Hibiya Music Festival 2026 Expands from Hibiya to Marunouchi—Executive Committee Chairman Seiji Kameda’s Vision of “Music Circulation” and the Bond with the PR Partner Who Has Supported the Journey

Launched in 2019, Hibiya Music Festival has become a beloved early summer tradition in Tokyo. In 2026, due to renovation work at Hibiya Open-Air Concert Hall, the venue expanded beyond Hibiya Park to include Tokyo International Forum and the Marunouchi area, taking on the challenge of creating an even greater circulation of music.

In this article, we present a cross-talk featuring music producer Seiji Kameda, who serves as Executive Committee Chairman, along with Keiko Matsuse of SUNNY SIDE UP, who has been a PR partner since the festival’s inception, and Mizuki Goto, who joined the team last year. We delve into the passionate vision behind the project and explore the outlook for its future.

The Origin: A New York Experience—Comfortable Musical Exchange Transcending Race, Generation, and Genre

—Hibiya Music Festival is now in its eighth year. First, could you tell us about the origins of this massive project, Mr. Kameda?

Kameda: The origin of everything began with an experience I had in Central Park, New York, about ten years ago. I was taking a walk when I heard music carried on the wind, and it felt so pleasant… I followed the sound and found a line of people—grandparents, young couples pushing strollers, businesspeople in suits—all kinds of people waiting together, speaking different languages, from diverse backgrounds. When I asked what was happening, they told me that throughout the summer in New York, free concerts are held almost every week, and they said, “If you get in line, you can watch too.” The time spent waiting in line, watching people picnicking in the park during the day, felt incredibly rich. I was able to see Mavis Staples, a soul singer, and a folk singer performing solo—transcending eras, generations, and so much more, sharing music together in one space. It was truly so enriching… I thought that someday I wanted to create such an open space in Japan. That was the major catalyst.

I wanted to deliver the wonderful talented artists I’ve encountered throughout my career across genres and generations, in a borderless way. By having people experience moments of emotion there, they become kinder and more relaxed, and through music, people connect with one another. I believed that would make the world a more livable place.

—So you moved toward making it a reality right away?

Kameda: At just the right time, as Hibiya Park was celebrating its 120th anniversary and Hibiya Open-Air Concert Hall its 100th, the administration approached me about launching a music event as part of the commemorative project. Hibiya Park is Japan’s first modern Western-style park, a place where Western cuisine, Western music, and Western flowers converge—truly Japan’s Central Park. I felt it was destiny, and I decided to take on Hibiya Music Festival. However, since we had to build an unprecedented operational model in Japan—free admission and sustainable—it took a full two years of discussions and coordination with various stakeholders.

Finally, in 2019, we were able to hold the first festival. In an open space like a park, where everyone can experience authentic music in a borderless way. Through that, sensibilities are refined, and we can create a society where people become a little kinder to one another. This vision has remained consistent from before the pandemic to today—I have never wavered from it.

—We understand that SUNNY SIDE UP has been a PR partner since the very beginning.

Matsuse: It all started even before the first festival, during what we call the “phantom 2018” preparation period, when we were introduced to the project. I myself grew up listening to music produced by Mr. Kameda since my student days, so when I received the offer, I felt both joy and a sense of responsibility.

SUNNY SIDE UP GROUP has a clear philosophy of using the power of PR and communication to create a positive impact on society. In the past, we have been involved in various social contribution projects utilizing the power of music and soccer, so I deeply resonated with Mr. Kameda’s vision, and I thought it would be a new step for me as well. That’s why I’ve been participating as PR since the first year.

—However, with the pandemic and other challenges, it hasn’t been a smooth journey.

Matsuse: That’s right. The second year was canceled due to COVID-19, and there were years affected by typhoons as well. However, it was also an opportunity to witness Mr. Kameda and the executive committee’s positive thinking and action. Amid great uncertainty, they switched to streaming, transitioned to hybrid events, and in difficult situations, they transformed their mindset and ideas, thinking through how to deliver music and their message even under those circumstances. It was a learning experience, and it’s still something that inspires me greatly.

Kameda: In an era where we couldn’t predict even one or two years ahead, we constantly updated our approach. But no matter the situation, to remain an open music festival, we insisted on free admission. To achieve that, we had to figure out how to hold the event, how to raise funds, and how to communicate our message. We’ve continued to innovate and update every year while maintaining balance.

We view every challenge positively as an opportunity to reach new people, and we never give up on evolving to protect our principles.

—Ms. Goto, we understand you joined the team a year ago. We’ve heard you had extraordinary passion.

Goto: I was originally a fan of the music Mr. Kameda produced, and at first, I attended Hibiya Music Festival as just one audience member. I’ve always had a habit of listening only to songs by artists I already loved, but when I stepped into this music festival, I encountered wonderful music and artists I had never known before, one after another. Experiencing the charm of new music and seeing my world expand—I was able to feel firsthand the appeal of this place as “a space open to everyone.”

So I kept expressing my passion internally, saying “I want to be involved in Hibiya Music Festival” whenever I had the chance. SUNNY SIDE UP has a culture of giving shape to the aspirations of members who raise their hands and say they want to do something. That’s why I’m truly happy to be able to take on this challenge with a music festival I love and to be involved with such great fulfillment.

Matsuse: Actually, Goto was in a different department, but she kept conveying her passionate desire to be involved in Hibiya Music Festival. Thanks to the understanding of her supervisor at the time, she was able to join the team across departments.

Kameda: When Goto joined us, she came dressed sharply in a black suit. I’m not some celebrity-type person, so I remember thinking, “You don’t have to be so formal!” (laughs).

Because We’ve Seen the Same Landscape Together as PR Partners, We’ve Become Comforting Allies

—Mr. Kameda, what does SUNNY SIDE UP represent to you as a PR partner?

Kameda: They are the ones who help us reach a vast audience that I could never reach on my own, no matter how hard I tried. They create angles that resonate with the media and the public—perspectives that we musicians might overlook. As PR professionals, they thoroughly complement the areas we tend to miss from a music-only viewpoint.

Moreover, I always feel that it’s because of SUNNY SIDE UP’s track record and credibility that we’re able to connect with various media outlets and platforms. I’m involved in many things, so my schedule is always packed. Even so, working with them always feels comforting. That’s because they’re a team and a valued partner with whom we’ve shared so many experiences. No matter how busy I am, if SUNNY SIDE UP asks, I feel I have to go.

Matsuse: Mr. Kameda is truly a busy person, and especially on the day of the festival, he’s running from one end of the venue to the other. Despite being so busy, he takes the time to greet each and every staff member, including us, face to face. Even when he doesn’t have time to stop by the tent, he peeks through the gaps while walking and greets us. When we hear Mr. Kameda’s cheerful voice, our morale goes up.

—Ms. Goto, did you notice anything new after joining the team?

Goto: Even when I was watching from the outside as an audience member, I thought it was a wonderful event, but what surprised me after joining as a team member was that Mr. Kameda and everyone involved thoroughly discuss and shape the best approach for everyone—whether it’s how to release new information or how artists are presented—right up until the very last moment. Seeing everyone engage with pure passion without compromise up close made me realize once again how incredible this project is.

Kameda: It’s probably more last-minute than people imagine (laughs). We were consulting with everyone about various announcements right up until dozens of minutes before distributing press releases. And rather than just processing things as routine “information releases,” seeing media professionals speak about the philosophy of Hibiya Music Festival in their own words truly warmed my heart this time as well.

—Crowdfunding is one of the mechanisms supporting the operation of Hibiya Music Festival. What are your thoughts on the significance of this system, Mr. Kameda?

Kameda: Currently, the operation of Hibiya Music Festival relies on two pillars: corporate sponsorships and crowdfunding. Crowdfunding isn’t just about raising funds—it’s more about gathering allies and building a community. It’s crucial to communicate how the support we receive is used, how that money circulates in society and what meaning it holds, and where we direct the emotions of the general public who participate.

Rather than simply collecting money, we’re recruiting allies to create culture together by supporting one another. We’re still halfway there, but I feel that this is being beautifully achieved through the crowdfunding mechanism.

—As the PR team, are you also conscious of contributing to and promoting crowdfunding?

Goto: As the PR office, we disseminate information to the media and encourage them to feature it in articles, but not all media outlets can smoothly introduce crowdfunding efforts that involve fundraising.

That’s why we were particularly mindful of engaging in careful communication so that the media professionals themselves could empathize with the significance and purpose of the festival—that it’s not just about raising funds, but about “creating culture together with everyone’s support.” In fact, when we saw the crowdfunding purpose widely featured and warm messages of support like “I saw the media coverage and I’m supporting you” appearing in the comment section of the support site, we felt that what we had been carefully communicating was taking shape and spreading, which gave us a great sense of fulfillment.

—While people tend to hesitate when it comes to money, the media also empathizes with the vision of Hibiya Music Festival and cooperates in publishing articles, overcoming psychological barriers. That’s truly a part where hearts are united.

Goto: Exactly. Being warmly featured in articles every year is by no means something to be taken for granted. It’s because our seniors at SUNNY SIDE UP have sincerely engaged with media professionals and built careful communication from the very beginning that this relationship of trust continues to flow and generate deep empathy. Going beyond the boundaries of information sender and receiver, even the media become fans. As a member on the inside, I strongly feel the brilliance of Hibiya Music Festival’s philosophy.

Matsuse: As a PR professional, I believe our mission is to borrow the power of the media to communicate the excellence of the music festival and Mr. Kameda’s vision, so that the circle of support expands. One example where I felt that power was when I saw a comment from a crowdfunding supporter saying, “I saw Mr. Kameda on a TV program and resonated with his vision, so I decided to support.” Seeing that an article we secured through promotion became a catalyst leading to concrete support was truly gratifying.

Kameda: They really take care of post-event PR as well. We hold the event over the weekend, and by Monday morning, it’s featured prominently on wide shows. As a result, people who watch TV think, “There’s a free concert in Hibiya Park. Let me support it,” and many seeds are planted. When I see news programs summarize it briefly as “free concert in Hibiya Park,” at first I thought, “So that’s how it gets condensed into one phrase…” (laughs), but that’s what resonates with the public. The power of PR—it’s truly like magic that creates opportunities, a hub where information flows, a catalyst. I’m truly grateful.

Hibiya Park Renovation—Not a Crisis, but an Opportunity to Reach New People

—In 2026, you faced a major turning point with the renovation of Hibiya Open-Air Concert Hall, which had been a symbol of the festival. The area expanded beyond Hibiya Park to include Tokyo International Forum Hall A and Marunouchi. Could you share your thoughts on taking on this challenge of a new landscape?

Kameda: The expansion of the area was primarily due to the renovation of Hibiya Park, but I saw this not as a crisis but as a major opportunity for Hibiya Music Festival to transform once again. By firmly joining hands with the Marunouchi area and Tokyo International Forum, we could expand the area. I thought we could hold the festival in a way that allows it to permeate the city. However, we absolutely had to protect the principle of being free and accessible to everyone. That was the one thing I wouldn’t compromise on. As long as we didn’t waver on that, I believed any other form would be acceptable.

Matsuse: Since the main venue became Tokyo International Forum Hall A, there was a concern that some people might think Hibiya Music Festival wasn’t being held this year, or that there would be no live performances in the park. But in reality, the park’s lawn area became the main stage, where people could enjoy live performances and dance by amazing artists while picnicking or passing through the park, and at the International Forum, they could enjoy live performances in a stable, high-spec indoor environment. The festival was still being held, and there were different ways to enjoy music at each venue—how to convey this to the media and those receiving the information through visuals and words, and how to approach PR, was truly being tested.

Not just the Hibiya area, but involving the entire large city of Marunouchi, witnessing the moment when Hibiya Music Festival permeated the city’s culture was incredibly exciting. For us, it was also a major opportunity for an update.

Goto: Since the number of locations simply increased, there were challenging moments in terms of on-site operations, but the sense of fulfillment from the team coming together was equally great. And it also meant that places where people could “encounter music in unexpected moments” expanded throughout the city. Just as I was moved by chance encounters with music in the past, this time I was truly happy to be involved as someone creating those opportunities.

—New York’s SummerStage also has various events and stages in places other than Central Park, so Hibiya Music Festival 2026 has truly evolved into a form that permeates the city. Now that this major milestone has passed, finally, could you share how you envision “the next ten years” of Hibiya Music Festival?

Kameda: Hibiya Music Festival initially ran on the catalyst of one musician—me—and my passion as its energy. But when I think about the future, I believe my greatest task now is to create “a system where the festival continues even without me.” If it’s not sustainable, it has no meaning. That’s why it’s important to have young people like Ms. Goto join, and to have them take ownership of this music festival and drive it forward with enthusiasm. How to pass the baton to the next generation—that’s the challenge for the next ten years.

Matsuse: Building “a system where the festival continues” into an organizational structure in practical terms is what we see as our role. Until now, there was Mr. Kameda as the “sun,” and everyone followed. Going forward, as SUNNY SIDE UP, we strongly feel that we must inherit the DNA of Hibiya Music Festival as a whole team and create a structure that can maintain quality. That’s why we need the perspectives and strength of the younger generation. We want to engage the next generation of audiences and supporters, and creating an environment where that’s possible is our mission moving forward.

Goto: Hearing the words of Mr. Kameda and Ms. Matsuse makes me feel that we are the ones who will create the future, and I’m incredibly excited. I’ve just joined as a team member, but looking toward ten or twenty years from now, it’s the role of our younger generation to protect and further renew the place called Hibiya Music Festival. Just as I was moved by encountering new music at Hibiya Music Festival as an audience member, this time, as someone on the planning side, I want to deliver such chance encounters to as many people as possible over the next ten years.

Kameda: Ultimately, in ten or twenty years, if people say, “Hibiya Music Festival has just always been there since I was born,” becoming a completely natural festival or cultural presence—that’s the landscape I’m envisioning now.

Mr. Kameda, who protects his principles without fearing change, and the SUNNY SIDE UP PR team, who pour their passion into delivering his vision to the world. At the root of all three is a shared aspiration: “to positively transform society through music.”

Hibiya Music Festival has evolved further, involving many people and the entire city. The new challenge of passing the baton ten or twenty years into the future has only just begun. We hope you will continue to follow the journey of this “free and borderless music festival” as it continues to evolve, and join us in supporting it together.

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