Billboard Japan
On April 4, BAND-MAID released their new song, “Ready to Rock,” the opening theme for the TV anime Rock Is a Lady’s Modesty. The raging, breakneck instrumentals and emotional vocals that are the quintessence of the band resonate perfectly with the anime’s story and the feelings of its main characters. The collaboration is a match made in heaven.
Billboard JAPAN talked to the five members of the band at length about everything from the process of creating the new song to the band’s nationwide tour, the second anniversary of the new chapter opened by band, which is now in its 12th year, and their aggressive pursuit of their own musical direction.
Your new song, “Ready to Rock,” is the opening theme for the TV anime Rock Is a Lady’s Modesty (referred to from here on as Rock Is…). It tells the story of an all-woman band, so it has a lot in common with BAND-MAID. What led to you work on the song?
Trending on Billboard
KANAMI (Guitar): We were approached about performing the opening theme, so we started out by all reading the original comic, and then I started writing the music. But there wasn’t much along the lines of “Make it like this,” was there?
SAIKI (Vocals): Not really. They extended the offer to us because they knew what we were like. They said “BAND-MAID is perfect for Rock Is…,” which was great to hear. So the final song ended up being very true to BAND-MAID.
KANAMI: When I read the original manga, my mental image was one of drums and guitars crashing against each other and climbing to new heights. I wanted our song to express that, so I started the song out with this frenzied drumming and guitar playing.
So in terms of the anime, that would be Lilisa Suzunomiya (Guitar) and Otoha Kurogane (Drums).
AKANE (Drums): Right. I was totally influenced by Otoha (laughs). She’s an unparalleled drummer, and I wasn’t about to let her beat me, so I drew on all my drumming technique. It was the technically hardest song we’ve ever done. I just can’t emphasize that enough.
SAIKI: Initially, the drums came in even earlier right?
KANAMI: Yeah. In the first demo, the vocals also started at the same time, but SAIKI and Kobato said that if we wanted to bring out the true qualities of Rock Is… we shouldn’t have vocals right out of the gate but instead should highlight the guitar and drums. So I cut the vocals.
MISA, what approach did you use given what was going on with the guitar and drums?
MISA (Bass): The guitar and drums go wild, so I realized that if the bass went wild, too, then the whole thing would just fall apart. Instead of doing a really intricate bass line, I chose to only have the bass come out in front once the guitar and drums had settled down a bit.
Did you all talk together as a band about the relationship between BAND-MAID and the world of the anime?
SAIKI: Not at all. When I read the manga, I thought the drummer, Otoha, was a lot like AKANE, and the bassist, Tamaki, was a lot like MISA. But above all, the guitarist, Lilisa, was just like KANAMI (laughs). Partly because of that, I was really sucked into the manga. The gap between the way the characters looked and the way they acted was also like BAND-MAID. There were all these elements that resonated with me, so I think I naturally found myself drawn to it.
Miku Kobato (Guitar/Vocals): Having that gap is really important for us, too, so there were a lot of parts which matched up with us, and that’s how it all turned out, po.
SAIKI, what did you have in mind when you were writing the lyrics?
SAIKI: Reading the original manga, there were so many things that resonated with BAND-MAID, like the gap between how they looked and the music and they played, or the pressure that people around them placed because they were expected to be refined ladies. It reminded me of how we were when we started out. Back then, our costumes weren’t as distinctive as they they are now, and there were people who just couldn’t accept the gap between how we looked and the music we played. Sometimes, it was hard, so while I was reading the manga, I was thinking “Don’t let them get you down!” (laughs) When I wrote the lyrics, it was with this idea of “Don’t give up, just believe in yourself.”
Lilisa’s way of thinking also shares a lot in common with BAND-MAID’s direction. That passion burning inside, that hidden fighting spirit, is the same as ours, so it really resonated with me. The lyrics reflect how you might not show it on the outside, but you’re fired up inside.
Did BAND-MAID show that inner fighting spirit from the first time you performed on stage, or was there something that changed and brought it out of you?
SAIKI: Our songs themselves changed a lot, we decided on our direction, and we built up our musical repertoire. And through that process, we finally discovered our own style. That process was also similar, in many ways, to Rock Is….
Kobato: When we started, there were a lot of people who were like, “They’re a band of women dressed as maids, so their music’s not going to be very cool, right?” We wanted them to hear our music and go “Oh, wow!” I think we had that kind of fighting spirit from the very start, and we still do, po.
I’m sure watching Rock Is… while thinking about how it matches up with BAND-MAID would make the viewing experience an even more emotional one.
AKANE: There’s this scene where Otoha says, “Why would you play music for any other reason than your love for it?” That way of thinking about music is the same as how I felt about music when I started, long ago. Seeing that scene made me think again about what kind of drummer I want to be and what kind of music I want to make. One of my skills as a drummer is double kick drumming, so I used double kick pedals on the song. This song brought out my own distinctive style. I’m always taking on new challenges, and with this song, I knew exactly what I wanted to do, which felt great. The song really brims with drive and energy.
MISA: At some point, without me even realizing it, I’d solidified my own style and rules as a bassist—my position in the group, the position of the bass line within a song. The bassists I like don’t play bass lines with a lot of movement, and the music I listen to is really simple, but since joining BAND-MAID I’ve grown a lot with the band, and my bass lines have also grown.
SAIKI: The first song we wrote on our own that got a good reception, “alone” (released in 2016), gave us all confidence in our style. It showed that we were on the right track, and it defined the direction of our band. For the first two or three years, it was all very flexible and dynamic.
Kobato: It’s not like we started out wanting to copy some other artist. From the start, we wanted to establish our own style, and I think it took about two years for us to do that, po.
Your next tour will start with a show at Tokyo’s LINE CUBE SHIBUYA on May 10. What is the theme of the 2025 tour going to be?
SAIKI: Last year, BAND-MAID opened a new chapter in its history. This is the second year of that new chapter, and last September we released our first new album in three years, Epic Narratives, so I want to develop that album further through the tour. We keep talking about our new chapter, and we’re going to be playing across the country, so I want everyone to realize that this isn’t going to be like our past tours.
Do you have a message for your overseas Masters and Princesses?
Kobato: We’ve announced our tour schedule for May to August, which is going to overlap with the summer, so how about coming to Japan and traveling with BAND-MAID, po? (laughs)
KANAMI: We always have a lot of overseas fans in the audience, and I just want to express my deep thanks.
—This interview by Takayuki Okamoto first appeared on Billboard Japan
Mrs. GREEN APPLE’s “KUSUSHIKI” holds at No. 1 for the second week on the Billboard Japan Hot 100, dated April 23.
The The Apothecary Diaries Season 2 Part 2 opener debuted at No. 6 on the tally revealed April 9 and hit No. 1 last week. Compared to the week before, downloads for the track are down to 61%, streams to 90%, and video views to 63%, while karaoke points are up to 142% and radio airplay to 292%. The latest hit by the three-man band rules streaming and radio while coming in at No. 3 for downloads, No. 2 for video, and No. 59 for karaoke.
ME:I’s “MUSE” jumps 73-2. The track began streaming March 17 and debuted at No. 59 on the chart released March 26. After falling off the list, it re-entered at No. 85 on April 9, rose to No. 73 the following week, and hits No. 2 this week after selling 234,404 CDs during the chart week.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
HANA’s “ROSE” slips a notch to No. 3. The track continues to rule video for the third consecutive week, while coming in at No. 13 for downloads, No. 2 for streaming, and No. 7 for radio.
Trending on Billboard
Following at No. 4, also down a spot from last week, is Mrs. GREEN APPLE’s “Lilac.” The song has been particularly popular in karaoke, topping the metric for 15 consecutive weeks since its release on Jan. 15.
Sakanaction’s “Kaiju” stays at No. 5. Points for the track are down in downloads, streaming, radio, and video, while gaining slightly in karaoke (101%) compared to the previous week.
King Gnu’s “TWILIGHT!!!” debuts at No. 7. The track was released on April 18 as the theme song for the animated movie Detective Conan: One-Eyed Flashback. Despite only being counted for three days, the song racked up 14,679 downloads to top the metric, and comes in at No. 25 for streaming, No. 8 for video, and No. 12 for radio. King Gnu surprised fans with a free live performance in Kabukicho, Tokyo on the song’s release day, drawing an estimated 6,000 people to the plaza in Shinjuku, the largest crowd ever for the location.
Outside the top 10, “GBAD (Number_i Remix),” the collaboration between Jackson Wang and Number_i, bows at No. 13. The track comes in at No. 2 for downloads, No. 56 for streaming, and No. 37 for videos.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from April 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Hailing from both Japan and Chicago, Issei Uno Fifth is more than just another name in hip-hop and R&B—he’s a force of raw talent and authenticity. Bursting onto the scene in 2021, he quickly grabbed attention by winning a TikTok Spotlight music competition. But it was his breakout moment with Outta Time (feat. JP THE WAVY), a collaboration with Rodeo that landed in a commercial, that truly turned heads.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Despite his growing success, Issei’s journey wasn’t always smooth. He spent his formative years in Chicago before moving back to Japan, where he faced resistance from his own family about pursuing music. But with sheer determination, he transformed his passion into reality. On February 19, he dropped his first full-length album, Dear Mama, a deeply personal project that serves as both a love letter to his mother and a bold declaration of his place in the industry.
Billboard Japan sat down with him to talk about his inspiration, the struggles behind his artistry, and why he’s all about staying true to himself.
Trending on Billboard
Congrats on your debut album! I heard that it’s an oath to your mom. What inspired you to make something so personal?
I spent my teenage years in Chicago, but when I moved back to Japan at the end of 2023, that’s when I really committed to music. At first, my parents were completely against it. My entire family, extended relatives included, all work in healthcare. It was like an unspoken rule that I’d follow the same path.
So when you told them about your dream, how did they react?
I was 17, sitting at the dinner table, and just blurted out, “I’m quitting school. I’m gonna make a living off music.” (laughs) My parents froze. The room went completely silent—like they couldn’t even process what I had just said.
For three years, they fought me on it. They couldn’t understand why I would throw away stability to chase something so uncertain. But over time, they saw how serious I was—I wasn’t just dreaming, I was putting in the work. And eventually, they came around. Now, they’re fully on board.
So when it came time to create my first album, I wanted it to be a statement—not just to my mom, but to the world. This is my way of saying, “My journey as an artist starts here.”
So nobody in your family expected you to become an artist.
Not at all. The first time I ever even mentioned making music was when I wrote my first song, “Could do better,” at 17. That was the moment I first challenged the unspoken rule in my family—everyone was expected to follow a “normal” path, especially in healthcare.
At that dinner table, when I told them my decision, they were stunned. For the next three years, they refused to accept it. But I was relentless—I kept making music, kept proving that this wasn’t just a phase. Eventually, they saw that I wasn’t giving up, and now they fully support me.
So when I was making this album, I asked myself: “What do I want to say with my first full-length project?” And the answer was clear—I wanted to make an oath to my mother, a declaration that this is the beginning of my career.
I see. So that’s what led to the oath. What was life like for you as a small child?
As a kid, I was always searching for the right answer—like everything had to be perfect. My parents never said it outright, but there was this pressure to live up to a certain standard.
This album is the embodiment of my resolve to be myself. Music gave me the freedom I never had growing up, and that’s why this message is so important to me. Seeing how listeners connect with my music—that reassures me that I made the right choice.
And that’s exactly what this album represents.
Looking at the different songs on the album, you’re not just singing about different kinds of love, but also about your growth, struggles, and resolve as an artist. Did your values or way of thinking change at all through the creation process?
Yeah, definitely. Before, I used to think that love only exists when it’s acknowledged by someone else—like, if nobody sees it, then it’s not real. But through the process of making this album, I realized love isn’t something that needs validation. Even if no one’s there to receive it, you can still put love into the world. That shift in perspective was a huge step forward for me, both as a person and as an artist.
One of the songs on the album, “CHA CHA AI feat. LEX, JP THE WAVY (Prod. A.G.O)” is already streaming. When did you come up with the phrase “CHA CHA AI”?
When I was working on this song, I started noticing that a lot of people were suddenly trying to get close to me—and not all of them had good intentions. It made me think about the difference between real love and fake love. At first, I considered calling the song something like “Fake Love” or “Plastic Love,” but those phrases felt too predictable, too expected. They didn’t really match my creative instincts. While I was listening to the melody over and over, the phrase “cha cha” popped into my head. In Japanese, “cha cha” is a playful term that means teasing or joking. Pairing it with “ai” (love) gave it a unique twist—it kept the song’s message about questioning love, but in a way that felt lighthearted and fun instead of overly serious. It was the perfect balance.
It’s perfectly balanced. I heard you did the art for “CHA CHA AI” yourself?
Yeah! Since the theme was “love,” I wanted to create something personal and hands-on, something that felt truly mine. But at the same time, I didn’t want to go the typical route—I wanted to do something that other artists wouldn’t think of doing. One day, I was at a team member’s house, and out of nowhere, they handed me a box with twelve different colors of clay and said, “Make something.” So I just went for it—no sketches, no overthinking—just pure creativity in the moment. That’s how the artwork came to life, completely spontaneous and unfiltered.
The love really comes through in “CHA CHA AI.” You collaborated on this song with LEX and JP THE WAVY. What led to that collaboration?
JP THE WAVY had gotten involved in on an event by Takashi Murakami by making the theme song. He reached out to LEX and I and we put on a show. It all started when the three of us came together. Then right after that, JP THE WAVY invited us to a writing camp, and the three of us were all together again. That’s when I felt, intuitively, that the three of us should work on my next song. I thought, “If all three of us work on a song together, we’ll create something wonderful.”
You worked with an illustrious group of producers on the album. How did you feel when you found out they would be producing it?
Honestly, I was just grateful to have the opportunity to work with such incredible producers. Before we even started working on Dear Mama, I flew to South Korea to meet with all of them in person. We didn’t just talk about music—we hung out, got to know each other, and made sure we really vibed on a personal level. They’re all amazing people, and from the moment we connected, I knew I wanted to start creating with them right away. When I shared my vision for the album and the kind of songs I wanted to make, they sent back tracks that were beyond perfect—they captured exactly what I had in mind, sometimes even before I put it into words. The whole production process was surprisingly smooth, and it felt like each of us brought something unique to the table. In the end, all these different talents and influences came together to create something even deeper than I had imagined.
Now, I’d like to ask you a little bit about yourself. I gather that you’ve listened to all kinds of music since you were very young, and music has always been close to you. What led you to start making music yourself?
During the pandemic, I got stuck in Japan and couldn’t go back to the U.S. For about three months, I was completely cooped up at home, unable to do much of anything. I had so much time on my hands, and at some point, I just thought, “Okay, I’ll write a song.” That moment led to me writing my first track ever—”Could do better.” Looking back, that was the turning point.
Since “Could do better,” you’ve written a lot of hip-hop tracks. What do you see as hip-hop’s appeal?
For me, hip-hop is all about freedom—there’s no single right answer, no strict formula. You can say anything, be completely raw and honest, and that’s what makes it so powerful. Before I got into hip-hop, I mostly listened to highly polished pop music—everything was clean, structured, and carefully crafted. But when I moved to Chicago and really experienced hip-hop for the first time, it shook me. I remember thinking, “Wait… you can actually say stuff like that in a song?” It left a huge impact on me—seeing how artists could expose their emotions, struggles, and thoughts without holding back. That kind of realness was something I had never experienced before in music, and it made me want to create hip-hop myself.
You’ve experienced both Japan and the U.S. What differences do you find in the Japanese and overseas hip-hop scenes?
In Chicago, hip-hop is more than just music—it’s survival. People are hustling like their lives depend on it, doing whatever it takes to make a living. Sometimes, that even means turning to the streets. There’s this intense, unshakable mindset of “I have to do this. This is my way to survive.” Being around that energy made me respect the grind, but it also made me reflect. I thought, “I’m influenced by this world, but I don’t need to take it to that extreme.”
As for Japan’s hip-hop scene, I’ve only been back for about a year, so I’m still discovering things. But one major difference I’ve noticed is the fine line between imitation and inspiration. Some artists here are still figuring out how to make hip-hop their own, rather than just replicating what’s happening overseas.
For me, it’s about inspiration—taking the essence of hip-hop and making something that’s truly mine. I think it’s crucial to find that balance between respecting the culture and staying true to your own vision.
Be yourself, and don’t be afraid to take action. I used to overthink everything before making a move. I’d get caught up in doubts, second-guessing myself, and that fear would slow me down. But looking back, I realize—I should’ve just trusted myself from the start.
The world is massive, and somewhere out there, there’s a place where you’ll be accepted exactly as you are. You don’t need to fit into someone else’s expectations—just focus on being the real you.
I want to create music that feels like a safe space for people who are struggling to find where they belong. If you’ve ever felt lost, just know—I see you, I hear you, and I’m right here with you.
So let’s move forward together. I got you. Let’s do this together.
–This interview by Azusa Takahashi first appeared on Billboard Japan
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Feb. 5, 2024 to Jan. 26, 2025. The entries for each category were announced in March and the nominees for each category last week.
The fourth installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the Best Vocaloid Culture Song entries that recognizes the Vocaloid song with the most outstanding musical creativity and artistry. Music created using Vocaloid software has developed in a unique way in Japan and we’ll assess how it’s currently being listened to around the world by breaking down various data of the category’s entries. In this article, songs using voice synthesizer software other than Yamaha’s Vocaloid products, such as CeVIO and Synthesizer V, will also be collectively referred to as “Vocaloid.”
Trending on Billboard
Trends Differ in Japan and Other Countries
Billboard Japan
We first calculated the share of each virtual singer software (voicebank) used for each song entered in the Best Vocaloid Culture Song category, based on the number of global streams excluding Japan. The graph shows Hatsune Miku is featured in more than half the Vocaloid songs being listened to overseas. The share of songs using Miku’s voice in Japan is 34%, so she’s more popular outside the country.
During the tallying period, the top 3 Vocaloid tracks being listened to outside of Japan all featured Hatsune Miku. Furthermore, six of the top 10 songs use her virtual voice. On the other hand, only three tracks featuring Miku made it into the top 10 in Japan, falling short of the five featuring Kasane Teto.
Billboard Japan
The above shows the percentage of the kinds of voicebank being used for each song entered in the category (when multiple kinds were used, such as in a duet, both were counted). The voicebank used the most was Hatsune Miku, accounting for 37% of all songs. Additionally, since the release of Kasane Teto for Synthesizer V AI in April 2023, the number of songs using her virtual voice has increased, making it the second most used after Miku’s. The top 5 were followed by Kagamine Len, Megurine Luka, IA, Kaai Yuki, and KAFU all tied at No. 6, and Zundamon and Adachi Rei tied at No. 11.
Vocaloid Music is Being Listened to Globally
Billboard Japan
59% of the streaming shares of the entries in the Best Vocaloid Culture Song category came from outside Japan. 25% of the streams of the entries in the Song of the Year (SOTY) category, which honors outstanding songs from both Japan and abroad, came from overseas, so this indicates Vocaloid is a genre that is particularly popular in other countries among Japanese songs.
Billboard Japan
The graph above shows the streaming shares for all entries in the Best Vocaloid Culture Song category during the tallying period, broken down by country/region excluding Japan. The top four countries—the United States, South Korea, Indonesia, and Taiwan— are the same as the Top Global Hits from Japan category that recognizes domestic songs that have become global hits. Compared to that award, the ratio of Southeast Asian countries is slightly lower, and that of South American countries is slightly higher. Also, while the share of entries ranked No. 11 and below in Top Global Hits from Japan was 32%, the same share for Best Vocaloid Culture Song was 42%, suggesting that Vocaloid music is being listened to in more countries/regions than the predominant Japanese songs being listened to outside of the country.
South America Leads Miku’s Popularity while East Asia Shows Diversity
Billboard Japan
From here, we’ll explore trends by country/region. The chart above shows the shares of voicebanks by country for the entries in the category. Because DECO*27’s “Rabbit Hole” (Hatsune Miku) and Satsuki’s “Mesmerizer” (Hatsune Miku & Kasane Teto) dominate the top 2 spots in many countries/regions, Miku accounts for over half the total streams in almost all countries/regions, and in particular, the shares in Latin American countries such as Mexico, Chile, and Brazil exceed 60%. Songs emphasizing rhythm and feel of the lyrics are more likely to gain popularity in these countries, such as MARETU’s “Binomi” (Hatsune Miku) and Nunununununununu’s “Mimukauwa Nice Try” (Hatsune Miku).
Meanwhile, Asian countries such as South Korea, Taiwan, and Indonesia have relatively lower percentage of Miku tracks. Songs using other voicebanks, such as Kanaria’s “KING” (GUMI), Sasuke Haraguchi’s “Hito Mania” (Kasane Teto), and Iyowa’s “Kyukurarin” (KAFU) are popular in these countries as well. In particular, South Korea has over 20% of songs using voicebanks other than Miku, GUMI, and Teto. Due to its cultural proximity to Japan, other East Asian countries have relatively mature markets for Vocaloid music, which is probably why the preferences for songs using different virtual voices diversified faster than in other regions.
But countries in North and Central/South America aren’t simply following in the footsteps of Asia’s Vocaloid music scene. The popularity of Hatsune Miku’s character and differences in national characteristics, such as “melody-oriented” or “rhythm-oriented” preferences, are contributing to the differences in how Vocaloid music is being received.
Vocaloid music is steadily spreading across countries and languages. Because the genre isn’t bound by a specific musical style, MAJ’s Best Vocaloid Culture Song category serves as a significant metric. The nominees for this award this year are Sasuke Haraguchi’s “Igaku,” Yoshida Yasei’s “Override,” Kurousa P’s “Senbonzakura,” Hiiragi Magnetite’s “Tetoris,” and Satsuki’s “Mesmerizer.” The winner will be announced at the award ceremony in May, and we look forward to seeing how the award develops in the coming years.
Billboard JAPAN’s “MONTHLY FEATURE” series highlights standout artists and works making an impact. This month’s spotlight is on LiSA, who is approaching the 14th anniversary of her debut.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In January, she released her new song, “ReawakeR (feat. Felix of Stray Kids),” the opening theme of the anime Solo Leveling Season 2 – Arise from the Shadow, which also began airing in January. On the song, she was joined by guest vocalist Felix from Stray Kids, a group that has gained global popularity beyond its home country of Korea. The song was written and arranged by renowned producer Hiroyuki SAWANO known for his musical work on hit anime such as Attack on Titan and Mobile Suit Gundam UC.
Fueled by the growing popularity of anime, which continues to make waves worldwide, “ReawakeR (feat. Felix of Stray Kids)” once again took the No. 1 spot on the “Global Japan Songs Excl. Japan” chart, which ranks the most popular Japanese music outside of Japan. This made it the seventh week that it has ruled the chart.
Trending on Billboard
On March 5, LiSA released a CD single with “ReawakeR (feat. Felix of Stray Kids)” as its title track. Billboard JAPAN caught up with her to discuss the release and the new territory she explored on the single’s three songs.
Your new song, “ReawakeR (feat. Felix of Stray Kids),” is the opening theme of the anime Solo Leveling Season 2 – Arise from the Shadow. What did you think when they first reached out to you about the tie-in?
It was before Season 1 had even started airing, so first I read the manhwa (Korean comics). Then the show started, and, to put it simply, it was like new life had been blown into the manhwa It was like the anime depicted all kinds of things, like the personalities of the characters and their strengths, in even greater depth.
When you read the manhwa, what part of it drew you in?
The main character, Shun Mizushino, isn’t a hunter because it’s fun. There’s a bit more of a sense of desperation to him, a feeling that this is a job he has to do. He starts out as a weak hunter, and he faces all kinds of struggles before he’s reawakened and takes on a new destiny. It depicts a world that has a very different feel than what you usually see in Japan.
Were there any parts that resonated with you personally?
Yes, actually. The way he gets stronger because of the scars he bears. That sense that he has to keep pushing forward because of his difficult circumstances. I feel like, in my music, I’m also trying to reach that level of resolve.
The song was written and arranged by Hiroyuki SAWANO, and Felix from Stray Kids does guest vocals. Stray Kids’ first Japanese EP includes “Social Path (feat. LiSA),” which you performed on. What led to the idea for this collaboration?
I always had the idea of working with the two of them again, but I didn’t have any specific timing in mind. Hiroyuki was responsible for the theme song and the soundtrack for Season 1, too, so I wanted to take the baton for Season 2 without damaging the aesthetic that Hiroyuki had created.
And what about Felix?
For Season 1, Hiroyuki worked with TOMORROW X TOGETHER (SawanoHiroyuki[nZk]:TOMORROW X TOGETHER “LEveL”), the anime is based on a Korean comic, and Stray Kids had invited me to work with them in the past, so I thought if there was ever a time to return the invitation, this just might be it. My upper register vocals and Felix’s deep bass vocals created a wonderful contrast that gave the song just the right flavor.
How do you see Hiroyuki as a music producer?
When I worked with him for the first time on “narrative” (SawanoHiroyuki[nZk]:LiSA), he used real instruments to create dark rock with a heavy sound. Now, seven years later, I feel like he’s started using dance music and digital sounds in his music, and it feels very natural. He’s evolved a lot. At the same time, he carefully tailors his music to the spirit of the works he’s writing for. In a sense, he’s actually shaping those works.
So he’s a creator with his own signature sound. “ReawakeR (feat. Felix of Stray Kids)” also combines heavy bass with a danceable beat, so it’s a bit of a departure for a LiSA song.
Rock is an important, fundamental part of Hiroyuki’s music. He doesn’t just slap in digital elements, but instead creates dance music that could only come from someone who has the spirit of rock in his heart. I think Hiroyuki’s great at taking music in that direction.
From my understanding, rock is an important part of your own roots, too. With the musical approach you’ve taken on the new single, you’ve added other elements, as well. What led you to go in this direction?
Of course, trends are one part of it, but speaking for myself, I love rock. I love the sound of rock, and I’m confident in the rock music I’ve been creating for the past 13 years. In a sense, I’ve already created the “ultimate” rock, so instead of trying to discover rock that goes above and beyond that, I wanted to apply that spirit of rock to the creation of something a little different. That budding ambition was a big factor in taking this new approach.
What kinds of new experiences and discoveries did you have during the course of the collaboration?
I rediscovered how well it works to have a male voice mixed in. On top of that, Felix is more of a rapper than a singer, and this was my first time doing this kind of collaboration on a song I put out under my own name. But I discovered that even with rap, you can feel that rock vibe, and that you can make a song that really matches the anime itself.
I’d imagine you envisioned Felix’s vocal parts when you were doing the recording. Did you use any different approaches than usual, and were there any areas where you took special care?
It wasn’t so much that I paid special care to something in particular, but I’m usually a solo singer, so having another vocalist by my side to perform together with me was very reassuring.
You’ve also released a music video, which you shot in Korea, right?
Felix is really beautiful in it. He’s like an angel. When the cameras weren’t rolling, he was like this cute young kid. He’s cheerful and friendly, and very considerate of others. He was also very respectful, calling me “LiSA sempai.” But he has a deep voice, so when he starts singing, the impression he makes totally changes. I think part of his appeal is in that gap.
The song has performed really well in the charts, too. As of March 27, it’s been number one on Billboard JAPAN’s “Global Japan Songs Excl. Japan” chart for four consecutive weeks. What has the overseas response been like?
The overseas reaction has been very strong starting back when Solo Leveling was first announced. I’ve performed overseas quite a few times myself, and Hiroyuki and Stray Kids are also very internationally active, so it feels like we’ve really reached the rest of the world.
I’d like to ask you about the B-sides. The second song, “RED ZONE,” is also credited to TOMOKO IDA and TSUGUMI. TOMOKO IDA performed on Tainy’s debut album, DATA, which was nominated for the Best Música Urbana Album at the 66th Grammy Awards. What led to your collaboration with her?
One of the things I wanted to explore was the power of women. I was looking around for someone who could help me with that when I met TOMOKO. TSUGUMI was also one of the artists in SOULHEAD, so when I was doing my vocals, it really felt like I had this passion passed on to me by these artists who had gone before me.
I know you were once in a band and performed mainly at small concert venues. I’m sure it was a primarily male-oriented scene at the time. How did you fit into it, or did you take it head on?
Back when I was a little kid, I found femininity to be kind of oppressive. I was more drawn to women who had a hidden coolness and sexiness, like Avril Lavigne. But when I finally accepted myself as a woman, I found it so much fun to express the power that women have, though I didn’t go out of my way to show it off. Those feelings grew stronger the more I performed. That’s one of the things I talked to TOMOKO about.
How did you make this song, including the rap part, a part of yourself as an artist?
Whenever I take on new challenges, I focus less on putting myself out there than on going out there to soak in new influences. For example, when I started my solo career, I debuted with a mini-album (Letters to U) which I made with a Vocaloid producer. I had my own core essence, and I tried to put that essence into that music. That process shaped a new facet of me. Looking back on it, this is something I’d been experiencing since my time in Girls Dead Monster, and “RED ZONE” was a lot like that.
So it’s not like you’re completely adopting a new character, but more like you’re letting your voice ring out in a world that’s not your usual world.
Yes, but as a vocalist, no matter what I do, it’s always my own voice, and no matter what I sing, it always becomes a LiSA song, so I have faith in that. I believe in my own voice, so when I sing on a song, I feel like I’m laying myself bare and jumping right in.
All three songs, including the other B-side, “Witchcraft,” are very challenging, and I feel that with this single, listeners will discover a new LiSA. 2025 is also the 14th anniversary of your solo debut, and I hear that you’ve decided the theme for the year is “PATCHWORK.”
This is the 14th anniversary, which means next year will be the 15th. That’s a big occasion, so as it draws near, I plan to spend this year meeting more new people and taking on more new challenges, stitching them together in a patchwork.
—This interview by Takuto Ueda first appeared on Billboard Japan
MUSIC AWARDS JAPAN has unveiled the nominees for all 50 categories to be honored at the inaugural event set for May 21 and 22 in Kyoto.
The finalists were selected from the approximately 3,000 entries revealed in March, through a preliminary vote by artists, creatives, media-related and other music industry professionals, with some awards open to general listeners. After a final vote including overseas voting members, the winners will be announced at the award ceremony next month.
In the six main categories — Song of the Year, Album of the Year, Artist of the Year, New Artist of the Year, Top Global Hit from Japan, Best Song Asia — artists and acts that have graced the charts and excited music listeners are up for awards: Creepy Nuts (“Bling-Bang-Bang-Born”), YOASOBI (“Idol”), Mrs. GREEN APPLE (“Lilac,” ANTENNA), Fujii Kaze (“Michi Teyu Ku (Overflowing),” LOVE ALL SERVE ALL), Rosé & Bruno Mars (“APT.”), Kenshi Yonezu (LOST CORNER), FRUITS ZIPPER, Kocchi no Kento, Number_i, and aespa (“Supernova”), to name just a few.
Kazutoyo Koyabu, Asuka Kijima, Ko Matsushima, the Founder of arne inc. and music critic Tomonori Shiba took to the stage at the event announcing the nominees. Koyabu, a popular comedian and musician, noted, “These are artists that even an old guy like me has heard of,” while Kijima, a model and actress, said, “Everyone will be satisfied no matter who wins, because they’re all outstanding artists.” The nominees in the Top Global Hit from Japan category selected by overseas listeners include a diverse range of tracks, such as songs featured in games, anime show openers, songs familiar from TikTok, and tracks by artists with a notable global presence. Check out all the nominees at the official MUSIC AWARDS JAPAN website.
Trending on Billboard
Find the nominees of the six main categories below:
Song of the Year
(Recognition for the song with the most outstanding musical creativity and artistry.)
Rosé & Bruno Mars “APT.”
Creepy Nuts “Bling-Bang-Bang-Born”
YOASOBI “Idol”
Fujii Kaze “Michi Teyu Ku (Overflowing)”
Mrs. GREEN APPLE “Lilac”
Album of the Year
(Recognition for the album with the most outstanding musical creativity and artistry.)
Mrs. GREEN APPLE, ANTENNA
Kenshi Yonezu, LOST CORNER
Fujii Kaze, LOVE ALL SERVE ALL
Vaundy, replica
Hikaru Utada, SCIENCE FICTION
Artist of the Year
(Recognition for the artist with the most outstanding musical creativity and artistry.)
Creepy Nuts
Mrs. GREEN APPLE
Vaundy
YOASOBI
Fujii Kaze
New Artist of the Year
Recognition for the new artist who demonstrated outstanding musical creativity and artistry.
FRUITS ZIPPER
Number_i
Omoinotake
tuki.
Kocchi no Kento
Top Global Hit From Japan
(Recognition for the Japanese song that became a global hit.)
Lotus Juice/Azumi Takahashi “It’s Going Down Now”
XG “WOKE UP”
YOASOBI “Idol”
Fujii Kaze “Shinunoga E-wa”
Miki Matsubara “Mayonaka no Door – stay with me”
Best Song Asia
(Recognition for the Asian hit song that was popular across Asian countries.)
Bernadya “Satu Bulan” (Indonesia)
REGINA SONG “the cutest pair” (Singapore)
aespa “Supernova” (South Korea)
PLAVE “WAY 4 LUV” (South Korea)
JEFF SATUR “GHOST” (Thailand)
MUSIC AWARDS JAPAN 2025 KYOTO
Date of the ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Domestic live broadcast of May 22 event on NHK; global stream of events on both days on YouTube scheduled (some regions excluded).
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Jan. 29, 2024 to Jan. 26, 2025. The entries for each category were announced last month and the nominees for each category was revealed Thursday (Apr. 17).
Trending on Billboard
The third installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the entries in the Best Cross-Border Collaboration Song category that honors songs written in collaboration between domestic and overseas artists. Let’s take a look at how Japanese music interacts with the world, using data of the entries for this award.
The Artists’ Involvement in the Creative Process is Key
We divided the 50 entries into five types and calculated the percentage of songs in each. “JOINT PERFORMANCE” refers to co-writing as well as joint performances, and “FEATURING” refers to guest appearances (remixes of existing songs fall under “REMIX”). More than half the entries fall under JOINT PERFORMANCE or FEATURING.
“PRODUCE” refers to tracks where artists from overseas participate as producers in songs by Japanese artists, and accounts for 24% of the total. This includes Fujii Kaze’s “Feelin’ Go(o)d”, f5ve’s “UFO” (both produced by A.G. Cook), and ONE OR EIGHT’s “Don’t Tell Nobody” (produced by Ryan Tedder of One Republic).
For many of the songs that fall under JOINT PERFORMANCE, FEATURING and PRODUCE, the artists themselves participated in the creative process, such as writing the lyrics and composing the music. In the second installment of this series, we noted that the entries in the Top Global Hits from Japan category seem to be slightly more oriented towards artists who write and perform their own works compared to those up for the Song of the Year award, which honors songs popular in Japan. The same can be said for collaborative works that span countries and regions. It seems that, compared to within Japan, it’s more important for artists to be actively involved in the creative process overseas, both from the perspective of listeners and creators.
Affinity With the Collaborators’ Nationalities
The above shows the share of each country/region excluding Japan, calculated by adding up the number of streams of all entries in the Best Cross-Border Collaboration Song category during the tallying period. The country with the highest share was the United States, and it also leads the list of the collaborators’ nationalities, which we’ll touch on later, but the order below second place didn’t match the collaborators’ nationalities at all. This shows that the collaborators’ nationalities and the countries/regions where the songs are actually listened to do not necessarily match.
For example, “Bekhauf,” the collab between BABYMETAL and the Indian metal band Bloodywood, accounted for 1% of the streaming numbers in India. Meanwhile, “RATATATA,” the collab between BABYMETAL and the German metal band Electric Callboy, accounted for 49% of the streaming numbers in Germany. One reason for this difference is that the market for metal music in Germany is more mature than in India. From this trend, we can see that affinity with the collaborators’ nationality is also an important factor in maximizing the effect of collaborations.
Countries/regions Interested in Collabs Between Japanese and Foreign Acts
Megan Thee Stallion’s “Mamushi (feat. Yuki Chiba)” was the collaborative number with the most streams among this year’s entries, with an large share in multiple countries/regions including the U.S. (68%), the Philippines (79%), India and South Africa (both 87%). When there’s a song with such an overwhelming share, the overall share is greatly influenced by the trend of that song.
So to identify countries/regions with high interest in collaborative songs in general, rather than a specific one, we extracted the top 10 countries/regions for each song’s streaming numbers and compiled the number of songs that charted in the top 10 by country/region. Countries/regions ranked multiple times in the top 10 of each song’s list likely have strong tendencies to consistently support collabs between Japanese and overseas artists.
Top Countries Excl. Japan by Streams According to Luminate
Total Number of Entry Songs in Top 10 by Country/Region
Canada, Indonesia, and Taiwan came in at Nos. 2, 3, and 4. These are all countries/regions that didn’t rank high in terms of collaborators’ nationalities and streaming numbers. These countries/regions are considered to have high interest in songs featuring Japanese artists, regardless of who they collaborate with. Taiwan, in particular, had 32 songs in the top 10 despite its relatively small population.
The Properties of Collaborative Songs
Next, looking at the domestic and international streaming shares of the entries in the Best Cross-Border Collaboration Song category during the tallying period, 78% of the total streaming count for all 50 songs combined came from outside Japan. This is higher than the percentage of overseas streams for the entries in the Top Global Hits from Japan category, an award for Japanese music being listened to outside the country (59%), indicating that collaborative songs are more actively listened to overseas. Approximately 80% of the songs weren’t linked to other works or products, suggesting that whether or not a collaborative song is a tie-in doesn’t influence its popularity.
The chart above shows the genre breakdown of the entries. Soul/R&B accounts for 22% of the total, largely due to the six songs by SIRUP that made the list. Hip-Hop/Rap accounts for 20%, and here, all tracks except for two by Chanmina are by different artists. Notably, the share in this genre is 15% more than the 5% in Top Global Hits from Japan.
The percentage of the collaborators’ nationalities was calculated based on the number of artists. The United States (27%) had the highest percentage, with many collaborations with rappers such as Megan Thee Stallion and Big Sean. The United Kingdom (18%) featured artists associated with Hikaru Utada, such as Sam Smith and A.G. Cook.
South Korea has entries featuring rappers such as ASH ISLAND and Zion.T, as well as collaborative tracks with dance and vocal groups like ATEEZ. Three songs have entered from Thailand: BALLISTIK BOYZ from EXILE TRIBE’s “Meant to be feat. F.HERO & BOOM BOOM CASH,” ATARASHII GAKKO!’s “Drama (feat. MILLI),” and HYBS x SIRUP’s “I’m Blessed.”
Cross-border collaborations are becoming an important channel connecting Japanese music with the world, and the Best Cross-Border Collaboration Song award is a symbolic category that captures this global trend. We hope this award will serve as an opportunity to further enhance the presence of Japanese artists in the international music scene.
Mrs. GREEN APPLE’s “KUSUSHIKI” rises 6-1 on the Billboard Japan Hot 100, on the chart released April 16.
The three-man band’s latest single is being featured as the opener for the anime series The Apothecary Diaries Season 2 Part 2. The song was digitally released on April 5 and debuted on the chart last week at No. 6 despite having only two days to count towards the chart week. Looking at each metric, the track rules streaming (313% week-over-week) and comes in at No. 2 for downloads (92%) and video views (275%), and No. 4 for radio airplay. Other songs by the hitmakers also only saw slight decreases in points and 17 continue to chart on the Japan Hot 100.
HANA’s “ROSE” drops a notch to No. 2 after bowing atop the chart last week. Downloads and video views for the brand-new girl group’s debut single are down to 42% and 78%, respectively, but streaming and radio have gained to 131% and 168% week-over-week. Perhaps due to the impact of its debut at No. 1 last week, the track is spreading across various platforms.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Mrs. GREEN APPLE’s “Lilac” slips to No. 3. Logging its 53rd week on the Japan Hot 100, downloads for the Oblivion Battery opener have gained to 112% and only show slight decreases in other metrics: streaming at 99%, radio at 73%, video at 94%, and karaoke at 87% compared to the week before.
Trending on Billboard
NMB48’s “Chu Strike” bows at No. 4. The group’s 31st single launches with 253,080 CDs, more than its predecessor, to rule sales this week and comes in at No. 63 for radio.
Sakanaction’s “Kaiju” follows at No. 5. Radio airplay for the track is up to 114% compared to last week and karaoke to 118%. The Orb: On the Movements of the Earth opener comes in at No. 14 for downloads, No. 5 for streaming, No. 22 for radio, No. 4 for video, and No. 18 for karaoke.
Snow Man unleashed its catalog on digital platforms during the chart week (April 7) and six tracks by the popular boy band have charted. “Brother Beat” currently leads the pack, hitting No. 48 on the Japan Hot 100 (No. 12 for downloads, No. 51 for streaming), “Tapestry” is at No. 52 (No. 8 for downloads, No. 62 for streaming, No. 93 for video), “Dangerholic” is at No. 64 (No. 23 for downloads, No. 66 for streaming), “D.D.” is at No. 77 (No. 26 for downloads, No. 79 for streaming), “EMPIRE” is at No. 87 (No. 19 for downloads, No. 88 for streaming), and “SBY” is at No. 98 (No. 21 for downloads, No. 57 for streaming).
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from April 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Yu Sakai has recently released his eighth album, PASADENA. The album’s title comes from Pasadena, a city on the outskirts of Los Angeles where he lived when he moved on his own to the U.S. to become a musician. Four of the songs on the album were recorded in L.A., which he has such fond memories of, and the other four songs on the album were created in Tokyo and produced by Shingo Suzuki (Ovall), a musician whom Yu engaged in friendly rivalry after returning to Japan. There are also three bonus tracks, which he recorded in New York last year and which have only been available on streaming until now.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In October of last year, Yu celebrated the 15th anniversary of his debut. Billboard JAPAN talked to him about his hopes for his new album, which represents a return to his roots. He also spoke about his recent performance on Tiny Desk Concerts in Washington D.C.
Trending on Billboard
What led you to start working on the new album, and when did you begin?
It was after we’d finished all of our work on my best hits album (Yu Sakai’s Playlist [White and Black]). I finished the album tour in March of last year, and then beginning in the summer, I starting recording in both L.A. and Japan.
Could you start by talking a bit about recording in L.A.? The producers and songwriters on the new album have worked with world-famous artists like John Legend, Usher, TLC, and Anderson .Paak. Did you co-write the songs?
We co-wrote everything from scratch.
So it started with you going into the studio and playing the piano?
Right. Maybe I shouldn’t say this, but the tracks that they’d prepared for me just weren’t what I was looking for, so I ended up rejecting all of them. They’d created the songs with me in mind. They were all really cool songs, but they didn’t have clear features that shouted “Yu Sakai.” Trying to add those features to the songs they’d already made would have just resulted in a confusing jumble, so I thought it would be faster to start from scratch. We co-wrote the four songs from the ground up.
Were there any creators involved in the L.A. recordings that particularly stood out?
Sam Barsh, who co-wrote “Amakunai Kikenna Kaori,” is a great pianist. I just wanted to hang out with him for a whole day, playing piano, just the two of us. His good qualities really come across in the song. It has this funky, jazzy, urban harmony with a solid beat.
What kind of song were you going for with “PASADENA,” which you digitally released as a single?
L.A. It’s not the kind of song you could make in New York (laughs).
So it has that crisp, fresh groove because you wrote it in L.A.
Exactly. From the start, I’d decided three things: I wanted the listener to be able to picture the scene the moment they heard the music, I wanted this song to be the first song on the album, and I wanted to end the album with a ballad. I decided on the album title, PASADENA, on the same day when we co-wrote the song. I was like, “This album’s got to be called PASADENA!”
You released the song “PASADENA” last December, and this January, the city of Pasadena was hit by wildfires.
I never expected to see anything like that.
The whole situation is so heart-breaking. But the song “Pasadena” starts with the line “I’m back,” and then in the chorus, you’re singing “Pasadena Beautiful,” so it’s also like a song of encouragement for the city.
Yeah, you’re right. I’m still worried about Pasadena, and my heart goes out to everyone affected by the fires. It’s become an unforgettable song for me.
What is the theme of “What About You?”
Politics. It’s asking “What are you going to do?” My own stance is one of active resignation, and my way of thinking can be summed up with “Amakunai Kikenna Kaori” and “Gotta Get Up.”
So the message you were trying to convey was that people should get actively involved with politics?
Yes. Even if you choose to have no interest in politics, you can’t choose to live a life unaffected by politics. Both “What About You” and “Gotta Get Up” have the same message. I think there are a lot of people who are faced by this impossibly huge foe and can’t imagine any way to solve the problems we face, so they feel powerless and they give up engaging with politics. They feel that there’s nothing that ordinary people like us can do. But even if politicians lie, I don’t think government data lies, so one thing we can do is keep a close watch on the data and speak up. Even simply doing that will shine a little light on them.
What were you thinking about when you wrote “Amakunai Kikenna Kaori?”
I wrote about all the nonsense in the world, putting it in song form for people to have fun with. There’s this strange smell all around us, you know? Something you can smell, but you just can’t see. But people are fighting about it. “Look, I told you you could see it!” “What?! Why can’t you see it?!” That’s what the song is about. Arguing is fine, but they’re creating division so we fight each other. We’ve all got to come together.
That ties into “Understanding” and its theme of mutual understanding.
Exactly. “Understanding” is also about politics and history. I guess that’s the mindset I was in with this album.
Changing topics, this March you recorded a Tiny Desk Concert in Washington D.C. Honestly, how was it?
It was and will always be one of the most fun trips I’ve ever taken. It was three nights and six days, though, so it was hard (laughs). I was so nervous and excited that I didn’t catch a wink of sleep the night before. I wanted to keep my vocal cords in good condition, so I didn’t talk to anyone. I just lay in bed thinking, “I’m looking so forward to this. I wonder what it’s going to be like. It’s an office, so does that mean the sound is going to be deadened? Whatever, I get to sing along to Nate Smith’s drumming. I can’t wait.”
Which songs did you perform?
“Get it together,” which is a song I recorded in L.A. a while ago. It’s a laid-back song, but we upped the tempo a bit to make it a good fit for a set opener. I also wanted to do a J-pop medley, so we performed a medley of “Story,” “Gaze, Daydream,” and “Rose & Rhodes,” featuring about a minute and a half of each song, and then we ended with “Sinatra, The Darkness Of Cherry Blossom.” The song is about New York, but Washington is famous for its cherry blossoms, so I wanted to perform it. It was like a 20 minute show. Those 20 minutes went by in the blink of an eye, though.
Yu Sakai
Billboard Japan
What should people watch out for when they see your Tiny Desk Concert?
Playing J-pop in an office right there in Washington D.C. I hope true music fans in America will feel the joy of listening to J-pop.
You started recording overseas around 10 years after your debut, and you began doing more collaborations with overseas musicians. What aspects of you, as an artist, do you think this brings out?
It’s hard to put into words, but it’s not like I think that anything that’s foreign is superior. Japan has its own distinct sound. I like American music, but I’m not a fan of just one specific nationality. If I was head over heels for American music, I’d move to New Orleans, like guitarist June Yamagishi. I’d live over there and make it my base of operations. But I prefer Cape Ashizuri (in Kochi Prefecture) to America. It’s more like when an opportunity arises and the stars are aligned, I’ll go and jam, weaving the tapestry of my own music.
—This interview by Takashi Inomata first appeared on Billboard Japan
Awich dropped a new song called “Butcher Shop feat. FERG” on digital platforms last Friday (April 11) at midnight Japan time.
RZA, founding member of Wu-Tang Clan who has greatly influenced hip-hop history, produced the track, the first single from Awich’s album that he produced in full. The collaborative track is a bold number with a global and classic hip-hop feel.
The “Bad B***h Bigaku” rapper and Gravediggaz artist first met when the latter visited Japan a few years ago. They felt a deep resonance both musically and spiritually from the beginning and hit it off immediately. For RZA, who has incorporated Asian culture into his work with Wu-Tang Clan, and for Awich, who was preparing to make her U.S. debut, it was a natural progression from there to start collaborating. The YENTOWN MC spent time at RZA’s base, Wu Mansion, to take in his ideas and sound approach, and over time she built the foundation for her new album.
Explore
See latest videos, charts and news
See latest videos, charts and news
Awich had been interacting with FERG, the featured artist on her new release, since before, when she performed at music festivals overseas and visited New York. At a live event hosted by Jordan Brand earlier this year, the rapper made a surprise appearance on stage with Awich and the two performed this song for the first time. Awich and FERG’s the backgrounds and skills clash in the mic relay of this track, thrillingly developed by RZA’s precise and cinematic production.
Trending on Billboard
“Butcher Shop is a place where the three realities of Okinawa, where I was born and raised, Tokyo, where I live now, and New York intersect,” says Awich about this single. “Together with the legendary RZA and FERG, a supreme artist who embodies the streets, we’ve carved out today’s borderless atmosphere with cutting words and beats. This song is a crossroads where everything collides: Japan and New York, culture, fashion, luxury, fun, sin and its price. Everyone brings their own ‘meat’ and carves up the truth. Welcome to our Butcher Shop.”
The accompanying music video, which the press release says is immersive like a short film featuring performances by Awich and FERG set to RZA’s signature dark and majestic worldview, was unveiled Monday (April 14) at 8 p.m. Japan time.
Awich’s new single follows her recent collaborative track called “ASIAN STATE OF MIND” featuring South Korea’s Jay Park, India’s KR$NA, Masiwei, the leader of the Chinese group Higher Brothers, and Cambodia’s VannDa released at the end of February.
The rapper has also been giving back to the community, organizing the Know The World – Awich Global Education Project – (Study Abroad in Atlanta & Study Abroad in the City) program for the second year in a row. This project reflects her wish to contribute towards solving the issues of child poverty, experience discrepancy and education in her home prefecture of Okinawa by providing free English learning opportunities to young people.
The program aims to foster a spirit of “turning adversity into strength” through international exchange experiences and studying abroad. 100 young people from low-income households in Okinawa, from first year high school to those aged 22, will be provided with free “study abroad in the city” homestay experiences with foreign families in the prefecture, and three people will be provided with free short-term study abroad experiences in Atlanta, where Awich studied, after the local homestay stint.