The Story of J-Hip-Hop in 20 Songs

From hot global collabs to viral anime themes, Japanese hip-hop is attracting attention the world over—and with good reason. These are 20 J-hip-hop tracks you need to know about so you’re set on the emerging artists and those era-defining classics.

Lately, J-hip-hop artists have been making their mark globally. But this “meteoric rise” hasn’t come out of nowhere: The scene has a rich history, ever since hip-hop—including street fashion and breakdancing—caught on in Japan in the 1980s. Early influential figures include DJ KRUSH, who blossomed out of Yoyogi Park’s breaking scene to become a world-renowned producer often compared to DJ Shadow. In the 2000s, Teriyaki Boyz collaborated with major artists like Kanye West, JAY-Z, Daft Punk, and the Beastie Boys’ Ad-Rock, eventually signing with the illustrious Def Jam Records. But even still, the group failed to generate worldwide buzz. It was long believed that the language barrier prevented Japanese rappers from making inroads internationally. Even when the 2004 anime series Samurai Champloo introduced Western ears to Nujabes—who provided a propulsive sample-heavy soundtrack fusing jazz, trip-hop, and breakbeat—it gained him the nickname “Godfather of Lo-fi,” but only to those really in the know. Things would simmer on the scene over the next two decades—until 2024 when it suddenly boiled over. This was in no small part due to Megan Thee Stallion’s personal interest in Japanese culture. The global superstar’s love of anime and cosplay heavily influenced her 2024 album MEGAN, but it was the summer single “Mamushi,” featuring highly respected Tokyo-born rapper Yuki Chiba, that broke all the conventional wisdom around Japanese rap. The song’s hook, with phrases fully in Japanese, was sung by fans around the globe, proving that language was no longer an obstacle. By this point, Creepy Nuts’ single “Bling-Bang-Bang-Born” (the opening theme for anime Mashle: Magic and Muscles) had already been racking up numbers with its viral dance on TikTok for months. The song, with diverse influences from Jersey club to Afrobeats, became the third most-played hip-hop track in the world and ultimately reached the top 10 of Apple Music’s Top 100 Songs of 2024: Global, not to mention our Most-Read Lyrics ranking. The duo of freestyle rapper R Shitei and turntablist DJ Matsunaga became worldwide stars almost overnight. Osaka-based rapper MFS also scored a viral hit when her trap track “BOW” was used in video game Overwatch 2. And, not to be left out of the trend, the seven Japanese members of South Korea-based pop group XG surprised the world with outstanding rap skills. Their first all-hip-hop cut, “WOKE UP,” was remixed by some of the leading rappers in Japan and South Korea—with rhymes in Japanese, Korean, and English flying freely, symbolizing how diversity flourishes in this new age of global pop.

One reason behind Japanese hip-hop’s global boom is the rise in collaborations between Japanese artists and other trendsetters throughout Asia. In the ’80s and ’90s, Japanese rappers and producers would travel to New York or Los Angeles to study the origins of hip-hop. But since the internet fostered the rapid expansion of local scenes, recent years have seen a huge uptick in artistic exchanges between talent from neighboring Asian countries. This new trend is perfectly exemplified by “Thai Gold,” from Tokyo-based MC and dancer JP THE WAVY and top Thai rapper OG BOBBY. The track arose from a 2022 co-writing camp held for Japanese and Thai artists in Bangkok; the resulting collabs gave rise to live performances and chances for further bridge-building between the two scenes. These teamups have also created unique opportunities for female rappers to boost each other’s voices. In 2024, Awich, a true trailblazer for women in Japanese hip-hop, released the party-ready “BOMBAE” with acclaimed Indonesian MC Ramengvrl. In the same year, CYBER RUI—who hails from a new generation of Osaka artists celebrating the freedom of hip-hop—released the Memphis rap-inspired track “CATCH UP,” featuring rising Korean star Ash-B. The hip-hop world is still undeniably male-dominated, but the defiant spirit of female artists pushing against these boundaries is resonating ever stronger. Rappers aren’t the only artists joining together. Tade Dust, a member of Japanese rap collective night cat fam., recounted the process behind his track “Business,” featuring South Korean rapper BLASÉ, for Apple Music: “BLASÉ and I are spitting hard over drum ’n’ bass by [Japanese producer] D3adStock and the Korean producer CODEC. When D3adStock and I went to Korea, the four of us met up in BLASÉ’s studio and started discussing what kind of track we wanted to make. It took a while to complete, but it was a great experience with wonderful memories.”

The defining sound of Japan’s capital has evolved with the decades. In the ’80s, it was city pop, while the ’90s brought the eccentric Shibuya-Kei before the reign of J-pop began at the turn of the century. But now, J-hip-hop—and its absorption of overseas sounds with a distinct domestic flavor—is challenging for the throne. One track that symbolizes this shift is DJ TATSUKI’s “Tokyo Kids.” The song samples, and is named after, “Tokyo Kid,” a 1950 big-band tune by Hibari Misora—a legendary and still beloved singer and actress of the era. Its eclectic mix of classic and modern tastes with just the right amount of finesse exemplifies the Tokyo sound. As someone raised in the cultural hotbed of Shibuya, kZm embodies that sound. With flourishing underground rapper JUMADIBA, kZm created “Doshaburi,” a bona fide dance-floor banger that illustrates a major feature of the Tokyo scene: an exploratory approach to sound, incorporating the diverse musical sources global hip-hop pulls from. JUMADIBA also embodies a new generation of rappers who boast alternative tastes. In his case, this goes beyond US rap genres and onto drill, grime and even rock from the UK, citing acts such as Slowthai as major influences. Likewise, Kvi Baba’s breakout single, “Friends, Family & God,” has quickly become a staple since its 2024 release. The track features G-k.i.d and KEIJU, respectively members of BAD HOP and KANDYTOWN, two groups who were at the vanguard of this new era of J-hip-hop and broke up at the height of their popularity. Kvi Baba’s melodic flow is especially striking atop the track’s rock background. Tohji and LEX are two icons for modern Japanese youth. “We want to treasure the gruesomeness and creepiness laying dormant inside all of us,” says Tohji, whose unique sound embraces everything from emo rap to the trance revival. On the other hand, LEX shows off the diversity of his musicianship by incorporating different types of beats. “A live performance can’t be completed by myself, I need everyone’s strength. That’s what the song’s about,” LEX told Apple Music of “Chikarawokure” (“Give Me Strength”), featuring Tōkai-region star ¥ellow Bucks.

As Japan’s hip-hop scene grows, so does the number of prominent producers making hit after hit. Bachlogic, CHAKI ZULU, and KM have become the most prominent names, with Zot On The Wave, Zigg, and Lil’Yukichi rising just as fast a couple of years behind them. While still pushing the evolution of hip-hop within Japan, more and more producers are seeking links with artists abroad—particularly those from relatively remote areas that wouldn’t previously have been considered part of any “scene.” For example, Kitaibaraki-based TRILL DYNASTY was one of the beatsmiths behind Lil Durk’s international hit “The Voice,” while Bohemia Lynch from Hamamatsu in Shizuoka produced Westside Gunn’s track “LE Djoliba” (feat. Cartier William). Megan Thee Stallion wasn’t the only one capitalizing on the reemergence of Yuki Chiba (formerly Kohh) following a three-year retirement when they teamed up on “Mamushi.” Tokyo-based producer Koshy crafted Chiba’s comeback single “Team Tomodachi,” which became a huge hit in and out of Japan in early 2024—and so Koshy was brought in to work on “Mamushi” as well. Koshy’s sound incorporates the hallmarks of rap from Atlanta and Memphis, armed with minimalist production and real-time sessions with MCs. Another producer with American ties is Xansei, who hails from Fukuoka but is currently based in Atlanta and Los Angeles. Xansei has worked with an extensive range of artists both inside and outside of Japan, including XG, Sabrina Claudio, and Tohji. Similarly, Tokyo-based producer and multi-instrumentalist STUTS has imbued the work of rappers and songwriters around the world—such as J-pop star Gen Hoshino and London-based singer-songwriter Jordan Rakei—with his unique mellow sound. Japanese producers no longer feel tied to fitting in with US sounds and genres, and instead the world is looking to them for a distinctive spin on their tracks.

For the longest time in Japan, even local hip-hop was regarded as an underground phenomenon far below the mainstream. But now, the new generation of artists is finding outlets for growth and exposure on an unprecedented level. Battle rap contests are becoming commonplace. Liza, an MC with Russian roots, met and befriended fellow young female rapper 7 on a TV rap talent show before releasing “PARALLEL,” a funky track that celebrates diversity. Current rising stars have earned the buzz thanks to their individuality and skill. Kohjiya, Kaneee, and Yvng Patra are other names to note at the forefront of J-hip-hop, channeling the passion and vigor of youth through their mic relays and bringing their distinct sounds and perspectives as a definitive fixture on the global scene. Then there’s LANA, who boasts musical influences extending from Jersey club to enka. Her 2024 track “Still Young More Rich” turned heads, especially with the addition of fellow rising star Watson’s unique flow and word sense. “I thought, ‘If we’re going to do this with this timing, a sexy drill track would be good,’” LANA tells Apple Music. “I knew from the beginning I wanted Watson to guest on it.” Of course, with every new generation comes the passing of the torch. In 2023, Kawasaki’s influential crew BAD HOP announced—at the peak of their powers—that they would break up in 2024. Fifty thousand fans attended their final performance at the fabled Tokyo Dome, where they invited 20-year-old up-and-comer Bonbero to make a guest appearance. “It was lucky, but it wasn’t a coincidence,” Bonbero tells Apple Music. “I got there by my own skills, by my mouth alone.” And it’s this confidence that the next wave of J-hip-hop stars is taking to the world now.