Sebastian Mair - Interview

“Find good mentors and learn as much from them as possible.”

Sebastian Mair on His Journey from Canada to Tokyo and Beyond

Interview: Nick Clarke

Credit: Herbie Yamaguchi

In the dynamic world of the music industry, few individuals possess a journey as diverse and transformative as Sebastian Mair. From his humble beginnings in Canada to becoming a pivotal figure in the Asian music landscape, Mair's career trajectory is a testament to his unwavering passion and dedication. As the co-founder of Music Solutions and currently serving as the Head of Business Development at Muserk, he has made profound strides in business and cultural curation. With a remarkable portfolio of collaborations with global giants like AEG Live, Ubisoft, and Live Nation, coupled with his unique perspective on the intricacies of the Japanese music industry, Sebastian Mair's experiences offer invaluable insights into an ever-evolving musical landscape. In this exclusive interview, we delve deep into his remarkable career, challenges, and vision for the music industry's future in Japan and beyond.

You have been involved in multiple aspects of the music industry, from cultural roles to business development. Could you outline your career journey for us?

Sebastian Mair:

I started my music industry career in Canada before relocating to Tokyo in 1996. Since then, and after co-founding Music Solutions, I have been a fixture in the Asian music industry. I have worked with various companies and organizations, including Muserk, Lyric Find, AEG Live, Creativeman Productions, Ubisoft, Fujipacific Music, Syn Entertainment, Roadrunner Records, Las Vegas Sands Group, Live Nation (Japan), and more. I also served as a Cultural Officer at the Embassy of Canada in Japan. I occasionally work as a music supervisor for film and television projects and handle music programming and licensing for top-level brands such as Starbucks, Hilton Hotels, and Starwood Hotels.

Can you share a major challenge you had to overcome in your career?

Sebastian Mair:

Being a foreigner in Japan is always a double-edged sword. I've tried to use it as an advantage, but there are times when not being Japanese hinders getting things done. Additionally, business in Japan generally moves much slower than in other countries, so I've needed to work on my patience constantly. I can be hard-headed.

You stepped into the Head of Business Development role at Muserk last year. How's that journey been so far?

Sebastian Mair:

It's been great! I started working with them as a consultant before the pandemic, and the role has evolved as the company has grown. We've been in the Inc 5000 of fastest-growing companies in the U.S. for three years in a row! We now represent over 16 million copyrights from many labels, publishers, collective rights societies (CMOs), and directly from creators.

You have worked with a variety of clients throughout your career. What's challenging about curating music for such diverse brands?

Sebastian Mair:

I've always relied on my existing network as much as possible for curation projects. Building relationships and tracking specific rights owners took a lot of work.

Staying on top in a field as dynamic as yours must be mentally and physically challenging. Would you happen to have a routine to maintain this balance?

Sebastian Mair:

I live down the coast in Chiba, so there's a better life/work balance. However, I still need to remind myself to disconnect at times. I have a standard routine: I turn on devices once my daughter gets to school. That's followed by meditation, a light workout, usually outside, and checking emails briefly before breakfast.

Can you share your favorite tracks or artists that inspire you daily?

Sebastian Mair:

It's constantly changing, and I am trying to push myself to listen to something new. That being said, I often come back to classic hip-hop. It's excellent that Nas constantly releases new works so that I can kill two birds with one stone! He's incredible.

Reflecting on your journey in the music industry, what's the most valuable lesson you've learned that you'd like to share as advice?

Sebastian Mair:

Find good mentors and learn as much from them as possible! That being said, the pre-recorded music industry, including publishing, is changing quicker than ever, so try not to get overwhelmed by everything happening. Continue to build a network.

How do you envision the future of the music industry in Japan?

Sebastian Mair:

That's a question I've been trying to answer for over 20 years. Digital is finally officially growing at a decent rate in Japan, though many existing gatekeepers still slow it down. When you can continue to sell a piece of plastic for over 2000 JPY, it's understandable that some people want to milk it for all it's worth. However, this has long-term implications for artist development. Also, while Japan's physical music consumption is around 60%, it's a lot of smoke and mirrors, as many CDs never get played. For some, they are simply incentives for fans to meet or support their favorite idols. Last year, I was walking behind Tower Records in Shibuya and found hundreds of CDs from a major label still in boxes in an alley. That release was in the top 20 on the Oricon charts the following week.

Japanese artists and fans are now looking towards the rest of Asia. The industry is following, with more collaboration throughout the region, creatively and in business. According to the IFPI, Japan is still the 2nd largest music market in the world, but China is now #5, and Korea is #7. There's enormous interest from the Japanese music industry in Asia, especially South East Asia which is growing exponentially and it is very accepting of Japanese music.