In 1998, Hikaru debuted under Toshiba EMI as "Utada Hikaru," garnering rave reviews for her strong and emotive music. It was arguably the first time that Japan was exposed to Western styles of R&B, and the effects of her debut can still be felt today. Her Japanese debut album, titled "First Love," went on to sell roughly 10 million copies, making it the best-selling album in Japanese history.

With two Japanese albums under her belt and millions of records sold worldwide, Hikaru began her journey towards international stardom. In July 2001, Hikaru recorded a song titled "Blow My Whistle" with famed producers The Neptunes for the soundtrack to the motion picture Rush Hour 2. In February of 2002, Hikaru signed an unprecedented second international contract with Island Def Jam Records, shocking many in the industry. Her contract with Island Def Jam called for at least one English language album under the name "Hikaru Utada."

Although originally slated for a late 2002, early 2003 release, her debut English language album was pushed back after it was revealed that Hikaru would have to undergo surgery to remove a benign tumor from one of her ovaries. Then in September of 2002, Hikaru once again shocked many by marrying Kiriya Kazuaki, a photographer who had directed a few of Hikaru's Japanese music videos and photographed a number of her CD jackets.

After many setbacks, Island Records released Utada's debut English language album, "EXODUS," on October 5th, 2004. Despite appearances by famed producer Timbaland and Mars Volta drummer Jon Theodore, the album had disappointing sales. Her unique blend of pop, electronica and R&B did not find the audience that Island Records had hoped for. There were a few bright spots, however, as Utada's first single "Devil Inside" reached #1 on Billboard's Hot Dance/Club Play chart, and she received high praise from the likes of USA Today and Elton John.

While her sales may have been disappointing, Utada has gone on record to say that "EXODUS" was a necessary step in her growth as an artist. After feeling stifled in Japan, getting the freedom to write in English brought out different facets of Utada. It also allowed her to stretch her abilities as a musician and producer, and these influences can be felt in her post-EXODUS releases.

In 2005, Utada released 2 Japanese language singles, both of which showcased a more mature and confident artist. While sales of these singles were not as high as some of her earlier releases, the broad experimentation which permeated this material was seen as ushering in a new era in her musical career.

Currently working on her fourth studio album for Toshiba-EMI (to be released sometime in 2006), Utada continues to evolve and change along with her music. A Japanese concert tour is currently in the works for 2006, and will likely feature music from both her Japanese and English works.

While many pop stars are satisfied with remaining complacent, Utada has started on a path of self-exploration that is rarely seen in the Japanese pop world. With each new self-assured step, Utada's musical experimentation reminds us why she has remained relevant as an artist over the past seven years. While this type of experimentation may alienate some listeners, her desire to test uncharted waters is what continues to make Utada a key player in the ever-changing landscape of Japanese pop music.