Choosing Music Over Stability: Shingo Nakamura’s 15-Year Journey to Going Full-Time Interview by Leo For 15 years, Shingo Nakamura lived a double life.By day, he worked as an office employee in Japan. By night, he produced music and DJed, gradually building an international audience in progressive and melodic house. His decision to leave a stable corporate career was not driven by sudden success or a single breakthrough. Instead, it came after years of balancing work and music—until one opportunity abroad forced him to make a clear choice. In this conversation, Shingo reflects on that turning point, the realities of Japan’s work culture, and how melody became central to his musical identity. Background and Musical Identity Leo: Could you start by telling us about yourself and the kind of music you make? Shingo:My name is Shingo Nakamura. I am a producer and DJ based in Tokyo. I was born in Ibaraki Prefecture, and I have been living in Tokyo for about ten years. I mainly make club music, especially progressive house and melodic house. The BPM is usually around 120, and the sound is calm and relaxing. I try to make music that works not only in clubs, but also for listening at home. Starting Music Without Formal Training Leo: How did your music journey begin? Shingo:I started making music when I was in high school. A friend introduced me to music production software, and I began creating tracks on my PC using FL Studio. At the beginning, I wasn’t making dance music. I actually started with hip-hop. I was listening to Japanese hip-hop artists like Dragon Ash and Rappagariya, so my career originally started from hip-hop. Later, I discovered trance music. Seeing artists like Above & Beyond made me want to create trance music myself. That was when I started sending demos to overseas labels, even while I was still in high school. Leo: Did you study music academically? Shingo:No. I went to a regular school and didn’t study music theory or receive professional training. Everything I learned came from experimenting on my own. After entering university in Japan, I continued making music as an amateur and uploaded my tracks to MySpace. At the time, MySpace played a role similar to today’s SoundCloud. Through MySpace, I communicated with many overseas listeners and labels. More than ten years ago, that was when I was contacted by a label now known as Monstercat Silk, which was called Silk Music back then, about releasing my music. A 15-Year Double Life Leo: What happened after you graduated from university? Shingo:After graduation, I worked as an office employee. During the day, I worked at my job, and at night I made music. I also continued DJing during that time. I lived that way for about fifteen years. I never stopped making music, but it was always alongside my full-time job. Leo: What ultimately led you to become a full-time musician? Shingo:About three years ago, I had an opportunity to DJ in Amsterdam. At that moment, I had to choose between quitting my job or giving up the DJ opportunity. In Japan, taking long paid vacations is difficult. This was also during the COVID period, when many companies viewed overseas travel negatively. To DJ abroad, quitting my job became the only option. Leo: How did people around you react to your decision? Shingo:Some colleagues knew that I DJed as a hobby, but when I told them I was quitting to become a full-time musician, they were very surprised. The most common reaction was concern about whether I could really make enough money from music. I was very anxious. I quit my job shortly after releasing my album Glow. At that time, my streaming numbers and income were increasing, but I didn’t know if that growth would continue. What encouraged me were messages from fans saying they liked my music and wanted to see me DJ. Those messages helped me decide to fully commit to music. Now, I feel fortunate to be able to live only from music. There are very few people in Japan, and even overseas, who can do that. Leo: How do you look back on your 15 years as a company employee? Shingo:I loved my office job and learned many things from it. My experience as a working adult was very valuable. The work was busy and demanding, but I have good memories. That said, I think many companies in Japan do not allow side jobs, and that limits creative activity. I hope more amateur musicians can make music freely and that Japan’s music scene can grow as a result. Melody, Identity, and Global Perception Leo: Your audience is mostly overseas. How do you see that? Shingo:Unfortunately, my audience in Japan is currently smaller. Overseas listeners often describe my music as “Asian” or “Japanese.” It’s difficult to explain in words, but I feel honored that my Japanese identity can be a strength. In terms of quality, I think Japanese producers have mostly closed the gap with overseas producers. One thing often said about Japanese music is that it features strong melodies. In my earlier tracks, I used piano melodies a lot, and overseas listeners responded well to that. I started focusing on melody more than ten years ago to reach people who listen at home, not just those who dance in clubs. I think that approach helped me gain listeners abroad. Leo: How do you approach trends and touring today? Shingo:I’ve been making music for over ten years, and I always try to incorporate new genres. I take inspiration from many styles, including K-pop, but my core idea has not changed: I want to create music that makes people feel comfortable. During COVID, home listening increased worldwide, and many of those listeners stayed even after clubs reopened. That trend is similar in Japan and overseas. I often tour the U.S., especially the West Coast—San Francisco, Seattle, and Los Angeles. I recently visited New York and Boston for the first time. One of the biggest cultural differences is how friendly people are. Even though my English isn’t perfect, I try to speak actively and blend in. Looking Ahead Leo: Finally, what are your goals going forward? Shingo:My realistic goal is to continue living from music. This is my second year since quitting my job. Looking ahead, I want to increase DJ opportunities not only in the U.S., but also in Europe and other parts of Asia. Japan has many great local producers, and I want to collaborate with them and help introduce their music to a wider audience through my DJ sets.