Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
This edition features Kanata Okajima, a songwriter and music producer whose extensive body of work spans numerous artists and genres. Balancing motherhood and a thriving career, she’s arrived at a place where she can truly “create music with joy.” Writer Rio Hirai spoke with the 41-year-old creative about what it means to be a woman working in Japan’s music industry today — and the hopes she carries for the next generation.
Looking back on your career so far, what has changed, and what remains most important to you?
In the beginning, I was creating music with this fierce determination, driven by the dream of becoming a musician, of making it as a successful songwriter. I pushed myself relentlessly, determined to achieve results no matter what. These days, though, I feel so much more joy simply getting to collaborate with wonderful people and incredibly talented artists. That sense of happiness has become much stronger.
What hasn’t changed is my commitment to giving 200 percent to every project I take on. For the artists, each song becomes a lasting part of their legacy and being trusted to contribute to that is something I take very seriously. Once I agree to do a project, I want to approach it with everything I have — no regrets, no holding back. That back-and-forth exchange of energy is something I always want to give my all to.
Was there a particular moment that made creating music start to feel more enjoyable or freeing for you?
A major turning point was the first songwriting camp I attended in Sweden. It’s like a creative retreat where songwriters, composers, and artists from around the world gather in one studio, form groups, and create songs together.
Up until then, I’d been making music in a very solitary, almost ascetic way — constantly questioning myself and driving forward on my own. I’d worked with band members in the studio before, but I’d never experienced the kind of collaborative writing where multiple songwriters sit in the same room, bounce ideas off one another, and challenge each other creatively.
That experience was electrifying, like being struck by lightning. Until then, I’d been balancing both performing as an artist and writing songs for others, but that camp made me realize, “If I can do something this fun every day, I’d be completely happy focusing on songwriting and production.” The whole process of connecting with people from different countries and cultures, writing songs together for the first time, and bonding through the shared language of music was truly eye-opening.
In Japan, there seem to be far fewer female music producers compared to men. What was the gender balance like at those international writing camps?
Even on a global scale, there are still relatively few women in those spaces. I’ve gotten so used to that imbalance that when there are a lot of women, it actually surprises me. There tend to be more female artists and topliners, but when it comes to producers, the numbers are still quite low.
Why do you think there are so few female music producers?
I think there are a few reasons. One is that being a music producer actually requires a lot of physical stamina. You’re often racing against the clock — producing backing tracks, editing vocals, mixing. There’s constant deadline pressure, and long hours in the studio are just part of the job. It definitely requires a certain level of endurance.
Another factor might be the level of interest in the technical side of production. There are quite a few female topliners, but when it comes to producing, there’s this image that you have to be hands-on with all the equipment, and that can feel like a barrier for some.
I’m often called a music producer myself, but in many cases my role is closer to that of an executive producer — overseeing the bigger picture of a project or song, deciding who to work with and how to bring everything together. Even so, women in that kind of position are still rare, so I’d love to see that number grow from now on.
That makes sense. Limited opportunities to handle equipment might also lead to fewer chances to take on production roles. What’s something you’ve consistently valued throughout your work?
What I value most is listening — understanding where the artist’s mind is at, what kind of world they want to convey through this song, and what the label or management hopes to express as well. I try to approach that process as carefully as possible, because that’s where individuality and artistry truly come through. If that understanding is off, even if we make something great, we can’t genuinely share in the joy of it.
Is there anything you’re mindful of when it comes to self-care in sustaining such a long career?
When I get home and see my family and kids, it’s like I snap back to reality and it grounds me. In the studio, I almost feel like I’m inside a bubble. I lose track of time, forget to eat, and get completely absorbed in listening and creating. That kind of deep immersion is exhilarating, but it can also be draining. By the time I’m done, I often realize how much energy I’ve spent.
But when I come home and see my family’s faces, it’s like something inside me suddenly releases. I try to let go of whatever I’ve been holding onto and unwind before going to sleep.
It sounds like having a family has had a really positive impact on the way you work.
I’ve been able to keep going thanks to my family. Before I had one, I worked nonstop, with no real distinction between weekdays and weekends or even holidays. Now that my kids’ daycare is closed on weekends, I make sure to take those days off too. Having that limit forces me to pause, which has been good for me. It’s helped me create a healthy rhythm, knowing when to focus completely and when to step away from work.
When you became pregnant, did you have any fears or anxieties about how your life might change?
Yes, very much so. At first, I actually kept my pregnancy a secret. I was worried that people might start to treat me differently or stop offering me work out of concern, so I decided not to tell anyone until I was about eight months along.
When it finally became impossible to hide, someone said to me, “So you’re finally going to slow down, huh?” That really hit me hard. I remember thinking, Do I have to slow down? At the time, I was even more driven than I am now, so I took it as a kind of mission, to prove that I could keep going without slowing down.
In a way, I was lucky that I gave birth during the pandemic, because everything shifted online. I could nurse off-camera, or rock the cradle with my foot during meetings. With so much moving to virtual work, I was able to come back after only about a week and a half.
That’s incredible! Has becoming a mother influenced your creative work or artistic expression in any way?
After having my children, I’ve felt a much stronger sense of love and affection for all living things. Before, I think my focus was mostly on myself and the people close to me or those I cared about deeply. Now, my curiosity and concern extend more broadly. Even other people’s children feel adorable to me, and I find myself thinking, “I hope they grow up healthy.” Small things move me emotionally in ways they didn’t before, and I think that sense of being emotionally stirred has naturally flowed into my expression and creative work.
As a songwriter and composer, do you have any personal guiding principles or things you hold dear when creating music?
Music has saved me many times in my life. When I was a child, there were periods when I felt very strongly that I didn’t want to live anymore. In those moments, listening to music somehow gave me the strength to think, “Maybe I’ll try living tomorrow, too.”
So when I make music, I want it to be something that helps someone think, “Maybe I can keep going tomorrow,” or “Maybe the future isn’t so bad.” Sometimes that takes the form of an obvious, uplifting song, and sometimes it might be something much darker — but I don’t want to write anything that shuts down the idea of a future. I hope my songs can offer a bit of comfort, or support someone in their moment of need.
Have you ever felt the effects of gender discrepancies, or experienced moments of discomfort related to gender in your work and creative life?
I think I’ve been relatively free to work in my own way, but there are still times when I feel left out, like not being invited to late-night gatherings that are mostly male-led. And when I hear stories like, “I landed this project because I got close to the director at one of those events,” I just kind of have to take it in. I used to think, “What would my life have been like if I were a man?” a lot when I was younger.
I also hear a lot from younger colleagues about their struggles. Many talk about the pressures and burdens they feel because they’re women, and how tough that can be. I hope we can gradually work toward making the industry a better space.
What message would you like to share with young people aiming to become musicians or simply wanting to live life on their own terms?
You only live once, so I hope everyone can live true to themselves. Of course, daily life comes with all sorts of responsibilities, so the time you have to be fully yourself may be limited, but even that struggle has its own beauty.
There will be times when you have to fight, clash, or speak up for what you believe. Those moments may feel difficult, but beyond them lies a world that’s easier to live in. Step by step, you’re shaping a life and a world that works better for you.
Self-expression is a right we all share, and the more each person expresses themselves, the more colorful the world becomes. I hope everyone keeps expressing themselves boldly and freely.
–This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
