[Interview] From Job Hunting Struggles to Supporting Global Artists: A Passion-Driven Entertainment Journey

This is an interview with Megumi Soeda, who leads the Growth & Alliance Division, responsible for KOL marketing (※) and SNS marketing.

(※) KOL stands for Key Opinion Leader. It refers to a marketing method of collaborating with influencers to promote products and services.

Currently, she is an ace employee involved in the global marketing of Japan's leading artists, but she actually joined Gridge as a part-time employee in 2021.

As a 2021 graduate, she was job hunting right in the middle of the COVID-19 pandemic, and even though the entertainment industry was drastically cutting back on new graduate hires, she couldn't give up on music. Amidst this, a single tweet caught her eye, leading her to Gridge and into the music industry she had long aspired for.

Soeda-san herself describes her journey as "clinging to Yabui-san (CEO) and Yunoki-san (Director) with guts and spirit," but please delve into her tenacity and the passion for music behind it.

For those who wish to work in the music industry, I believe this will be a very exciting read.

Contents

• University Days: New Graduate Hiring Freeze Due to COVID-19, Yet I Couldn't Give Up on Music

• Junior High School Days: My Peers Pursued Internal Advancement, I Alone Chose to Walk the Path of "Music"

• Driven by "Passion" and "Admiration": The Road to Full-Time Employment, Seized Through Sheer Guts

• "What I Do Leads to Discovery": Creating a Core Business by Unearthing Overseas Creators

• A Flat Global Organization: Supporting Each Other Across Borders and Positions

• Driven by "Passion," Continuing to Challenge the Rapidly Changing Forefront of Entertainment

University Days: New Graduate Hiring Freeze Due to COVID-19, Yet I Couldn't Give Up on Music

▍First, please tell us about your encounter with Gridge.

I encountered Gridge during my university days.

I attended a music university, specializing in classical music, particularly vocal performance, and sang as a performer.

Music has always been a natural part of my life, so I wanted to continue with music even after becoming a working adult.

However, it's quite difficult to make a living as a performer, so I started thinking about "how I could live with music" as a university sophomore.

I was a university student with a burning desire to "definitely work in the music industry" (laughs).

▍Did you immediately encounter Gridge during your job search?

Not at all, it was quite difficult.

I was class of 2021, which meant I started my job hunt in 2020, the year many companies had stopped new graduate recruitment due to the impact of COVID-19.

Just a month before job hunting officially began, a state of emergency was declared, and people were urged to stay home, which was a huge blow to the music industry in particular.

At that time, the industry primarily generated revenue from real-life events like live performances, so it appeared that even renowned major companies were significantly reducing new graduate recruitment.

I looked for companies that were hiring new graduates and found about seven, so I applied to those companies.

However, unfortunately, I was rejected at interviews or received messages during the selection process saying, "We've paused new graduate recruitment," so I wasn't able to get any job offers.

▍Did you consider working in industries other than music?

I thought about it, but I didn't want to work outside the music industry.

I considered "maybe looking into the real estate industry," but I couldn't write a single sentence for a statement of purpose.

I kept thinking, "How can I work in the music industry somehow?"

On the other hand, it was also a period when the challenges the music industry faced at the time began to become apparent.

▍What do you mean by that?

I strongly felt that most businesses were domestic-oriented, and if offline activities were restricted due to external factors like COVID-19, the business model was quite fragile.

I wanted to be involved in live performances, so I felt this even more strongly, and I thought, "If that can’t be done, can I not earn by any other means?"

Also, while there were attempts to do something online, the difference was stark when comparing with overseas artists who were already adept at using social media, and I wondered, "Is the future of the Japanese music industry going to be okay?"

It was then that I happened to come across a tweet from Yunoki-san, our director.

▍What kind of tweet was it?

It was about bringing out the appeal of music by combining it with something else, rather than competing with music alone.

I felt that the doubts I had about the music industry matched what Yunoki-san was sharing, and I thought, "That's exactly right."

I was delighted to find that there was a company already thinking about "combining music with other IPs and expanding it globally" even before COVID-19!

▍Were you following Yunoki-san?

No, I wasn't.

I remember searching on X, thinking, "Are there any leads into working in the music industry?"

Since I had been working part-time in apparel throughout university, I also searched with keywords like "fashion" and "apparel."

That's because I had always felt that "the history of music and the history of fashion are very similar."

I thought the way trends transitioned was similar, and I even had the idea that it would be interesting to do something with "music" x "fashion."

▍So you really just happened to come across it.

That's right.

As I researched, I thought it looked like an interesting company and “I want to work there," but they weren't hiring at the time.

It was a situation where there were only three people: Yabui-san (CEO), Yunoki-san (Director), and Dai-san, who was in charge of the label business; the business model of supporting global marketing, which we do now, didn't even exist yet.

But I really wanted to be involved in music, so I wanted to work in any capacity, and I sent what was almost a love letter through the company's contact page. I received a reply.

They replied, "We're not considering hiring, but since you reached out, would you like to talk virtually?" And that's how it all began, with an online conversation.

▍I'm curious to hear more, but before that, I'd like to ask about your persistence with music and why you wanted to be involved in the music industry so much.

Junior High School Days: My Peers Pursued Internal Advancement, I Alone Chose to Walk the Path of "Music"

▍Since you attended a music university, does that mean you had a strong interest in music since high school?

That's right.

Actually, I took high school entrance exams and enrolled in a high school affiliated with a music university, but I made an unusual decision when I was in junior high school.

▍Please tell us in detail.

I attended an integrated school from kindergarten to junior high school. It was an environment where I could advance to university via an automatic progression system, so almost no one took high school entrance exams.

However, since I had already started singing, I began to consider advancing to an external school from junior high school, as I wanted to enter a music university and specialize in music.

Also, studying in junior high and high school was busy, and it was hard to balance studying and singing, so I felt like everything might become half-hearted.

Therefore, I thought it would be better to pursue that from high school, and after consulting with my parents and the school, I took the entrance exams for a high school affiliated with a music university.

▍So, even in junior high, you made a big decision for the sake of "music." When was your first encounter with music?

My mother had been playing the piano for a long time and had wanted to go to a music university, so music was always around me from birth.

I started learning piano when I was little, and my family would sing a lot at home. We were a happy family where everyone sang without hesitation (laughs).

So, music was a very familiar presence.

▍So, that's why you wanted to be involved in music even after you started working.

That's right.

▍I heard that Gridge wasn't actively recruiting at the time, so you started as a part-timer. After graduating from university, when your peers were working as full-time employees, did you have any reservations about working part-time?

Not at all.

First of all, due to COVID-19, I couldn't meet my friends during job hunting, so I wasn't really aware of their job hunting situations.

Also, many music university graduates enter society as performing artists, so not many go into the private sector. For example, some people work as vocal coaches part-time while auditioning for musicals, and some attend graduate school while working part-time at music schools.

It might not be common, but there was a sense of value and atmosphere that said, "It's fine as long as you're doing what you want to do," so I didn't feel any resistance to my own choices.

▍So, it was an environment where many people made choices true to themselves. Now, I'd like to ask about when you first started working at Gridge as a part-timer.

Driven by "Passion" and "Admiration": The Road to Full-Time Employment, Seized Through Sheer Guts

▍Earlier, you mentioned that "the business we're doing now didn't exist back then." What kind of business was Gridge doing at the time, and what kind of work were you entrusted with?

As for the business, we primarily had a label business with two artists signed.

In addition to that, we operated a YouTube channel called "Tone by Gridge," which live-streamed chill-hop instrumental music 24 hours a day.

Dai-san was mainly running these two businesses, and I was in a role like A&R (※) and manager.

(※) A&R stands for Artists and Repertoire and refers to a role that supports all aspects of musical activities, including discovering and developing artists, producing music, and promoting them

▍What exactly did you do?

In addition to coordinating recordings and live performances for artists signed to the label, I was broadly responsible for various tasks typically handled by labels and agencies, such as sales to create opportunities for live appearances and tasks related to music releases.

I also managed the artists' social media accounts.

Regarding recordings, I basically just had to be there, but we would keep going until the members were satisfied, sometimes staying until close to the last train (laughs).

▍What kind of live sales did you do?

It started with creating sales materials.

After that, since there are live houses that match and don't match our sound, I searched for suitable live houses and contacted them one by one, saying, "This is the kind of band we have, so please let us know if you have any good booking opportunities."

Once a live performance was decided, I would go to the venue with the members, record videos during the performance, then upload them to social media afterward. Even for merchandising, I was involved in everything from conceptualizing what kind of goods to sell to communicating that with designers and deciding which vendors to use, all through trial and error.

▍It truly sounds like a startup/venture company, where you did everything you could and had to do.

It really felt like that.

However, it was enjoyable because I was involved with music I loved.

▍Please tell us about enjoyable and rewarding experiences.

I had a strong desire to be involved in live performances, so it was very moving to book a live house I used to frequent and have the artists I was in charge of perform there, with me present on the staff side.

For people who love live performances, I'm sure it's a dream come true.

Also, when we planned a one-man live show and the venue was packed, or when customers bought merchandise I had planned, I felt a great sense of accomplishment.

▍It's helping both the artists and the fans, then.

Yes, there's that too, but back then, it was more like I was a big fan, or rather, my admiration was much stronger.

When I used to go to live shows before joining the company, I would often wonder, "Who gets those staff guest passes, and what kind of people are they?" But then I found myself in that position, thinking, "I actually got one!" (laughs)

Also, regarding recording, I got to be in situations I had only seen from behind-the-scenes footage of my favorite bands.

I indirectly felt that "my favorite artists put in this much effort to deliver their music," which made me like them even more.

So, it really feels like my pure love for music is being fulfilled.

I feel like that sentiment persists today.

▍So, your love for music was a big driving force. When did you transition from part-time to full-time?

About a year after I started working, I was in my second year as a working adult.

The company didn't ask me, "Would you like to work as a full-time employee?" Instead, I asked them, "When will I be hired as a full-time employee?"

Yabui-san and Yunoki-san reacted with, “Really? Are you sure?” (laughs).

▍At that time, I don't think there were clear hiring standards yet, but why do you think you were able to go from a part-time employee to a full-time employee?

I know it sounds like I'm tooting my own horn, but I think it's because I worked incredibly hard.

▍It's simple, but it's really important, isn't it?

Now, to a certain extent, we have an established business model, and there's a system in place for how to handle new projects, but back then, it wasn't like that, so everything was a feeling-out process.

It was a phase where we were building the foundation of the current service together, so there was much more fluctuation than now, and every day was a continuous decision-making process where policies often changed.

I wasn't the one making the big decisions, but I was desperately trying to keep up with them.

▍So, they must have thought, "She could be a colleague who helps propel the ship forward together in the future."

I've never actually had that conversation, so I don't know for sure, but I think I had a strong mindset of "I'm absolutely not going to lose!"

If it was something I wasn't convinced about, I would voice my opinion to Yabui-san, and if something had to be pointed out to me, I would run with a burning desire, thinking, "I'm absolutely not going to be told that again next time!" (laughs)

Maybe they thought, "She might not be able to do the work because she's a new graduate, but that's okay. She has guts, doesn't she?"

▍What exactly do you mean by "guts"?

I guess it's more accurate to say I "clung" to Gridge because I absolutely wanted to work in the music industry.

So, I didn't want to quit easily.

In Yabui-san's interview, when he talked about the difficult financial period, he said something like, "It's uncool to end in a year," and I think I shared a similar sensibility.

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【代表インタビュー】世界中に革新的なエンターテイメント体験を。グリッジ創業の裏側と今後の展望。 | グリッジ株式会社

今回は弊社代表取締役の籔井健一さんのインタビュー記事です！今では、インディーズからメジャーアーティストまで、日本のアーティストのグローバル展開をご支援させていただいている弊社ですが、その裏側には...

"What I Do Leads to Discovery": Creating a Core Business by Unearthing Overseas Creators

▍How was it after you became a full-time employee?

Since I was given more responsibility and my tasks increased, there were times when it was quite tough.

For example, when I did site visits, Yabui-san or Yunoki-san used to accompany me when I was a part-timer, but after becoming a full-time employee, I started going alone.

I felt like I was giving my all every day to do what I could, such as behaving like a manager, and if we were in a new live house, greeting the people there to make connections for the future.

Also, looking back now, not having anyone who could empathize with me might have been the toughest part.

Back then, it was so hard that I sometimes called my friends crying (lol).

▍You didn't have any colleagues at the time, as there were only the two founding members and the veteran Dai-san.

The work was a lot of fun, and my relationships with everyone were good.

Of course, I received tough feedback, but I didn't dislike it or find it tough.

However, I didn't have any close colleagues, so there was no one to compare myself to, for better or worse. I spent my days constantly evaluating myself against my past self, and that could be hard.

Now, little by little, the number of members has increased, and it's truly reassuring to have members with their own specialties, like progressing through a dungeon.

We work diligently, but we also talk about things other than work and are always cheerful. I never would have guessed so many colleagues would join us: I have a Malaysian person sitting next to me, a Chinese person diagonally across from me, and we have virtual calls with Indonesians and Brazilians – it became so multicultural (lol).

Even now, there are many moments when I suddenly feel deeply moved.

▍You mentioned that it was difficult to keep up with the company's change in direction when you were a part-timer. Was the current business still not clear for a while after you became a full-time employee?

Yes, that's right. At that time, Yabui-san and Yunoki-san were trying out various new businesses, even things completely unrelated to music.

Dai-san and I were in charge of the label business and YouTube channel operation, while Yabui-san and Yunoki-san were exploring new industries.

▍So, you and Dai-san were on defense, and Yabui-san and Yunoki-san were on offense. After that, I believe the label business and YouTube channel were closed. How did you feel at that time?

It’s not like we immediately began with the current form of support using multiple marketing strategies. Instead, we started a business called "CO-VERS," which involved gathering cover singers from all over the world and having them do PR. This was the origin of our current KOL marketing business.

When I heard about that, I thought positively, "So, what can I do?"

After that, we decided to close the label business and YouTube channel and pivot. At the time, we were running multiple businesses without enough resources, so I thought we had no choice but to narrow our focus to one.

Moreover, Yabui-san clearly explained that "Gridge has the potential to become an essential presence in the music industry today," so I was convinced by that decision.

While I felt a bit sad about letting go of the businesses I had been involved with, I was also excited about the future.

▍Are you saying that as the current leader of KOL marketing, you were involved in the original "CO-VERS" business from that time?

Yes, it started with picking out overseas KOLs. This was quite difficult, and when the intern who was there before me tried to find them, they couldn't find them well. It seemed like they were saying, "There aren't any at all." 

However, when I tried, I was able to list them all at once, so within the company, it became, "They really do exist," and we were able to find business potential. In fact, there are KOLs we have been working with ever since, and as a result, we were able to create the foundation of today's KOL marketing, which is "finding them through analog methods."

▍It sounds difficult to find them, but how did you search for them?

This is still the case, but I search diligently and by hand. I repeatedly thought of related keywords on all social media, such as YouTube, TikTok, and Instagram, and searched for them one by one.

▍Was there anything you did to make it easier?

It's quite difficult to put into words. It changes depending on the country and what kind of creator you want, so a “sense” for it might also be necessary. However, I think this ability to "dig" can be developed. Since I have been the only one assigned this work, my ability in this area has been quite honed. Even now, for example, if there is a request to "find a KOL like this in France," even if someone in France can't pick them out, I can pick them out even though I am in Japan.

▍So, a kind of intuition is necessary.

From a request like "I want to find a KOL like ●●," it was a process of thinking "what kind of keywords would catch them?" and associating those to expand the search, or perhaps my sense of "this KOL looks good" from a vast amount of KOLs was just good by chance.

▍Considering that today's KOL marketing wouldn't exist without your sense, that's a huge contribution.

One of the things I'm a little better at than others is "finding KOLs suitable for the project concept," and it just so happened to overlap with the business. Gridge's KOL marketing is characterized by maximizing results by constantly expanding connections with KOLs, starting from scratch to find and contact suitable KOLs if there are none in-house, according to each project and client's needs, so that might have been a big part of it as well.

Regarding building relationships with KOLs and the balance of how much to present and how much to let them produce freely, I was initially in charge of all of it, so I believe I've accumulated a lot of know-how, including how to ensure both parties can proceed with projects comfortably.

▍So, after that, you moved on to launching businesses in the SNS marketing domain, right?

Rather than myself, Yabui-san and Yunoki-san really worked together as a team on that.

The three of us put our heads together, discussing and experimenting, saying things like, "This might be better," or "How about this?"

▍It seems that client work has become a part of the business, unlike before. How did you feel about that change?

It was incredibly interesting.

Before that, I mostly communicated with our in-house artists, but it was fun to challenge myself with new experiences, like meeting with clients and creating materials for those meetings.

Also, receiving gratitude from clients was very rewarding.

A Flat Global Organization: Supporting Each Other Across Borders and Positions

▍As the business gradually solidified and the number of clients increased, the organization, which had only four members at the time, has now grown to about 30, and you, a former part-timer, are now in a leadership position. Both the organization and you have grown tremendously, haven't you?

The organization probably started expanding last year (2024).

Around the end of the previous year (2023), the office was still a small room where only three people could work.

Since there weren't many people, I was the only one doing things like strategizing, operating, and analyzing, so before I knew it, I had become the leading expert.

▍As the organization expanded in 2024, have you also taken on challenges in management and training?

Yes, that's right.

In terms of age, excluding interns, I've always been the youngest, and some mid-career hires are more than 10 years older than me, but since I've been the leading expert in the SNS and KOL domains, I've also been put in charge of management.

▍Did you feel any resistance or difficulty in managing older people?

Of course, I sometimes find it very difficult to give instructions or feedback to older people.

However, for the sake of our clients and the fans who ultimately receive the music, I have to firmly say what needs to be pointed out.

Also, I think this is a good aspect of Gridge: we have a culture of communicating properly and equally, regardless of age or position.

It's truly a feeling of "colleagues working together" rather than a boss-subordinate relationship, even including interns.

Since this is such a small company, I think it's pointless to talk about seniors and juniors; I believe that a relationship where we can openly exchange opinions for the sake of our clients, business, and organization is good, and I think we've been able to create such a relationship.

▍One of Gridge's codes of conduct is “One for All, All for Impact (※),” and this is exactly what that means.

(※) Supporting each other across borders and positions, each person taking responsibility for their impact and committing to results as a team.

“Driven by "Passion," Continuing to Challenge the Rapidly Changing Forefront of Entertainment

▍We talked about Gridge’s strengths, but what kind of people do you think are a good fit for Gridge?

I think people who can actively catch the latest information are a good fit.

I think changes are rapid in every industry these days, but especially in the music industry, where trends change so quickly that you need to grasp the latest trends yourself.

By the time information naturally reaches you, it's a bit late.

Also, some people might think that trends will automatically flow to them through algorithms, but surprisingly, that's not the case.

This is because the accuracy of current algorithms is so high that if you don't actively research, only things you like will appear on your timeline. Some people think, "I just need to look at Instagram" or "I just need to look at TikTok," but that's also a bit off, or rather, that’s quite partial.

The latest trends are really scattered in various places of everyday life, so I think people who can constantly keep their antennas up are suitable.

▍What kind of trends do you catch in your daily life, for example?

I just went to see the Detective Conan movie the other day, and after the movie ended, a QR code suddenly appeared on the screen.

When you scan that QR code, it enables voice recognition, and when it recognizes the Conan theme song playing in the movie theater, a page comes up for you to enter your name.

When you input your name there, a project was being implemented where you could get a newly drawn image from Aoyama-sensei with your name on it.

When I experience something like this, I think, "Oh, this would be interesting to do after a live concert." Then I think about what kinds of things attendees would be happy to get if we actually implemented it.

If you're just vaguely spacing out, things like this will just pass you by, but if you're constantly keeping your antennas up, you can catch them and utilize them for future planning.

▍That must be one of the exciting parts of working at Gridge — being able to turn everyday observations and insights into real projects, right?

Yes, if I think, ‘This idea is good,’ I can bring it up to a client. Whether they actually go with it is up to them, but clients are always open to listening. So, for people who enjoy coming up with ideas or are good at planning, I think it’s a very exciting role.

▍“Are there any other traits you think would make someone a good fit for Gridge?”

Personally, I’ve come this far on nothing but guts and determination, so we’re always welcoming people with a real passion for music and entertainment, and the guts to keep pushing forward! (laughs)

▍Hearing your story, it doesn’t seem like it was just guts and determination! (laughs)

But really, from when I started as a part-timer, I was the kind of person who held on tightly to Yabui-san and Yunoki-san, thinking, “I’m not letting go!” And that’s how I’ve made it here today.

Honestly, I feel like my arms have gotten stronger every day from holding onto Yabui-san and Yunoki-san (laughs).

But I hope it also shows that even someone like me can work here, as long as they have a passion for music.

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How did you enjoy this?

Driven by her determination — “I want to work in a music-related job” — Soeda-san sent a love letter to Gridge, and even when opportunities were scarce during COVID-19, she carved out her own path.

With the feeling of ‘I love it’ as her strength, she has overcome numerous obstacles and now, at the forefront of the music industry, she thrives every day with excitement.

If her story moves your heart even a little, you might soon be running alongside her on this stage.

If you are someone who loves music and entertainment and want to use that passion as your strength to make an impact, or someone who enjoys moving forward with a team at the forefront of a fast-paced, ever-changing industry,

Gridge is looking for people like you to join our team! 

Whether it’s a contractor role or a full-time position, we’d love for you to apply.

Thank you for reading until the end.