Crystal Kay: ‘There Is No Reason I Have to Emphasize How American or Black I Am’

Crystal Kay is a pioneer for diversity in Japan’s music scene. Her sound is a distinctive blend of J-pop music with R&B or hip-hop, where she sings “in a very R&B-driven way on J-pop heavy tracks”—something she says: “I’m the only one who can sing J-pop the way I do.”

She tells me her story, an incredible one that speaks to the broader experiences of Asian American artists who have achieved success in the global music industry.

Kay’s mother was a singer since she was 16, and her father was a bassist in the military, so music was a natural part of her upbringing. Growing up, records played constantly in her house, and she would often attend her mom’s shows and concerts. One day, her mother’s friend, the owner of a production house, asked if he could use her for a gaming console commercial song that required a child’s voice. Kay was only four years old at the time and has since gone on to do several commercial jingles. “One year, I was doing the jingle for All Nippon Airways and Vitamin Water, in which the two got a lot of interest, so we decided to turn the 15-30-second jingle into a full song. That was my debut single, ‘Eternal Memories’ and the beginning of my professional career at the age of 13.”

“Eternal Memories” happened in 1999, and then, in 2002, a third studio album, Almost Seventeen, proved to be an essential turning point, catalyzing Kay’s renown. Her success took on a nearly surreal meaning thanks to her creative synergies with artists like BoA, Lionel Richie, Namie Amuro, and J.Y. Park. But for that, she had to hang in, especially while growing up amid diversity in Japan—being born to an American father and a Korean mother. She experienced bullying, bias, and discrimination: “It hurt me, and it still doesn’t feel nice, but now I know that it’s just a projection of their unhappiness or boredom, so I don’t give it too much energy.”

Kay has pulled through challenges with authority and grace, fusing her musical talent and Asian American roots into an influential and authentic artistic expression. Through her music, she has not just won over fans but also questioned stereotypes and drawn more understanding and an increased appreciation for the Asian diaspora’s cultural diversity.

Her journey is an inspiring reminder of how someone may transcend cultural barriers and use what they have to give a voice to those who are underrepresented. Her songs encourage cross-cultural dialogue while giving those who listen, an overwhelming sense of solidarity and belonging. Excerpts.

Please share your experience and the journey of being born in Japan to a multicultural family and how it has shaped your identity and career in the music industry.

I’m very grateful for the unique childhood I had and the beautiful environment I grew up in for the first few years of my early life. My father was in the Navy, so I went to school on the military housing base in Yokohama, Japan from pre-kindergarten to the sixth grade. From middle school to high school, we had to take a school bus to Yokosuka Base, where big military carriers were stationed. The military base was like a utopia where everyone got along, and we all took care of each other. I had a lot of friends from all over, so it was a pretty diverse environment. I do have to say, when I was younger and in the smaller base in Yokohama, although some of the kids were mixed, most were Japanese and White, or Black. No one else was Black and Korean like me. As I got a little older and would play with Japanese kids outside the base, I felt like I was “different”. I think this was the beginning of my identity complex and my identity journey.

How do you navigate and embrace your diverse backgrounds in a predominantly homogenous society like Japan, and how does it reflect in your music and artistry?

Navigating this took me a while. Being born in Japan to my Korean mother and American father where I am basically a double minority, I was lucky enough to experience a lovely utopian community on the naval base as a child. There were many mixed kids, most of them being half-Japanese and half-American, so I didn’t understand the difference between being Korean or Japanese as a child. I did experience bullying when I went to a Japanese summer school outside the base because the kids would point out my darker skin tone or my curly hair. I was also very tall and pretty developed, so I didn’t like the way I stood out like a sore thumb. I also felt a bit of negativity as I started to get into the limelight with internet trolls who posted derogatory comments about me and my background.

It wasn’t until I visited the US that I would get a broader perspective on diversity and that I should be prouder of myself, having such a long career singing in multiple languages and having sustained that. I never would have been able to shift my mindset positively had I not been exposed to living abroad in a place like New York for a year trying to pursue music. I have to credit my mother for constantly reminding me how lucky I am to have this uniqueness and talent. I think this is still an ongoing journey of identity for me, but I feel like I can finally embrace my uniqueness and also continue to be a role model.

What challenges have you faced (if any) as a biracial artist in Japan?

I would say I have experienced a bit of racism online on Twitter, where people would point out my background and say things like “Go back to Korea” or “Why are you working here?” and use other derogatory terms related to me being Black. It hurt me, and it still doesn’t feel nice, but now I know that it’s just a projection of their unhappiness or boredom, so I don’t give it too much energy.

How do you use your platform and influence to promote diversity and inclusivity in Japan’s music scene and beyond?

I think that being my most authentic self wherever I am is how I can promote diversity and inclusivity. That includes everything from appearing on TV, in a radio interview, on stage, or interacting with people. There is no reason I have to emphasize how American or Black I am because I already stand out. Speaking about my experiences naturally and freely I think is the best way to promote diversity, as well as for people to see that society is becoming more accepting.

One thing I do keep in mind is to provide additional context when I share something that might be specifically more American than Japanese to my Japanese audience. This includes anything that’s culturally different, whether it be about a song, food, or dance. I do remember posting something informational when the BLM movement was happening; Japanese fans had sent messages thanking me for informing them since they had no idea what was going on.

Can you tell us about a specific instance that profoundly impacted your music career or creative process?

I think one instance was when I worked with M-Flo’s Taku Takahashi. I remember when we were working on lyrics, I noticed that his approach to writing was so free. There was no right or wrong, especially when it came to language and throwing in English lyrics in a Japanese song. Before meeting him, I was so cautious about the amount of English I could have in a song because the label would be adamant about keeping it mostly Japanese. Me, being a mixed kid and growing up speaking in English and Japanese, mixing lyrics felt way more natural to me. I think it was the first time I felt a light go off in my head like, “Oh, it IS ok to express like this in English!” From then on, I became more confident in mixing languages in writing.

How do you balance and incorporate different cultural influences in your music, and how does it resonate with your audience?

I have an interesting mix of J-pop melodies on very R&B or hip-hop tracks, or vice versa where I would sing in a very R&B-driven way on a J-pop heavy track. I think people all over the world can resonate with my music, even if they don’t understand the lyrics or can’t relate to it culturally. For example, Japanese-speaking fans can feel like they are listening to an Americanized J-pop and still connect with relatable lyrics. That goes for my English-speaking fans too where, even if they don’t understand the language, they can groove to it through the melody and vibe of my vocal performance. I also think they feel familiar because they’re hearing a Black girl singing in Japanese.

I used to be confused about which I identify more with – the very J-poppy sound or the more R&B sound. But then came to this realization that I am the only one who can sing J-pop the way I do.

Please share your experience collaborating with artists like BoA, Lionel Richie, Namie Amuro, and J.Y. Park.

Collaborating with BoA was such a fun, organic, and kind of making-a-statement type of moment. We both debuted at the same time at the age of 13 and with a Korean background. We were also both in the J-Pop scene and shared the same choreographer, so when we first met, the friendship was instant. We were friends, way before we did our first collaboration, so it was so cool to perform because everyone knew this collaboration was absolutely real and not manufactured. Having two non-Japanese artists collaborate and perform together in Japan, and seeing that people were excited about it, was very incredible to experience. 

Collaborating with Lionel Richie, the living legend, still feels surreal. What an honor and privilege it was to be chosen by him to sing his epic duet, “Endless Love” he did with Miss Diana Ross! I couldn’t believe that I got to film our music video for it at his house. He had such an amazing spirit, so very young at heart, and just fun. This will forever be one of my bragging cards!

Namie Amuro is that girl. I grew up listening to her as an elementary school kid and remember everyone copying her songs, choreography, and fashion! I know so many people in my generation share that sentiment, so when she agreed to be on my track, “Revolution”, I almost fainted. To also record a music video and dance together was unbelievable. I remember going on a crazy diet so I could be prepared to be recorded from any angle and be fit while standing next to her, haha! It is still surreal to look back at footage from when I joined her on stage as a secret guest on her tour. I will never forget that moment, nearly 20,000 people screaming and stomping when they saw me come into the light as the intro of the song started. It was indeed a revolution.

Working with J.Y. Park was such a great experience. He pushed me in the studio like no other. I remember I was at the point of breaking down because I had never been challenged in that way before. He focused on the emotional aspect of my vocal performance and wanted me to squeeze out my heart and soul into the track. It was a lot of fun working with him!

What’s your take on K-pop and how K-pop and K-content are taking the world by storm? Any favorites from the K-pop scene?

I am always amazed at how global the K-pop impact has been. Everywhere I go, I see people who aren’t Korean are so much into K-pop! It truly is amazing how K-pop has broken down the world’s barriers to enjoying Asian pop music. I’m also very proud as a half-Korean person myself but also as a fellow Asian artist because the success of K-pop has opened doors for other Asian artists from Asian countries and has created a platform for these artists to be recognized.

I love XG; they are so talented and strong performers. Their tracks are so great and catchy. I also think Aespa is very cool. It is cool to see artists like Bibi killing it too, since it’s not just the “idol” type that is being recognized in the K-pop scene.

How have you approached providing music for properties like Pokemon, Fullmetal Alchemist, and Final Fantasy?

The label was generally in charge of assembling the right writers and producers for the song, but I would keep my mind as open as I could so we could make the best song for the project. I did my best by applying my best vocal performance to it. I would approach it as I would any of my songs, and I would try to be as authentic to myself as I could. If anything, the producers would request to sync the lyrics with the characters or the storyline, so it was fairly a smooth process every time. Although I must say I felt a lot of pressure when singing Final Fantasy’s “Eyes on Me,” The fact that it is such a well-known and loved theme song of the world-renowned game, and the original was so beautiful and strong, I felt I had a huge responsibility of doing it justice but with my flair.

How do you balance artistic expression with commercial success in your collaborations?

I feel like I am a chameleon when it comes to collaborations, but it’s more about how we can incorporate each other’s strengths into the project we’re working on. It’s like balancing the perfect amount of chemicals to get the best formula and result that feels best for all of us. In the end, whatever feels right and good is what will resonate with people the most.

What role do innovation and experimentation play in your music?

I think in the early years of my career, innovation came from implementing a lot of the synth sounds and influences of beats from the Western music scene, mainly the US Top 40s. I was so into creating music that anyone in the world could enjoy because, in my mind, music equaled “the world.” Hence, when I first debuted, I would naively look for my singles on the US Billboard Charts, wondering why my name wasn’t there (laughs). Experimentation would come from vocal stacks of background vocals as well as vocal runs and techniques no one was doing in the J-pop scene, and since my sound was mainly R&B, I also experimented by throwing in more and more English words when I could.

Now, since music has become so globalized everywhere, language isn’t as crucial of a factor when creating music here, but back then, I remember the label would tell me the lyrics had to be strictly in Japanese because no one would understand them. After collaborating with the amazing M-Flo, I became more confident and proud of expressing myself through more English lyrics.

What advice would you give to aspiring artists or individuals looking to make it in the music industry?

My advice would be to be fully immersed in doing what you love and be extremely true to it. People feel your energy through your work, so they know if your heart is or isn’t in it. Also, there is no right formula on how to “make it,” so believe in your art and don’t miss out on having fun, as people will naturally gravitate toward you. Stay open creatively and keep honing your special craft.

How do you stay true to yourself and your roots while navigating the expectations and stereotypes of being an artist in Japan?

I think that just literally being myself and speaking honestly about how I view music and life in general from my unique cultural perspective helps me stay true to myself. And most importantly, creating music that feels authentic to me. I feel like I am luckily in an interesting position; being a complete foreigner yet born and raised in Japan, culturally I am pretty Japanese, and my music would be considered “J-pop.” But because of my background, the sound and delivery have an R&B sound and vibe to them, along with vocal and sound production. It’s something only I can create, and I think Japan has embraced that, as well as my foreign fans.

What motivates and inspires you to continue pushing boundaries and challenging norms in the music industry as a pioneer for diversity and representation?

Seeing more and more diversity in the industry, whether it’s in music, modeling, or TV, makes me so happy that Japan is finally catching up on representation. Having those young kids tell me they grew up listening to me or saw me and felt seen has been a huge motivator for me to keep going and reach new heights so I can be more of a role model.

In what ways do you hope to see greater diversity and representation in Japan’s music scene in the future, and how do you envision contributing to that change?

I hope to see more diverse singers and producers dominating the charts and not just stereotypical idols. Also, hearing more natural English in songs would be cool and a game-changer, not only for broadening Japan’s music scene but for more recognition beyond Japan to the West. It may help Japan be acknowledged for more than just anime and technology. I hope to contribute to that change by broadening my activities through performances globally to bridge the gap between the East and the West.