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Calvin Harris has responded to accusations of plagiarism by veteran trance producer Chicane. In a video posted to Instagram last week with the caption “copyright alert,” Chicane sat at his computer and explained why he believes that Harris’ most recent single, “Blessings,” shares similarities with his 1996 song “Offshore,” playing each track and comparing them. […]
Ye (formerly Kanye West) will not be performing in South Korea this month, as his May 31 concert has been cancelled.
According to Korean ticketing platform Interpark Global, West’s May 31 show at Incheon Munhak Main Stadium was cancelled due to “recent controversies” surrounding the rapper. The vendor didn’t expand on exactly what controversy surrounding Ye caused the cancellation.
“We regret to inform you that the ‘YE LIVE IN KOREA’ concert, originally scheduled for Saturday, May 31, 2025, has been cancelled due to recent controversies involving the artist Kanye West (YE),” a message from Interpark Global’s website reads. “We sincerely apologize for the inconvenience this may cause. We kindly ask for your understanding. All purchased tickets will be automatically cancelled, and full refunds will be processed sequentially.”
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Reuters also confirmed on Monday (May 19) that the West concert would not happen with South Korean e-commerce company Coupang.
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West has been spotted in Mallorca, Spain, in recent weeks with his wife, Bianca Censori, as well as streamers Sneako and Digital Nas.
The embattled rap visionary has been wrapped up in various controversies over the course of the last few months as he’s spewed anti-semitic and anti-LGBTQ rhetoric on his social media platforms.
Ye claimed that his controversial “Heil Hitler” song was banned from all digital streaming platforms after attempting to release the track earlier this month.
“Heil Hitler by Ye has been banned by all digital streaming platforms,” Ye wrote on X while calling out the double standard he sees in streaming censorship. “While Rednecks by Randy Newman remains streamable They’re literally keeping the n—-s down.”
West’s last interview saw him storm off an appearance on Piers Morgan’s Uncensored show earlier in May, within minutes of the sit-down. “You’re not gonna take inches off my di–, bro,” the Chicago native said before he left the interview. “I’m a gift, bro. Why do all you people in media act like you haven’t played my songs at your weddings, or graduations or at funerals or when your child was born?”
He continued: “You take someone like that’s living, like a [John] Lennon or a Michael Jackson. That nuance right there is idiotic. It just shows the hate that you put out for people that put out love. There’s so much love in the art that I put out. This is what you get for now, we can circle back when you can count.”
Billboard has reached out to reps for Ye for comment.
In the five years since Opia, her Polaris Music Prize-shortlisted debut studio album, Canadian R&B singer-songwriter Savannah Ré has transitioned out of the major label system into an era of independence heralded by the self-assured melodies of Formed, her new full-length project.
Executive produced by her husband Yogi the Producer — who won his first Grammy earlier this year, thanks to his work on Chris Brown’s 11:11 (Deluxe) — Formed finds Ré building on her previously established sonic profile of soulful, midtempo R&B with forays into country-esque guitar samples (“Go’ Head”), gutsy wordplay (“Nine Lives”) and candid moments of pure seduction (“East Side Demon”). A featureless affair, the new project flaunts the three-time Juno Award winner’s versatility while keeping her grounding themes of maturation and divine femininity centered.
Formed was initially an expansion of Ré’s 2022 No Weapons EP, but her journey into the indie arena and general life changes caused the project to evolve into something entirely separate. The pitfalls and triumphs of that journey punctuate the entire project, from the testimonial that is “Made It Out” to the poignant self-reflection of “Where You Left Me.” Though she wades through a well of intensely personal experiences for Formed, the project feels notably looser than Opia – and that was intentional.
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“I think I was hypercritical of everything during Opia,” Ré tells Billboard just days after returning from a seven-year anniversary trip to St. Lucia with her husband, who was honored with a parade celebrating his Grammy win. “Being a perfectionist can ruin the essence of what you’re doing. I’m having more fun making music this time around, to be honest.”
In a wide-ranging conversation with Billboard, Savannah Ré breaks down Formed, reveals her initial reaction to Drake sampling her for 100 Gigs, and details how she’s navigating being an independent artist.
Opia, your last full-length project, dropped almost five years ago. Why the long wait between that album and Formed?
How much time do we have? [Laughs]. Honestly, a lot of things changed very rapidly. I was in a deal with Universal Music Canada from 2018 all the way to 2023, when I finally went a different direction. It took some time for me to figure out what it is I want to do. For my entire career prior to [this moment], I’ve been a signed artist; [I’m] figuring out navigating things myself. I had to be in the driver’s seat.
It’s a completely different process being independent versus being signed. There’s so many extra steps, so many things to have your eyes across, so much business that I’m doing now. I wanted to make sure that the music wasn’t getting lost in that process, and that I was still sticking to my vision. It took a little while, but we’re here now!
Talk to me a little bit about Matrimony Records.
Matrimony is the label that I started with my husband, Johann [Deterville], Yogi the Producer, last spring. We were like, “We do everything together already, so why don’t we make it official before thinking about signing anywhere else or going back to a major? We should have our own thing on paper.”
A lot of our foundation, of course, is love and all the things that go into a relationship. But it’s music as well. That’s how we fell in love — so what better name than “Matrimony?” It’s marriage, as far as love, but it’s marriage to the music, as well. We’re also looking forward to finding and signing other artists as well. We want to build Matrimony up.
You won the Juno Award for traditional R&B/soul recording three years in a row, effectively making you, if not the face, one of the defining voices of Canadian R&B. How does that make you feel?
I hate that. No, I’m kidding! [Laughs.] Honestly, I felt seen. It was an honor to be the first artist to be nominated in both the traditional and contemporary R&B/soul categories in the same year. To be nominated, and then to win again and again and again, I was like, “OK, that’s enough now, guys!” I know everybody looks surprised, but I was genuinely surprised every single time I won. It’s been great, and it feels affirming.
What was the first and last song you finished recording for Formed?
“Go’ Head” was the first. It actually wasn’t for me because I’m a writer as well. I was pitching that song around, and from what I know, Chris Brown’s team had it for two years. We thought it was going to make it on [2022’s Breezy], and then it didn’t, so I kept the record. I played it for some of my non-musician friends, and they were like, “Oh my gosh, you need to release this song.” Seeing that visceral feeling, I was like, “I’m gonna put this on the project.”
I think we wrote that song in 2018, so we went back in and rejigged it a little bit to be closer to what I would say. The production is exactly the same, and the topline is pretty much exactly the same. And now it’s the focus track for [Formed].
The last song was “Made It Out.” I have this thing with projects where I’ll get really close to finishing, and then I’m like, “It’s missing one song.” I won’t exactly know what it sounds like, but I’ll know how it’s gonna make me feel when I hear it. I wrote “Made It Out” with Marcus Semaj, who wrote several songs on Opia with me. He sent me the song, and I was like, “Brother… can I have it?” And he was like, “Of course.”
Because I’m a writer, I’ll always change things or write another verse or whatever. But this song… it was like he was looking into my life. To me, it’s a message of, making it out of your circumstances and the things that were supposed to keep you down. After that, I knew the project was done.
What would you say changed the most — or not at all — about your approach to songwriting and singing on Formed versus Opia?
I’d say a lot changed. I think I was hypercritical of everything during Opia. While I’m still a perfectionist, I try not to ruin things anymore because, to be honest, being a perfectionist can ruin the essence of what you’re doing. Do you love the song? Does it make you feel something? Then you don’t need to scrutinize it into the ground or rewrite it 17 times or spend four or five studio sessions recording it. Go with your gut. I’m having more fun making music this time around, to be honest.
A couple of weeks ago, you got on Instagram to address some people missing the message of “Nine Lives” because they couldn’t get past the use of the word “p—y.” Was that a first for you? How does that make you feel as an artist?
It’s quite different! I’m not used to being on the “hate train” side of things. I was very clear that [“Nine Lives”] is for the girls. Unfortunately, it ended up, on the incel side of the Internet with older, non-Black men. And it’s like you, [this song] wasn’t for you. It’s a song about female empowerment sung by a very visibly Black woman. It doesn’t matter what I say when I open my mouth, you are not gonna like it. So, even when addressing it, I didn’t make it about them. I just doubled down on the song’s message.
And with [the word “p—y”] especially, it’s so interesting that it’s okay for it to be said in all these negative ways. But then, I reclaim it in a positive way, and it’s an issue. Although that word may have been used mostly in a vulgar way, to me, it holds power. When I sing, “bring life,” I’m not just referring to childbirth. I mean that there is a woman in everybody’s life who breathes life into them. I’m talking about some serious stuff in the song.
Formed also houses “Sex With My Ex,” which Drake sampled on his 100 Gigs website. Where were you when you found out about that? What was your initial reaction, and what, if anything, do you think will come of that at this point?
We were in the studio working on finishing [Formed], funny enough. When it dropped, the internet started going crazy, so we went to check it out. We clicked around and found a Boi 1-da folder and started clicking through it. The first video was my voice, and then there was a second one, and a third one with a different vocal sample of mine. We’re sitting there flabbergasted at this point, because that third clip was actually Drake in the studio.
I immediately FaceTimed 1-da, like, “What the helly?” And he didn’t even know much. Based on [Drake’s] haircut, the footage seemed to be from the Certified Lover Boy era, I guess. 1-da has always said that it takes a lot for Drake to record on a beat, so, generally speaking, it’s probably going to come out. He has a 99% kill rate. So, I was like, “OK… so what do I do?” Because “Sex with My Ex” was a freestyle I recorded in 2018!
So, we ended up recutting the song in 2022, which is when I met Leon Thomas, and he, myself, and Yogi flipped it. “Sex” was already on [Formed] at that point, so to me, that was some universe stuff. What are the chances of a song that’s been sitting since 2018 ending up in this Drake 100 Gigs thing? Initially, it wasn’t a single, but the team quickly pivoted and dropped the song late last year.
I don’t know if he’ll ever do a 100 Gigs mixtape, but it definitely put more eyes on me and the song. As a freshly independent artist, I’m just grateful either way.
What’s the most important thing you learned from Boi 1-da while you were on his 1Music label?
Prior to signing with him, I was like, “Hey, there aren’t a lot of female artists out there that look like me, maybe I should just focus on being a writer.” That’s how our initial connection was made. Someone of his caliber and stature looking at me and saying, “Not only do I think you should be an artist, but you should also be my artist…” that changed the game for me. It made me confident and self-assured. I was able to lean on him when it came to anything musical.
People think being his artist made it easier – absolutely not. If he don’t like something, he [won’t mince words]. So that started to breed a certain standard within me as well. He would also start bringing me to [different artists’] sessions so I could be a fly on the wall and see how these things work. I was really fresh when he signed me, and I don’t think a better person could have ushered me into the music world and treated me with such respect. That’s like my brother for life, I talk to him every day, whether I’m signed to him or not. He changed my life.
How do your Jamaican roots – and Yogi’s Lucian roots – manifest in your music?
My Caribbean roots are what raised me. Even in the R&B space, [West Indians are] going to approach it a little differently. People have credited rap for some of my rhythmic choices, but I think it goes back to the different riddims and cadences we hear in our [reggae and dancehall] music. There’s always those little sprinkles, and they’ll definitely come through a lot more on the deluxe, [which will have three or four new songs and be out soon]. And Yogi be sneaking little riddims into things all the time!
Do you have any plans to tour Formed yet?
I do. And God willing, it will happen. But, chile, being independent is ghetto as hell, okay?! It’s an interesting climate for touring. We’re seeing so many major artists cancel their tours, and I just want to be very intentional about it and make sure I can give the best show possible. I’m sure I could figure out a way to just bring my little self and do my thing, but that’s not the show I want to bring for my first headlining tour. I want it to be as big as the music and as big as I can possibly make it. That’s one of my goals, and hopefully, this year, I can pull it off.
After revealing that the Foo Fighters had dropped him for “no reason” last week, drummer Josh Freese has shared a list of possible catalysts for the band’s surprising decision.
In a lighthearted post on Instagram Monday (May 19) — three days after he first shared the news of his removal — the musician shared a graphic labeled, “Top 10 possible reasons Freese got booted from the Foos.”
The reasons listed include, “Once whistled ‘My Hero’ for a week solid on tour” (No. 10) and “Metronome-like precision behind the kit deemed ‘soulless’” (No. 7), as well as “Never once tried growing a beard” (No. 5). A proud owner of several of the curly-haired dogs, Freese also mused that the No. 1 possible reason for the shakeup was that the “whole poodle thing was getting to be a bit much.”
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In his caption, Freese simply shared the hashtags, “#lol,” “#peaceoutrainbowtrout” and “#byefelicia.”
The percussionist had been the Dave Grohl-fronted band’s drummer since 2023, taking over the sticks after Taylor Hawkins died the year prior. Before that, he worked as a session musician for The Offspring, Lostprophets, the Replacements and more bands.
On Friday (May 16), he shared via a statement on Instagram, “The Foo Fighters called me Monday night to let me know they’ve decided ‘to go in a different direction with their drummer.’ No reason was given.”
“Regardless, I enjoyed the past two years with them, both on and off stage, and I support whatever they feel is best for the band,” he continued in the post. “In my 40 years of drummer of drumming professionally, I’ve never been let go from a band, so while I’m not angry, [I’m] just a bit shocked and disappointed.”
At the time of Freese’s announcement, representatives for the Foo Fighters declined Billboard’s request for comment.
See Freese’s post below.
Alejandro Fernández couldn’t be prouder to carry on the family legacy through his children, including Camila Fernández, who is currently joining him on his De Rey a Rey tour across the United States.
The 27-year-old artist showcased great confidence and poise on Sunday (May 18) at the Honda Center in Anaheim, Calif., where she performed songs from her repertoire like “Todo Todo,” “Pudimos Ser,” and “Se Cancela la Llorada,” earning a roaring ovation from the audience.
“Thank you for your applause,” said Vicente Fernandez’s granddaughter, elegantly dressed in a charro outfit. “Now I leave you with the new king of ranchera music who honors another king who was my grandfather, my father Alejandro Fernandez””
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Also dressed as a charro, El Potrillo opened his set with his father’s classic “No Me Sé Rajar,” included in his tribute album De Rey a Rey (meaning From King to King).
“I want to tell you that I was born with two blessings: the first, being born in Mexico; the second, being born a Fernández,” expressed the superstar. “Let’s celebrate together the legacy of the great Charro de México the way he would have liked — singing his songs at the top of our lungs.”
The setlist included classics like “Lástima Que Seas Ajena,” “Estos Celos,” “El Rey,” “Volver, Volver,” “De Qué Manera Te Olvido,” “Por Tu Maldito Amor,” and more.
In a heartfelt moment, the father and daughter duo performed “Fue Un Placer Conocerte” and “Siempre Estoy Pensando en Ti,” paying tribute to Juan Gabriel and Rocío Dúrcal, who used to sing those songs together. The tender glances and undeniable connection between Alejandro and Camila, along with their beautiful vocal harmonies, deeply moved the fans, who applauded nonstop.
“I want you to know that in this family, there are at least three of us who will fight tooth and nail to keep Mexican music alive, and we carry it deeply in our hearts,” said Alejandro Fernández, also referring to his son Alex.
And while the show serves as a tribute to his father, some Alejandro’s biggest hits couldn’t be left out, including “Me Dediqué a Perderte,” “Si Tú Supieras,” “Caballero” and “Hoy Tengo Ganas De Ti,” which was originally recorded with Christina Aguilera but performed during the concert with his daughter Camila.
The De Rey a Rey tour, which continues on May 23 in Salt Lake City, Utah, includes stops in Denver, Chicago, Miami, New York, El Paso, and Las Vegas (for Mexican Independence Day celebrations), before wrapping up on September 21 in San Diego, Calif.
Check out a clip Alejandro and Camila Fernández singing together below:
Billboard is excited to introduce its brand-new Substack channel, dedicated entirely to daily charts coverage — a must-read destination for music fans, industry professionals and data obsessives alike. This exclusive platform will bring subscribers into the heart of the action, spotlighting the closest battles for the No. 1 spots happening across Billboard’s 200-plus charts. Whether it’s […]
Mora (real name: Gabriel Armando Mora Quintero) surprised fans with the release of his fifth studio album, Lo Mismo de Siempre, on Sunday (May 18) via Rimas Entertainment.
The 17-track set, which was first produced in Miami and then finished in Puerto Rico, was created during an ultra-personal moment in Mora’s life: fatherhood. Though the songs don’t necessarily delve into his personal life per se, it was important for him to move back home with his family to spark his muse and seek the ideal inspiration.
Lo Mismo de Siempre — named in honor of those who say that the Puerto Rican artist-producer is “always doing the same thing” in his music — is truly an ode to the day-one fans.
“None of this was due to luck/ I’ve had a thousand falls, and although they hurt, they made me stronger/ The people made me, and that’s why I’m here with the same people as always,” he chants in the opening title track, over a dark, dramatic synth melody.
The set then navigates through futuristic reggaetón and perreo sounds (yes, true to Mora’s essence), but also some innovative trap, ballads, tropical and house fusions. He also reeled in potent collaborators, including C.Tangana, Young Miko, Sech, Ryan Castro, and Omar Courtz. Lyrically, he sings about love, heartbreak, the loses, the wins, and other relatable topics.
Lo Mismo De Siempre follows the sets Primer Día de Clases, Microdosis, Paraíso, and Estrella — all of which debuted top 10 on the Billboard Top Latin Albums chart.
Below, Mora breaks down five essential tracks from his new album, in his own words:
“Bandida”
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Chris Brown’s legal troubles in the UK have taken a new turn, as authorities have charged a second man in connection with the alleged nightclub assault involving a broken bottle in 2023.
Rapper HoodyBaby, born Omololu Akinlolu, is now facing a charge of grievous bodily harm with intent. According to a statement from London’s Metropolitan Police, HoodyBaby is set to appear before Manchester Magistrates’ Court this Saturday. The case has already seen Brown ordered to remain in custody until his upcoming hearing on June 13 at Southwark Crown Court in London.
The timing couldn’t be worse for the singer, who is preparing to launch his international “Breezy Bowl XX” tour, scheduled to begin on June 8 in the Netherlands. Whether or not the tour will proceed as planned remains unclear in light of these legal developments. HoodyBaby isn’t just a name in the rap scene, he’s also a close associate of Brown and has collaborated with him on several tracks. Most notably, he featured on “No Such Thing” from Brown’s 2020 collaborative album with Young Thug, “Slime & B”.
As the investigation unfolds, the involvement of a second individual adds complexity to the case. While both men are presumed innocent until proven guilty, the charges they face are serious and could lead to significant legal consequences. The music world now watches closely as two longtime collaborators find themselves entangled in a high-profile criminal case.
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Spring has officially sprung at Coach Outlet.
The hallowed apparel and accessories brand is back with their new spring-centric arrivals, sure to refresh your wardrobe for the season ahead. Long gone are the days of boring winter neutrals. We’re talking all things bags, imbued with personality and equipped with youthful florals, playful fruit prints and pastel hues galore that’ll have your former bag collection green with envy. Here’s how to shop Coach Outlet’s latest spring drop like a pro.
Rowan Satchel Bag With Strawberry Print
A white coated canvas bag with a playful strawberry print.
Nothing screams spring more than a strawberry. While the juicy fruit is great to snack on, the motif also makes for a great print on bags. For their latest spring drop, Coach’s coated canvas-crafted Rowan received a strawberry face lift that offered the bowling-esque bag a playful touch. While this is one of many fruit-printed styles that Coach dropped for spring, this one has a special place in our strawberry-loving hearts.
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Equipped with an outside zip pocket, inside zip, multifunction pockets and detachable straps, the Rowan is extremely functional, making it the perfect bag for work. With the removable straps function, the style can transform into a date night essential, going from casual to formal in seconds. The shiny gold hardware adds a sophisticated touch that contrasts the white canvas.
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City Bucket Bag
A bucket bag with a striped strap and a colorblocked aqua colorway.
The City bucket bag is a maximalist’s dream. The color scheme evokes spring seaside days and saltwater taffy in shades of seafoam and deep blue. The bag’s leather construction is sturdy enough to sling around without worry, while the detachable straps give the bag a customized feel that changes along with your mood. Coach logo detailing in silver ties the bag together, giving the style an instantly recognizable feel.
This piece is great because it is comprised of contrasts, from the structural composition to the whimsical color scheme that doesn’t take itself too seriously. The style effectively bridges the gap between formal and casual. We can envision the City bag being your next go-to for vacations. Picture it. The spring breeze carding through your hair, a drink in hand and the colorblocked bucket bag slung over your shoulder. It doesn’t get any better than that.
Mollie Tote Bag
A mini tote with a yellow pastel colorway and lemon print.
Coach’s totes are iconic. How could they possibly make it any better? With a lemon print, of course. Like the other fruit-centric picks on this list, the Mollie tote was imbued with a playfulness that screams spring. From the pastel yellow color scheme to the zingy lemon print, we are utterly obsessed. Zip-top closure and side open compartments come in clutch for storage, offering the whimsical bag a utilitarian aspect.
Like the other bags on this list, the Mollie also features detachable straps. Worn with baggy light-wash jeans and a crisp white tee, this bag becomes a statement-maker worthy of snapping a few outfit pictures. You’ll want to take the lemon-printed Mollie absolutely everywhere this spring, and we don’t blame you.
Smith Tote Bag 24
A tote bag with Coach logo detailing and white leather uppers.
Retailing for $189, the Smith tote is a stand-out style on this list. Understated and oozing sophistication, this tote is tiny but mighty. Key features include an endlessly versatile color scheme of cream and tan, along with ample multifunction pockets and a detachable strap that transforms this tote into a nifty crossbody within seconds.
With wedding season coming up, this bag would make a great addition to a formal ensemble. We’re talking to you, last-minute wedding shoppers. Or you could dress the Smith down for the office, paired with tailored slacks and a cozy knit. The styling possibilities are endless.
Laurel Shoulder Bag
A deep green shoulder bag with Coach logo detailing.
The Laurel shoulder bag gives us visions of a lush green garden teeming with life. Retailing for $199, the slouchy shoulder style is equipped with durable but soft leather uppers, accompanied by fabric lining, all cast in a head-turning forest green hue. The silver logo detailing fixed to the front acts to mirror the silver hardware, creating a cohesive look.
Like its other spring counterparts, the Laurel can also transform into a crossbody. This colorway is beautiful, but might give some folks trouble when it comes down to styling. We recommend wearing this baby with classic closet staples in neutral hues. Think deep blue high-waisted denim or a tried-and-true black leather jacket. You’ll want to pull prints and colors that don’t compete with the vibrant green hue the Laurel boasts. It’s all about creating balance.
Jamie Camera Bag
A colorblocked camera bag in pink and red with Coach logo detailing.
Coach’s Jamie Camera bag is great for a lot of things, not just holding your camera equipment. The updated spring silhouette features colorblocked peach and red hues set against brown panels accented with Coach’s signature “C” print. The bag is rectangular and meant to sit crossbody, however, it can also be worn as a classy little clutch or slung over the shoulder.
Gold accents in the logo and hardware offer the silhouette personality and shine. We could also see this being a great bag to take with you to your next concert, given it’s compact and can be worn in a variety of hands-free ways. This colorful piece would look great styled with black jeans and a flirty blouse. If you’re in the mood for a more vibrant ensemble, pick a color found in this Jamie colorway, peachy pink or red might work, and coordinate your outfit accordingly. It’s that simple.
City Tote Bag In Signature Canvas With Orange Print
Coach’s classic tote bag but with an orange fruit print.
While citrus season may be coming to a close, you can still celebrate the sweet and sour fruit category with Coach’s orange-printed City Tote. Retailing for $179, the brand’s classic tote silhouette received a spring makeover, equipped with Coach’s iconic canvas alongside a contrasting cute orange print. This bag is also a great one to take to the office, given how roomy it is.
Worn with simple and clean pieces like a cropped white tee and low-rise denim, the orange-centric tote becomes the center of attention. The key to this bag’s success lies within the print. The citrus-themed print easily dresses up any look, creating visual interest. Pulp or no pulp, sour or sweet. We are sure you’re going to love the orange-printed City tote.
Ikimonogakari recently released their 11th full album, Asobi (“Play”). Following the release of their previous album, Maru, their first release since becoming a duo, Kiyoe Yoshioka and Yoshiki Mizuno have had a series of firsts: their first overseas show, their first acoustic show at the Budokan, and their first acoustic concert tour. In addition to previously released singles, the album also contains the new song “Irodori” and collaborations with artists such as Humbert Humbert, fox capture plan, Nao Matsushita, and “Yu Asobi.” Bonus tracks include “Koisuru Otome – From THE FIRST TAKE,” which generated a lot of buzz on social media. The songs on the album are the product of the duo allowing themselves to take on music with a sense of freedom, joy, and playfulness.
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Billboard JAPAN talked to the two about this new album, a second “debut” after they began a new chapter as a band.
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Let’s start by talking about what you’ve been doing overseas. In June of 2024 you performed at the 35th Golden Melody Awards in Taiwan, and then in July you performed at the Tencent Music Entertainment Awards in Macao. How was the response?
Mizuno: I was surprised at the cheering, this tremendous “Whoooooaaaaa!”
Yoshioka: The audience’s tone of voice and the volume of the cheering was totally different than with a Japanese audience. Sometimes my singing was swallowed up by the cheering.
Mizuno: When I’d start a guitar solo, there’d also be that “Whoooooaaaaa!” cheer.
Yoshioka: The audience really put their emotions and reactions into their voices.
What song got the biggest reaction?
Mizuno: “Blue Bird.” People overseas listen to it a lot, and it seems the audiences all knew it.
Yoshioka: When we performed ballads like “SAKURA,” the whole audience was swaying side to side, too. Even despite the language barrier, the emotion of the song came across, which made me really happy.
After your overseas performances, you finished your new album, Asobi. Since the last album, Maru, you’ve been busy with live shows, such as the shows in China, and also releasing new songs. You’ve had quite the packed schedule. Looking back, what do you remember about this period?
Mizuno: After releasing Maru, we did have a time when we were really focused on live shows. We put on a performance hall tour, played at a few festivals, and put on an acoustic show at the Budokan. We had a lot of opportunities to play in front of audiences, and every day was really stimulating for us. This had a positive influence on our song-writing, and I think we also changed a lot deep down inside. I also met all kinds of people through my HIROBA project and put out an album, which was a great experience. I was able to bring that experience back with me to Ikimonogakari. Sho Hasumi from Daw90000 wrote lyrics for me (on “Anohi No Koto meets Sho Hasumi”) and I got the courage to connect with people outside our circle. Yoshioka enjoyed that, too.
Yoshioka: Mizuno, who is Ikimonogakari’s leader, would actively propose new things we’d never tried before, like performing with just the two of us on stage. At first, I was really nervous, but gradually I came to enjoy doing new things. There was a lot of trial and error, of course, and it was really challenging, but the creation process also really stimulated my curiosity.
The album has songs with lyrics written by other creators (“Jigazou meets Yu Asobi” and “Anohi No Koto meets Sho Hasumi”). That was an ambitious choice.
Mizuno: I think it was about seven or eight years ago, we had a meeting with our staff and I said, “What about having someone else write some lyrics for us?” Our director at the time said “Don’t you think you should still keep writing the lyrics yourself?” At the time, that made sense, and I was like, “You’re right,” but years have passed since then and we’ve had all kinds of new experiences. We’ve come to see change as a positive thing, and we’re okay with people from outside the group getting involved. We feel secure now that even with outside involvement, the end result will be proper Ikimonogakari.
Yoshioka: I was really nervous at first, though (laughs). But when Mizuno said “I want to ask someone else to write the lyrics,” it felt really natural, so I took a positive outlook on it, like “I think it’ll work out fine.” Everyone on the team was like “Let’s give it a shot.”
If someone else writes the lyrics, the words will also match up with the music in a different way.
Yoshioka: Right. I’ve always sung Mizuno’s lyrics to Mizuno’s music, so I’ve developed what I guess you could call habits. After recording, I realized I’d had to get rid of those habits when I sang. It felt very natural putting the words to music, which I liked.
Mizuno: You develop habits, or perhaps color, and I hoped that by changing that color we’d produce something new. I’ve been working with Yoshioka since we were in our teens, and we’ve grown together. Yoshioka’s way of singing has become part of me, and my melodies, and the melodies of (Hotaka) Yamashita, have become a part of Yoshioka. So when you’re singing lyrics that aren’t part of that, you find that you can’t sing them the way you normally would (laughs). I was very curious about how my own melodies would sound. It was fun taking on that challenge with Hasumi’s lyrics and Yu Asobi’s lyrics.
What’s behind the title of the album, Asobi?
Mizuno: I feel like the process of creating our last album, Maru, was very stoic. On this album, fortunately, we had a lot of tie-in songs and a lot of variety. The context of each song was also totally different, so we were having a hard time coming up with a concept that would tie them all together. We were thinking about different possibilities when the conversation turned to maybe seeing the rich variety of the album in a positive light instead of trying to put everything in one box. The idea of “play” (in Japanese, “asobi”) came up through that conversation.
Yoshioka: Right.
Mizuno: Since the idea of that title, Asobi, came up, I suggested working with outside artists on the songs. A lot of different artists took part on IKIMONOGAKARI meets (a collaborative album in which 12 artists interpreted Ikimonogakari songs in new ways), and this time I wanted us to “meet” them.
Yoshioka: When the word “play” came up, everyone got really excited. The whole room lit up. It felt like if we went in that direction, we’d come up with something good. Like Mizuno said, the creation of Maru was a very stoic process, and it felt like with this album, we could go in a totally different direction. We had this fun concept in mind as we created the new album.
This has been called a second “debut” after you began your new chapter as a band, and it really is packed with songs that go in new artistic directions. Do you feel like the creation of Asobi will be influencing your future work?
Mizuno: Over the last four or five years, there have been a lot of big events in our lives. We separated from our talent agency, a member left, and Yoshioka had a baby. A lot of our songs were shaped by our story. In 2024, it felt like we really focused on the music itself, and we had a lot of fun both performing live and recording songs. We’ve walked a lot of roads, and I think now we’re really able to focus on “what I should sing as a singer,” “what I should write as a songwriter,” and “what kinds of artists we should work with as a group.” We’ve come full circle, back to where we started, and we can move forward from here. I hope a lot of people listen to our new album, and, personally, I’m really happy to be able to look forward to the future.
Yoshioka: As I mentioned earlier, we’ve taken on a lot of different challenges, like playing at the Budokan as just a duo or performing street shows. We’ve worked with a lot of artists on our album. We’ve kept trying new things, and that’s become normal for us now. I think we’ve created a great album, and I feel like we’ll keep diving into new things in the future. In the past, I’ve been the type that gets nervous about new things (laughs), but I’ve come to see how fun taking on new challenges can be. I’m glad we’ve been able to open this door that will lead us in new directions.
—This interview by Tomoyuki Mori first appeared on Billboard Japan
