ArtistDirect News
Japanese Singer Nanao Launches "JP-Pop" in the Philippines with Debut Single "Pito Pito"
Japanese pop singer Nanao has entered the Philippine music market with a new genre she calls “JP‑Pop,” a blend of J‑pop melodies and Tagalog lyrics. The artist debuted in Manila on May 27, 2026, under the Philippine label KDR Music House with the single “Pito Pito.” The release marks the first step in a plan to issue new songs every two months as she builds a following in the country.
At the launch event in Manila, Nanao greeted the audience in Tagalog, saying, “Maraming salamat po.” The modest crowd of about 50 fans and showbiz reporters reacted with applause. The upbeat dance track, whose title means “seven” in Tagalog and also plays on Nanao’s name, was performed alongside a few Japanese songs and Filipino OPM covers. Music writer Ted Claudio described the performance as “the complete package. A good singer and a great dancer.”
Nanao’s background includes a YouTube channel that has attracted more than 100,000 subscribers with anime songs and other performances. She has spent several years preparing for her Philippine debut, a move that was partly driven by music producer Kenko Furukawa. Furukawa, who works at Nanao’s agency, had lived in the Philippines for about two and a half years, studying English and music while building contacts in the local industry. He said, “I wanted Nanao to gain experience performing in front of different audiences, so I brought her to the Philippines around November 2023. That’s when I realized she had a natural feel for Tagalog pronunciation.”
The Philippines, with a population of roughly 110 million, has a younger demographic than Japan and a music market that is expected to grow with the economy. J‑pop has historically been slower to gain a foothold there than K‑pop, but Furukawa believes its characteristics—particularly the audience participation common at Japanese idol concerts—will resonate with Filipino listeners. “Filipinos enjoy a fun, lively atmosphere, and I think they’ll respond well to this kind of concert experience,” he added.
Nanao expressed surprise at the positive response from both Japanese and Filipino fans on social media. She said, “It’s been a pleasant surprise to see fans from Japan and the Philippines interacting on social media. I realized that if my performance is well‑received in this country, it will go beyond personal success and could play a significant role in deepening cultural exchange between Japan and the Philippines.” She also added, “I hope to work hard enough to one day perform at major venues in both countries.”
The “JP‑Pop” concept aims to merge the sound and spirit of J‑pop with Tagalog lyrics, creating a new hybrid that could appeal to listeners in both nations. By releasing new material on a bi‑monthly schedule, Nanao hopes to establish a sustainable presence in the Philippine market while maintaining her international fan base.
As of now, the single “Pito Pito” has been available on major streaming platforms and has generated early streaming traction. The next release is expected in late July, continuing the bi‑monthly cadence. The collaboration between Nanao and KDR Music House represents a strategic effort to bridge Japanese pop culture with Filipino musical traditions, potentially opening a new avenue for cross‑cultural collaboration in the region.
The Philippine music industry has seen increasing interest in international collaborations, and Nanao’s venture may set a precedent for other Japanese artists seeking to enter the market. The success of “JP‑Pop” will likely be measured by streaming numbers, fan engagement, and the artist’s ability to secure performances at larger venues across both countries.
In summary, Nanao’s debut in the Philippines with “Pito Pito” marks the launch of a new genre that blends J‑pop and Tagalog. Supported by KDR Music House and guided by producer Kenko Furukawa, the artist plans to release new songs every two months, aiming to build a fan base in the Philippines while fostering cultural exchange between Japan and the Philippines.
At the launch event in Manila, Nanao greeted the audience in Tagalog, saying, “Maraming salamat po.” The modest crowd of about 50 fans and showbiz reporters reacted with applause. The upbeat dance track, whose title means “seven” in Tagalog and also plays on Nanao’s name, was performed alongside a few Japanese songs and Filipino OPM covers. Music writer Ted Claudio described the performance as “the complete package. A good singer and a great dancer.”
Nanao’s background includes a YouTube channel that has attracted more than 100,000 subscribers with anime songs and other performances. She has spent several years preparing for her Philippine debut, a move that was partly driven by music producer Kenko Furukawa. Furukawa, who works at Nanao’s agency, had lived in the Philippines for about two and a half years, studying English and music while building contacts in the local industry. He said, “I wanted Nanao to gain experience performing in front of different audiences, so I brought her to the Philippines around November 2023. That’s when I realized she had a natural feel for Tagalog pronunciation.”
The Philippines, with a population of roughly 110 million, has a younger demographic than Japan and a music market that is expected to grow with the economy. J‑pop has historically been slower to gain a foothold there than K‑pop, but Furukawa believes its characteristics—particularly the audience participation common at Japanese idol concerts—will resonate with Filipino listeners. “Filipinos enjoy a fun, lively atmosphere, and I think they’ll respond well to this kind of concert experience,” he added.
Nanao expressed surprise at the positive response from both Japanese and Filipino fans on social media. She said, “It’s been a pleasant surprise to see fans from Japan and the Philippines interacting on social media. I realized that if my performance is well‑received in this country, it will go beyond personal success and could play a significant role in deepening cultural exchange between Japan and the Philippines.” She also added, “I hope to work hard enough to one day perform at major venues in both countries.”
The “JP‑Pop” concept aims to merge the sound and spirit of J‑pop with Tagalog lyrics, creating a new hybrid that could appeal to listeners in both nations. By releasing new material on a bi‑monthly schedule, Nanao hopes to establish a sustainable presence in the Philippine market while maintaining her international fan base.
As of now, the single “Pito Pito” has been available on major streaming platforms and has generated early streaming traction. The next release is expected in late July, continuing the bi‑monthly cadence. The collaboration between Nanao and KDR Music House represents a strategic effort to bridge Japanese pop culture with Filipino musical traditions, potentially opening a new avenue for cross‑cultural collaboration in the region.
The Philippine music industry has seen increasing interest in international collaborations, and Nanao’s venture may set a precedent for other Japanese artists seeking to enter the market. The success of “JP‑Pop” will likely be measured by streaming numbers, fan engagement, and the artist’s ability to secure performances at larger venues across both countries.
In summary, Nanao’s debut in the Philippines with “Pito Pito” marks the launch of a new genre that blends J‑pop and Tagalog. Supported by KDR Music House and guided by producer Kenko Furukawa, the artist plans to release new songs every two months, aiming to build a fan base in the Philippines while fostering cultural exchange between Japan and the Philippines.