBE, fresh off a six-city U.S. tour. With choreography as sharp as their streaming numbers — including over 300 million TikTok views for “Just Like Dat” feat. JP THE WAVY — the group sent the night out on a high.

Awich Photo by YURI HASEGAWA

PSYCHIC FEVER from EXILE TRIBE Photo by YURI HASEGAWA

Together, the two-day event reflected the accelerating rise of Japanese music in the U.S. As anime soundtracks chart globally, City Pop continues its resurgence, and Japanese acts increasingly appear on international stages, ennichi ’25 underscored that this isn’t a passing trend — it’s a movement.

CEIPA, established by five major Japanese music industry organizations — the Recording Industry Association of Japan, the Japan Association of Music Enterprises, the Federation of Music Producers Japan, the Music Publishers Association of Japan, and the All Japan Concert and Live Entertainment Promoters — CEIPA also organized the MUSIC AWARDS JAPAN, which took place in Kyoto, Japan, in May 2025. The second edition, “MUSIC AWARDS JAPAN 2026,” will be held on Saturday, June 13, 2026, at TOYOTA ARENA TOKYO. For additional information about MUSIC AWARDS JAPAN, please visit www.musicawardsjapan.com.

CEIPA × TOYOTA GROUP “MUSIC WAY PROJECT”
The market for entertainment content is expanding with lifestyle changes brought on by the COVID-19 pandemic and the rise of the streaming business, and Japanese culture is capturing international attention. As Japanese content continues to excite people around the world, CEIPA and the TOYOTA GROUP will co-create a pathway for young people who are pioneering the future of Japanese music to drive the fundamental globalization and sustainable growth of Japanese music: the MUSIC WAY PROJECT. The MUSIC WAY PROJECT will provide opportunities for young talent to thrive and make a greater impact under the slogan “Japanese music drives the world.”

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With the 2025-26 NBA season in full swing, the league is already seeing a lot of buzz and excitement for what’s to come throughout the schedule, especially for the NBA Cup in-season tournament. After six weeks of group play, quarterfinals and semifinals, there are only two teams left to compete for the NBA Cup trophy.

On Tuesday, Dec. 16, the San Antonio Spurs take on the New York Knicks at T-Mobile Arena in Las Vegas, Nevada.

Watch NBA Cup Championship, at a Glance:

When Does the NBA Cup Championship Start?

The championship game will be broadcast live, with tipoff at 8:30 p.m. ET/5:30 p.m. PT.

Where to Watch NBA Cup Championship Online

The game will livestream on Prime Video. Keep reading for more details on how cord-cutters can watch the Spurs-Knicks game online with Prime Video.

How to Watch the 2025 NBA Cup Online

Prime Video is the home for the NBA Cup final. To watch the game, you’ll need to be a Prime member. Signing up will grant you access to Prime Video to watch the basketball games as well as a whole suite of benefits, including fast two-day (or less) free shipping; discounts at Whole Foods Market, access to exclusive shopping events — like Prime Day and Black Friday — and other perks.

Meanwhile, Amazon is offering a 30-day free trial for new subscribers who want to try out the service. When the trial is finished, you can either cancel the streaming service altogether, or you can keep watching starting at $8.99 per month. However, if you want all the perks that come with Amazon Prime, it goes for $14.99 per month (or $139 per year) — a nearly 25% savings.

Which Celebrities Are Making Appearances During Spurs vs. Knicks?

It’s likely there will be a number of celebrities and recording artists in attendance during the game too — such as San Antonio Spurs fans Selena Gomez, George Strait, Taylor Hicks and others; as well as New York Knicks fans Bad Bunny, Spike Lee, Timothée Chalamet, Ben Stiller and others. Tune in to Sling TV to find out who’s sitting on celebrity row at the NBA game.

What is the NBA In-Season Tournament?

The NBA Cup is an annual competition for all 30 teams matched up in three groups in both east and west conferences (six groups, in total) that runs concurrent with the NBA season. The NBA debuted three seasons ago with the Los Angeles Lakers and Milwaukee Bucks winning in 2023 and 2024, respectively.

Starting at 8:30 p.m. ET/5:30 p.m. PT, the San Antonio Spurs vs. New York Knicks championship game livestreams on Prime Video on Tuesday, Dec. 16.

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

After debuting this year on the Billboard charts with her third studio album Latinaje, Cazzu is gearing up for her first U.S. concert run. The Argentine star is set to hit the road next year with the 2026 Latinaje Tour, Billboard can announce exclusively today (Dec. 15).

Promoted by Live Nation, the seven-date trek will kick off on April 30 at the San Jose Civic theater in San Jose, California, making stops in key cities like Los Angeles and New York before wrapping up on May 10 at the 713 Music Hall in Houston, Texas.

Tickets go on sale Thursday (Dec. 18) at 10:00 a.m. local time on the Live Nation website, with an artist presale on Tuesday (Dec. 16) from 10:00 a.m. to 10:00 p.m. (local time) and additional Live Nation and Ticketmaster presales on Wednesday (Dec. 17) during the same timeframe.

The announcement follows Cazzu’s recent arena tour across Latin America and marks a milestone as she expands into the U.S. for the first time following the success of Latinaje. Released in April 2025 under Dale Play/Rimas, the 14-track LP — which explores love in all its forms — debuted in May at No. 4 on Billboard’s Top Latin Pop Albums chart and at No. 48 on Top Latin Albums.

“I’m a bit ignorant about managing badges or when one earns medals, it’s a strange feeling,” Cazzu said to Billboard then. “But being on the charts makes me very happy because I think that basically determines that people are liking the album, so it fills me with great satisfaction.”

Meanwhile, the set’s track “Con Otra” spent eight weeks at No. 1 on the Billboard Argentina Hot 100 and remains in the top 10 after 37 weeks on the chart. Midway through the year, Latinaje was also highlighted by Billboard editors among The 25 Best Latin Albums of 2025 So Far.

Check out Cazzu’s announced dates for her 2026 Latinaje Tour in the U.S. below:

With 47 concerts and nearly 90,000 tickets sold, Rozalén was the highest-grossing female artist on Spain’s national tour charts in 2024, according to the Asociación de Promotores Musicales de España (APM).

“It’s been years of nonstop work, starting in very small venues to now performing in Spain’s biggest arenas,” says Rozalén, an artist known for her intimate songs and a voice that evokes iconic Latin American singer-songwriters, despite being Spanish. “I think we’re living a really sweet moment, and maybe we’re reaching that point of being established.”

That idea of “being established” can also apply to Spain’s music market. Compact but powerful, the country that saw the international success of artists like Raphael, Joaquín Sabina, Joan Manuel Serrat, Mecano and, more recently, Alejandro Sanz, is now experiencing a new era. Rosalía is one of the most talked-about artists globally today, and others like Pablo Alborán, Melendi and Aitana are making waves internationally. At the same time, Spain’s robust circuit of concerts, as well as 900-plus yearly music festivals, ensures a steady flow of local, Latin American and international music within its borders.

Beyond its thriving market, Spain remains an inexhaustible creative force. After hitting its lowest revenue point in 2013 (159.7 million euros [$185.9 million]), its music market has been steadily growing across all sectors. According to Promusicae, by the end of 2024, the market was valued at 568.8 million euros ($662 million) compared with 519 million euros ($604 million) in 2023. Midyear data for 2025 also shows that revenue from music consumption in Spain increased by 10.4% compared with the first half of 2024.

Live music has also been booming. According to the APM, revenue from ticket sales reached 725.6 million euros ($844.5 million) in 2024, marking a 25.3% increase from the previous year and the third consecutive year of growth in the sector.

To celebrate this remarkable musical year, Billboard gathered five Spanish artists representing different genres, styles, generations and backgrounds, united by their impactful music: Singer-songwriter Alborán just wrapped up a Latin American tour in December; Ana Mena is starring in a new movie; Vanesa Martín is preparing for a tour of the United States and Latin America; Omar Montes is working on a reggaetón EP; and Rozalén is taking a well-deserved break after her exhaustive tour. All will be part of Billboard No. 1s España, the first Billboard No. 1s event outside the United States, hosted by Starlite in Madrid on Dec. 15.

What’s the current vibe in Spain and its music scene?

Pablo Alborán: I feel like Spain is in a phase of huge artistic energy — there’s so much new talent, bold ideas and a curious audience. That pushes you to be brave and keep growing. My new album, KMO, is both wild and classic. It has experimental elements but also a lot of roots. The music scene here is encouraging artists to explore and experiment more.

Ana Mena: We’re in such an exciting and positive moment — not just for music in Spain but for Spanish-language music worldwide. You can see it growing year by year. In Spain, there’s such a promising wave of young artists breaking barriers, something that used to be harder. But in the past five years, we’ve seen careers crossing borders.

Omar Montes: The music scene is growing like crazy right now because we’ve got so many urban artists who are killing it. Thanks to them, we’re reaching audiences all over the world.

Vanesa Martín: Spain’s music scene feels alive, awake, with young artists making a strong impact and an audience more open than ever to diverse sounds. That’s exciting. There’s this beautiful energy, like we’re all looking ahead but staying rooted in our identity.

Rozalén: There are more bands and projects than ever. There’s an overwhelming amount of festivals and music — it’s wild. But luckily, people are responding to all of it. There’s a big need to experience music. It feels like we’re in a sweet spot. Hopefully, it won’t burst.

There’s been a lot of talk about the explosion of live music in Spain. Do you feel the excitement surrounding that?

Montes: People are going to live shows much more now. For example, I spent half a million euros on the set design for my tour. I re-created my neighborhood — three stories high — and I bring my whole neighborhood vibe to my shows, like the village festivals. This level of detail wasn’t as common before.

Mena: There are so many festivals and opportunities to perform live. You see a lot of Latin artists; the lineups in Spain are packed with artists from all over the world.

Martín: Live music in Spain has become a refuge and a celebration. People want to connect, feel, experience, sing and share emotions together. That’s making live music bigger and more important than ever. It’s inspiring for me as an artist to be part of this moment, improving my performances and growing alongside it.

Rozalén: I’ve noticed nights in Madrid where there are five, six, even eight big concerts happening and they’re all sold out. I guess people, after not being able to embrace each other for so long, are eager to live everything fully now.

How has Latin music — meaning, music coming from Latin America — influenced your own music and the market in Spain?

Montes: Without Latin music, especially in urban and reggaetón genres, we wouldn’t have those styles in Spain. The pioneers of those rhythms — like Daddy Yankee and Nicky Jam — set the foundation, and we’ve absorbed that and built on it.

Alborán: Latin music has always been a part of my life — I grew up with ballads, boleros and Latin pop. Its impact on the Spanish market has been beautiful because it’s created collaborations, cultural exchanges and blends that enrich everyone. It’s like a growing bridge. In my new album, for example, I experimented with salsa and merengue and worked with Colombian producer Julio Reyes, along with musicians from different cities and countries. That kind of diversity adds so much depth.

Rozalén: You can feel the Latin influence in my music from the very first album. Even though my music is eclectic, there’s always a Latin touch. Traveling has played a big role in that — I’ve absorbed so much during my trips. I’m really drawn to folklore and the roots of each place, especially the African roots that everything stems from. My music features norteño, ranchera, rock, cumbia, champeta, Cuban son — it’s all there.

Conversely, do you feel like Latin America and the U.S. Latin market are more open to Spanish artists now?

Alborán: Definitely. There’s a mutual curiosity that’s leading to amazing collaborations. I feel like Latin America and the U.S. Latin market see Spanish artists with more warmth and connection now. When doors open both ways, music becomes freer. Thanks to the Spanish language, music is music. It doesn’t matter where the artist is from unless their roots play a big role in the arrangement of the songs.

Mena: Things are definitely improving. Every time I go there, they treat me so well. I’m incredibly grateful. Of course, it takes a lot of hard work, just like in my own country. I started working when I was 8 or 9 years old, and everything I’ve achieved has been through sacrifice and consistency.

Rozalén: I think the connection is growing stronger. Spaniards now proudly say we feel like part of the Latin world, and I think Latin America sees us as siblings. The bond has always been there, but now it feels more equal, which I love.

Montes: There’s still room for growth. We welcome Latin artists more than they welcome us. Maybe they struggle to connect with our “flamenquito” vibe. I think mixing flamenco with urban genres like reggaetón, trap or Afrobeat can help make it more accessible.

What makes Spanish music or the current movement in Spain special right now?

Martín: It’s bold. It’s mixed. And it has a poetic touch that’s uniquely ours, blending tradition with modernity without losing its identity. There’s honesty and personality in what artists are creating, and that’s connecting with people.

Rozalén: It’s hard not to mention Rosalía. We’ve never had a Spanish artist who’s been so massive and international before. She’s huge and everyone is talking about her. And she doesn’t forget her roots or the flamenco essence, which is such a big part of Spain’s identity.

Alborán: Spain has a very unique kind of honesty right now. Our flamenco roots play a big role globally. I love seeing voices that weren’t mainstream before now becoming references. Early in my career, some radio stations wouldn’t play my music because my voice sounded “too flamenco,” but now it’s the opposite — they want more of that personality in my songs.

Ana, do you feel like there’s a pop comeback?

Mena: I love pop! I think there’s always room for everything. Urban and pop sometimes follow the same path. But it’s great to hear more organic classics, rock hits and older songs in the top charts. Maybe young people are discovering classics on TikTok or younger audiences have fewer prejudices.

What excites you about 2026?

Montes: I’m releasing a new EP with old-school reggaetón vibes, like the style of Héctor el Father. I want to go back to the roots and bring that sound back.

Alborán: I’m excited to keep creating without rushing, but with passion. I’ve got new songs taking shape, exciting collaborations, and I’m dreaming of an incredible tour. After a tough year with my family — one of my relatives underwent chemo and a bone marrow transplant but recovered — I’m entering the new year with hunger for experiences and opportunities.

Mena: I’m thrilled to finish my album and go on tour with it, visiting Mexico, Argentina and the U.S. again to promote my music. Plus, I’m getting back into acting. On Jan. 23, a MotoGP movie called Idols will premiere, where I play a tattoo artist. Fun fact: I didn’t have any tattoos when we filmed, but now I do!

Martín: I’m starting to spend more time in Mexico and I’m loving it. It’s such a multicultural, magnetic place. I’ve got a tour in Latin America and the U.S. coming in May, new songs and some exciting collaborations lined up.

Rozalén: For me, I’m looking forward to taking a step back after such a busy year and seeing what’s next.

Billboard No. 1s, in its first edition outside the United States, celebrates artists who’ve had hits on Billboard charts in Spain and beyond. This inaugural event will take place Dec. 15 at IFEMA Madrid as part of Starlite Madrid. Other performers include Rosana, Chucho Valdés, India Martínez, Nil Moliner, Ari Malikian, Arthur Hanlon and Yami Safdie.