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As live tours across Japan continue to expand, more international fans are starting to look for ways to attend concerts in person.

For example, artists under BMSG — including CEO SKY-HI — have recently begun new tour cycles, making this question feel more relevant than ever.

After understanding how Japan’s ticketing system works, the next question is simple:

Can overseas fans actually get tickets?

The short answer is yes — but not easily or consistently.

This is not a system designed with international access in mind.
Still, some overseas fans do manage to attend concerts in Japan.

So what actually works in practice?

1. Fan Clubs: The Most Direct Route (But Not Always Accessible)

In theory, joining a fan club is the most straightforward way to access tickets.

In practice, it depends on the artist.

Some fan clubs allow overseas membership. Others require:

• A Japanese address

• A Japanese phone number

• Payment methods issued in Japan

Even when overseas registration is technically possible, navigating the process can be difficult without some familiarity with Japanese systems.

For fans who can join, this remains the most reliable path — but it is not equally available to everyone.

2. Proxy Services: A Common but Imperfect Workaround

Many overseas fans turn to proxy services.

These services apply for tickets on your behalf using Japanese credentials, such as a local address and phone number.

In some cases, they can also help with payment and ticket collection.

However, there are trade-offs:

• Additional service fees

• Limited transparency during the application process

• Risk of miscommunication or failure

Most importantly, they do not increase your chances in the lottery itself.
They simply allow you to participate.

3. General Sales: Possible, but Rarely Reliable

General sales are often seen as a fallback option.

But for popular artists, they are extremely difficult to access.

Tickets may sell out before general release, or disappear almost instantly.

Even fans within Japan often struggle at this stage.

For overseas fans, relying on general sales alone is unlikely to be effective.

4. Regional and Lower-Demand Shows

One approach that sometimes works is adjusting expectations.

Instead of aiming for major cities or final tour dates, some fans look at:

• Smaller venues

• Regional locations

• Additional or less publicized performances

Demand can vary significantly depending on location and timing.

This does not guarantee success, but it can slightly improve the odds.

5. Official Overseas Sales (When Available)

Some artists offer limited ticket access for international audiences.

This may include:

• Special allocations for overseas fans

• Sales through global platforms

• Lottery systems with English support

However, availability is inconsistent and depends heavily on the artist and the tour.

For many events, this option simply does not exist.

6. What About BMSG Artists?

For fans of BMSG artists such as BE:FIRST or MAZZEL, the situation follows the same general structure.

Fan club access plays a central role, and ticket allocation is largely handled through lottery systems.

This reflects a broader philosophy behind the label, which I’ve explored in more detail here:

At the same time, details such as:

• Whether overseas fans can join fan clubs

• What requirements are needed

• How ticket applications are processed

can vary depending on the specific platform and tour.

This is an area that requires closer, case-by-case examination, which I will explore separately.

So, can overseas fans get concert tickets in Japan?

Yes — but usually through a combination of methods rather than a single solution.

There is no guaranteed path.

What exists instead is a set of partial options, each with its own limitations.

Understanding those limitations is just as important as knowing the methods themselves.

Because in Japan’s ticketing system, access is not only about effort — it is also about structure.

Written by Lily-K | BMSG Pulse

In just a few years, BMSG has become one of the most closely watched new forces in Japan’s music industry.

Founded in 2020 by rapper and producer SKY-HI, the company has rapidly grown from a small independent label into a major presence in Japanese pop culture. Its artists regularly dominate music charts, sell out large venues, and attract international attention through performances that many fans describe as unusually authentic.

The company’s growth has been remarkable not only culturally, but also economically.
According to publicly available financial data, BMSG reported over ¥2.3 billion (approximately $15 million USD) in net profit in the fiscal year ending June 2025 — less than five years after its founding.

For a relatively young music company in Japan, that level of profitability is highly unusual.

Behind that success is a label built around a distinctive idea: that artists should be able to grow creatively while staying true to themselves.

So what exactly is BMSG — and why has it attracted so much attention?

This guide introduces the label, its founder, its artists, and the philosophy that continues to shape its rapid rise.

What Is BMSG?

BMSG is a Japanese music company and label founded in 2020 by the artist and producer SKY-HI.

The name stands for “Be My Self Group.”

The phrase reflects one of the company's central ideas: artists should be able to express themselves authentically rather than being forced into predefined roles.

From the beginning, BMSG positioned itself differently from many traditional talent agencies in Japan. Rather than focusing only on commercial success or strict idol training systems, the label emphasizes:

• artistic individuality

• long-term development

• collaboration among artists

Many observers describe this philosophy as “Artist First.”

In addition to producing music, BMSG organizes tours, festivals, and large-scale audition programs that introduce new artists to the public.

Despite its relatively short history, the company has quickly become one of the most visible independent labels in Japan’s contemporary pop scene.

Who Founded BMSG?

BMSG was founded by SKY-HI, a rapper, producer, and longtime figure in Japanese music.

Before establishing the company, SKY-HI had already built a successful career both as a solo hip-hop artist and as a member of the popular group AAA. Over time, however, he began speaking about structural problems he felt existed within parts of the Japanese music industry.

In particular, he believed that artists often lacked creative freedom and were sometimes treated more as products than as creators.

His response was to build a company designed around a different principle: an environment where artists could develop their talents while maintaining ownership of their creative identity.

If you would like to learn more about SKY-HI’s background and the motivations behind BMSG, you can read the full article here:

Why BMSG Feels Different

For many fans and observers, what makes BMSG interesting is not only its artists but also the culture surrounding the label.

Instead of emphasizing rivalry between performers, BMSG frequently highlights the idea of artists growing together. Collaboration between groups is common, and performances often emphasize collective energy rather than strict hierarchical roles.

This atmosphere becomes particularly visible during events such as BMSG Fes, where artists from different groups share the stage and perform together.

The result often feels closer to a creative community than a conventional entertainment company. This approach reflects a belief often expressed by BMSG founder SKY-HI — that artists should pursue their individuality while supporting one another’s growth.

Another factor behind BMSG’s rise is its unusual relationship with fans.
Many of the label’s groups were introduced through long-form audition programs and documentary-style series that allowed audiences to watch the entire process — from training and setbacks to the final formation of each group.

Rather than simply debuting a finished act, BMSG allowed fans to witness the journey itself.

For a deeper exploration of the philosophy behind this approach, you can read:

How BMSG Differs from the K-Pop Model

As BMSG has gained international attention, some observers have naturally compared it with the global K-pop industry.

There are certain similarities. Like many Korean companies, BMSG places strong emphasis on performance quality, artist training, and carefully produced audition programs that introduce new groups to the public.

Yet the underlying structure is quite different.

Where the K-pop system often relies on large entertainment corporations with highly centralized production pipelines, BMSG operates more like a creator-driven label built around the vision of its founder, SKY-HI.

Artists are encouraged to participate in songwriting, choreography, and creative direction from early in their careers, and collaboration between groups is often emphasized rather than competition.

The result is a system that blends the professionalism of global pop production with a strong emphasis on individual artistic identity.

The Groups of BMSG

Today, BMSG is home to several major groups, each with its own musical identity.

BE:FIRST

BE:FIRST was the first boy group produced by BMSG and quickly became one of the label’s most successful acts.

The group was formed through the audition program THE FIRST, which followed the training and selection process of the members. Known for their strong vocal and dance abilities, BE:FIRST gained national attention soon after debut.

MAZZEL

MAZZEL is the second boy group under BMSG.

Unlike BE:FIRST, the group was not introduced through a major televised audition program.
Instead, their formation was documented primarily through online video content, “Mission × Mission,” which followed the members as they completed creative and performance challenges leading up to their debut.

MAZZEL’s music often blends dynamic choreography with emotional storytelling, and the group has developed a distinctive performance style within the BMSG roster.

HANA

HANA emerged through the audition project No No Girls, produced under the affiliated label B-RAVE.

The project attracted widespread attention in Japan for its unconventional concept and its emphasis on individuality rather than traditional idol criteria.

Even before their official debut, the group had already developed a strong following.

STARGLOW

STARGLOW is one of the newest groups connected to the BMSG ecosystem.

The members gained attention through the audition program THE LAST PIECE, which followed young performers pursuing their dreams of becoming professional artists.

Their debut represents the continued expansion of the BMSG artist community.

The Audition Projects Behind BMSG

Audition programs have played a major role in shaping the identity of BMSG.

Rather than functioning purely as talent searches, these projects often document the growth and struggles of the participants, allowing audiences to witness the process behind the formation of each group.

Several major audition programs have become closely associated with the label.

THE FIRST

BMSG's very first audition program that formed BE:FIRST and introduced many viewers to BMSG’s philosophy.

Mission × Mission

The second audition project that resulted in the formation of MAZZEL, where BMSG trainees and new participants completed a series of challenges together before the group’s debut.

No No Girls

An unconventional project that ultimately created HANA, highlighting individuality and personal stories.

THE LAST PIECE

A later audition series for teenagers showcased new talent and resulted in the formation of STARGLOW.

Together, these programs helped establish BMSG’s reputation as a company focused on development, authenticity, and creative growth.

Although BMSG is still a relatively young company, its influence continues to expand.

Its artists regularly collaborate across groups, appear on stage together, and support one another in ways that fans often describe as unusually genuine.

One of the clearest symbols of that spirit appeared during BMSG Fes, when artists from across the label gathered to perform the song “GRAND CHAMP.”

The performance brought together performers from different groups — not to compete, but to celebrate a shared journey.

Moments like that help explain why many fans feel that BMSG represents something slightly different in Japanese pop music today.

Not just a label.

But a creative community built around the idea that artists can grow — together.

And for many new listeners discovering Japanese music, BMSG has become one of the most interesting places to start.

Written by Lily-K | BMSG Pulse

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Most music labels don’t talk about philosophy.
BMSG does.

And once you notice that, it’s hard to disregard.

There’s a reason why so many listeners—first in Japan, and now increasingly overseas—feel that something about BMSG is… different. Not just in the music, but in the way everything is built around it.

Founded by SKY-HI, BMSG has quickly become one of the most distinctive new presences in Japanese music. Its roster includes groups such as BE:FIRST, MAZZEL, HANA, and STARGLOW, as well as solo artists including SKY-HI himself, Novel Core, Aile The Shota, REIKO, Ayumu Imazu, and many more.

But calling this just a “lineup” doesn’t feel quite right.

What’s taking shape here feels closer to a system—or maybe even a way of thinking about artists.

The challenge is, that difference doesn’t always translate easily.

Most of the conversation around BMSG still happens in Japanese. The context, the nuance, even the tone of how fans talk about it—it rarely makes it into English in a meaningful way.

That gap is exactly why this site exists.

What Is BMSG Pulse?

BMSG Pulse is an independent publication focused on the artists, music, and ideas behind BMSG.

I write from Japan, which matters more than it might sound. A lot of what defines BMSG isn’t just what you see on stage—it’s how people react to it here, in real time.

What I try to do is fairly simple, at least in theory:

to offer English-language coverage that doesn’t just report what’s happening, but actually tries to understand it.

That means looking at things like:

• how BMSG develops its artists

• what performances are trying to express, beyond surface impact

• how each group builds its identity

• and how all of this fits into the broader context of Japanese music culture

There’s already plenty of content out there if you just want updates.

What’s still surprisingly rare is analysis.

So that’s where this focuses.

Why BMSG Feels Different

At the center of BMSG is an idea you’ll often hear described as “Artist First.”

It sounds simple, but in practice it leads to some very different choices.

Instead of placing artists into fixed roles, they’re expected to grow as creators—writing, choreographing, shaping their own work from early on. That process isn’t hidden. You can actually see it happening.

And over time, it changes the feel of the artists themselves.

You can see this across the entire roster, including its solo artists—but it becomes especially visible when you look at the groups.

Each group under BMSG is clearly distinct:

• BE:FIRST — defined by technical precision, but also by how quickly they’ve pushed beyond Japan

• MAZZEL — more playful, more unpredictable, held together by a surprisingly strong group chemistry

• HANA — still new, but already striking for the power of their performances and their range

• STARGLOW — a fresh presence, with standout personalities that bring a new kind of energy into the scene

But what’s interesting is that, even with those differences, there’s a shared foundation.

It’s not about forcing a unified image.

If anything, it’s the opposite—allowing individuality, but within a structure that supports it.

And that combination is still relatively rare in the Japanese industry.

Start Exploring

If you’re new to BMSG, these articles are good places to begin:

🔹 Basics

• What Is BMSG? A Guide for New Global Fans

• Who is SKY-HI

🔹 Understanding the Difference

• Why BMSG Artists Feel Different on Stage

• Why BMSG’s Boy Groups Feel Different from Traditional J-POP

🔹 Artist Deep Dives

• Who Are BE:FIRST? Inside Japan’s Fast-Rising Boy Group

• When Joy Becomes Music: MAZZEL’s “Get Up and Dance” on THE FIRST TAKE

Each of these looks at BMSG from a slightly different angle—performance, structure, identity.

And honestly, you don’t have to read them in order. Just follow what catches your interest.

A Perspective From Japan

One thing I’ve realized while writing this is that BMSG isn’t just something you “analyze” from a distance.

You feel it more clearly when you’re inside the environment where it’s happening.

Through TV appearances. Live performances. Even just the way fans talk about it casually.

There’s an atmosphere around BMSG that doesn’t always show up in clips or headlines.

And that’s probably the hardest thing to translate.

But it’s also the most interesting part.

Where to Go Next

If you’re just starting out, I’d suggest:

→ Start with What Is BMSG?
→ Then explore Who Is SKY-HI?
→ Then move into artist and performance analysis

Written by Lily-K | BMSG Pulse