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Billboard Japan‘s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
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This edition features Kanata Okajima, a songwriter and music producer whose extensive body of work spans numerous artists and genres. Balancing motherhood and a thriving career, she’s arrived at a place where she can truly “create music with joy.” Writer Rio Hirai spoke with the 41-year-old creative about what it means to be a woman working in Japan’s music industry today — and the hopes she carries for the next generation.
Looking back on your career so far, what has changed, and what remains most important to you?
In the beginning, I was creating music with this fierce determination, driven by the dream of becoming a musician, of making it as a successful songwriter. I pushed myself relentlessly, determined to achieve results no matter what. These days, though, I feel so much more joy simply getting to collaborate with wonderful people and incredibly talented artists. That sense of happiness has become much stronger.
What hasn’t changed is my commitment to giving 200 percent to every project I take on. For the artists, each song becomes a lasting part of their legacy and being trusted to contribute to that is something I take very seriously. Once I agree to do a project, I want to approach it with everything I have — no regrets, no holding back. That back-and-forth exchange of energy is something I always want to give my all to.
Was there a particular moment that made creating music start to feel more enjoyable or freeing for you?
A major turning point was the first songwriting camp I attended in Sweden. It’s like a creative retreat where songwriters, composers, and artists from around the world gather in one studio, form groups, and create songs together.
Up until then, I’d been making music in a very solitary, almost ascetic way — constantly questioning myself and driving forward on my own. I’d worked with band members in the studio before, but I’d never experienced the kind of collaborative writing where multiple songwriters sit in the same room, bounce ideas off one another, and challenge each other creatively.
That experience was electrifying, like being struck by lightning. Until then, I’d been balancing both performing as an artist and writing songs for others, but that camp made me realize, “If I can do something this fun every day, I’d be completely happy focusing on songwriting and production.” The whole process of connecting with people from different countries and cultures, writing songs together for the first time, and bonding through the shared language of music was truly eye-opening.
In Japan, there seem to be far fewer female music producers compared to men. What was the gender balance like at those international writing camps?
Even on a global scale, there are still relatively few women in those spaces. I’ve gotten so used to that imbalance that when there are a lot of women, it actually surprises me. There tend to be more female artists and topliners, but when it comes to producers, the numbers are still quite low.
Why do you think there are so few female music producers?
I think there are a few reasons. One is that being a music producer actually requires a lot of physical stamina. You’re often racing against the clock — producing backing tracks, editing vocals, mixing. There’s constant deadline pressure, and long hours in the studio are just part of the job. It definitely requires a certain level of endurance.
Another factor might be the level of interest in the technical side of production. There are quite a few female topliners, but when it comes to producing, there’s this image that you have to be hands-on with all the equipment, and that can feel like a barrier for some.
I’m often called a music producer myself, but in many cases my role is closer to that of an executive producer — overseeing the bigger picture of a project or song, deciding who to work with and how to bring everything together. Even so, women in that kind of position are still rare, so I’d love to see that number grow from now on.
That makes sense. Limited opportunities to handle equipment might also lead to fewer chances to take on production roles. What’s something you’ve consistently valued throughout your work?
What I value most is listening — understanding where the artist’s mind is at, what kind of world they want to convey through this song, and what the label or management hopes to express as well. I try to approach that process as carefully as possible, because that’s where individuality and artistry truly come through. If that understanding is off, even if we make something great, we can’t genuinely share in the joy of it.
Is there anything you’re mindful of when it comes to self-care in sustaining such a long career?
When I get home and see my family and kids, it’s like I snap back to reality and it grounds me. In the studio, I almost feel like I’m inside a bubble. I lose track of time, forget to eat, and get completely absorbed in listening and creating. That kind of deep immersion is exhilarating, but it can also be draining. By the time I’m done, I often realize how much energy I’ve spent.
But when I come home and see my family’s faces, it’s like something inside me suddenly releases. I try to let go of whatever I’ve been holding onto and unwind before going to sleep.
It sounds like having a family has had a really positive impact on the way you work.
I’ve been able to keep going thanks to my family. Before I had one, I worked nonstop, with no real distinction between weekdays and weekends or even holidays. Now that my kids’ daycare is closed on weekends, I make sure to take those days off too. Having that limit forces me to pause, which has been good for me. It’s helped me create a healthy rhythm, knowing when to focus completely and when to step away from work.
When you became pregnant, did you have any fears or anxieties about how your life might change?
Yes, very much so. At first, I actually kept my pregnancy a secret. I was worried that people might start to treat me differently or stop offering me work out of concern, so I decided not to tell anyone until I was about eight months along.
When it finally became impossible to hide, someone said to me, “So you’re finally going to slow down, huh?” That really hit me hard. I remember thinking, Do I have to slow down? At the time, I was even more driven than I am now, so I took it as a kind of mission, to prove that I could keep going without slowing down.
In a way, I was lucky that I gave birth during the pandemic, because everything shifted online. I could nurse off-camera, or rock the cradle with my foot during meetings. With so much moving to virtual work, I was able to come back after only about a week and a half.
That’s incredible! Has becoming a mother influenced your creative work or artistic expression in any way?
After having my children, I’ve felt a much stronger sense of love and affection for all living things. Before, I think my focus was mostly on myself and the people close to me or those I cared about deeply. Now, my curiosity and concern extend more broadly. Even other people’s children feel adorable to me, and I find myself thinking, “I hope they grow up healthy.” Small things move me emotionally in ways they didn’t before, and I think that sense of being emotionally stirred has naturally flowed into my expression and creative work.
As a songwriter and composer, do you have any personal guiding principles or things you hold dear when creating music?
Music has saved me many times in my life. When I was a child, there were periods when I felt very strongly that I didn’t want to live anymore. In those moments, listening to music somehow gave me the strength to think, “Maybe I’ll try living tomorrow, too.”
So when I make music, I want it to be something that helps someone think, “Maybe I can keep going tomorrow,” or “Maybe the future isn’t so bad.” Sometimes that takes the form of an obvious, uplifting song, and sometimes it might be something much darker — but I don’t want to write anything that shuts down the idea of a future. I hope my songs can offer a bit of comfort, or support someone in their moment of need.
Have you ever felt the effects of gender discrepancies, or experienced moments of discomfort related to gender in your work and creative life?
I think I’ve been relatively free to work in my own way, but there are still times when I feel left out, like not being invited to late-night gatherings that are mostly male-led. And when I hear stories like, “I landed this project because I got close to the director at one of those events,” I just kind of have to take it in. I used to think, “What would my life have been like if I were a man?” a lot when I was younger.
I also hear a lot from younger colleagues about their struggles. Many talk about the pressures and burdens they feel because they’re women, and how tough that can be. I hope we can gradually work toward making the industry a better space.
What message would you like to share with young people aiming to become musicians or simply wanting to live life on their own terms?
You only live once, so I hope everyone can live true to themselves. Of course, daily life comes with all sorts of responsibilities, so the time you have to be fully yourself may be limited, but even that struggle has its own beauty.
There will be times when you have to fight, clash, or speak up for what you believe. Those moments may feel difficult, but beyond them lies a world that’s easier to live in. Step by step, you’re shaping a life and a world that works better for you.
Self-expression is a right we all share, and the more each person expresses themselves, the more colorful the world becomes. I hope everyone keeps expressing themselves boldly and freely.
–This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
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Billboard Japan‘s Women in Music initiative launched in 2022 to celebrate artists, producers, and executives who have made significant contributions to music and entertainment, and who inspire other women through their work — following in the footsteps of Billboard’s annual Women in Music honors. This interview series spotlighting female players across the Japanese entertainment industry is one of the key pillars of Japan’s WIM project.
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This installment features Maki Goto, who marks the 25th anniversary of her debut this year. The singer joined Morning Musume at just 13 and has continued to chart her own course as a solo artist after graduating from the wildly popular J-pop girl group. Now, looking back on the past 25 years of her career — guided by the belief that she didn’t need to play the “good girl” — the 40-year-old performer shares the unexpected message she would offer her younger self today. She also reflects on the mindset that has sustained her throughout her life in the spotlight.
Congratulations on your 25th anniversary. How are you feeling as you reach this milestone?
It really feels like the time flew by. Through performing live and all the different kinds of work I’ve done, I’ve gained so many tools and experiences to draw from. When I look back on my younger self now, I think I’d be able to give her some pretty good advice, like, “There might be a better way to approach this.”
Your new album COLLECTION includes solo versions of songs from your Morning Musume days. When you compare who you were then to who you are now, what do you feel has changed?
I think a lot has changed. I mean, I was only 13 — a second-year middle schooler. I might have looked the part with the bleached hair, but inside I was still very much a kid. I’m more conscious now of the shift from being a child to being an adult, and my approach to work has really evolved over these 25 years. Back in the Morning Musume days, Tsunku-san was producing us, and I was just doing my best to take on the tasks I was given and figure out how to carry them out. Now, I’m more in a place where I think for myself and shape who I am as an artist from within.
And what about the things that haven’t changed?
I think my personality is pretty much the same as it’s always been. I’ve lived in my hometown, where I was born and raised, for most of my life. While people might assume that celebrities all live in the city, I’ve deliberately chosen not to move, and maybe because of that, my values, my temperament, and the things that bring me peace have stayed pretty much unchanged. Being in the town where I grew up also makes it easier to switch clearly between my “on” and “off” modes when it comes to work.
Your work shifted from being part of a group to performing solo. How did you motivate yourself through that transition?
When I first went solo, I was really anxious. I realized just how much I had relied on my fellow members and the people around me. But once I became a solo artist, thinking about the people who support me and how I want to show up for them became something that encouraged me. It’s an awareness of wanting to show everyone the best version of myself.
Looking back at past interviews, there’s a strong sense of pride in your identity as an “idol” performer. When and how did that take shape for you?
When we were in Morning Musume, being an idol had a very spirited, almost athletic culture to it. It wasn’t about conforming to something, but rather about showing who you were and letting your individuality shine. We communicated directly with fans, balanced what we personally wanted to do with what was being asked of us, and were given the chance to try new approaches that still felt true to who we were. I think that environment is what shaped my own sense of what it means to be an idol.
Were your individuality and uniqueness recognized and supported mainly by fans and the staff around you?
It wasn’t quite that simple. Back then, social media didn’t exist like it does now, and the only place people could see us was on TV. It was actually pretty hard to get people to understand our individualities. We could show a bit of who we were through talk segments on music shows, but it wasn’t just about TV. I think the fact that we had so many opportunities to meet people directly through concerts and events, where they could really get to know us, is what allowed each of our strong personalities to become a strength.
As the one and only new member added at the time, you made a striking debut when you joined Morning Musume at 13. Looking back, is there anything you’d like to say to your younger self?
One thing I think now, after everything I’ve experienced, is: “You don’t have to be the good girl.” Being the model student or the “good kid” can feel like a safe position within a group or an organization. But if you get too used to that, taking on something new makes you stand out more — sometimes in a good way, sometimes in a not-so-good way. By not settling into that “good girl” role, you’re able to speak clearly about what you want to do, and actually pursue it. I think I’d tell my younger self to keep going with that kind of attitude.
I’m sure many young women feel afraid to stand out or think it’s safer to be obedient. That’s why your message of “you’re fine the way you are” is so empowering. What kind of woman do you admire?
Someone who can genuinely shine with a bright, sparkling smile — the kind that makes your heart feel light and happy. Our expressions show our feelings right away, and that can make the people around us worry or think too much. I really admire people who can take a moment to reset their feelings on their own and still show a warm, bright expression.
What helps you maintain your smile in daily life, and how do you encourage yourself when you feel worn down emotionally?
I’ve always had this habit of stepping back and looking at things from a distance. When something unpleasant or sad happens, seeing it from that wider perspective usually makes me realize it’s actually not as overwhelming as it felt in the moment. And when I’m feeling down, if I just take a moment to breathe and think things through, I end up telling myself that this isn’t worth dwelling over. I think giving yourself that small pause to let your emotions settle is really important.
When did you develop that mindset?
Honestly, I’ve had that habit since I was very young.
You were able to get through that whirlwind era with that wider perspective. Joining the group at 13 — without that viewpoint, it would’ve been easy to be overwhelmed.
Exactly. If I’d tried to take everything head-on all the time, I wouldn’t have been able to keep up, and my feelings wouldn’t have lasted. After my debut, that habit of stepping back, taking a breath, and looking at things calmly became even stronger.
What do you think is important for women to really shine?
I think people are the most alive when they’re doing something they genuinely want to do. When you want to try something new, instead of thinking, “I probably can’t,” it’s better to just go for it first. If it doesn’t work out, you can rethink it then. By continuing to pick up the things you want to do like that, I think your own potential naturally expands. That kind of attitude matters.
So you’re someone who actively dives into things you’re curious about.
I am. When something interests me, I look into it right away and really throw myself into it.
What are some things you’d like to take on moving forward?
I’ve always been interested in beauty, and it’s something I really enjoy, so I’d love to do something in that area that could be helpful to people. I also held a live show and events this September to mark my 25th anniversary, and the response from everyone meant so much to me. It became something I can lean on as I look toward my next steps. I want to think about new stages and try things people wouldn’t expect.
To be honest, I’m still surprised that after 25 years in this industry, I’m able to keep performing like this. Continuing something for that long is really not easy. But once you have a dream, the important thing is to keep going. If it’s something you truly love, then no matter what happens, you’ll find a way to continue. I want to hold onto that feeling and keep doing my best every day.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
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Earlier this July, Mrs. GREEN APPLE surpassed 10 billion cumulative domestic streams across their entire catalog, becoming the first artist in J-pop history to reach the milestone. To commemorate the achievement, Billboard Japan presented the band with a special plaque, and the trio shared words of appreciation to everyone who has listened to their music.
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The band has released a long list of hits that have accumulated 100 million domestic streams each, including “Ao to Natsu” (their most-streamed track with over 900 million streams), “Tenbyo no Uta (feat. Sonoko Inoue),” “Dancehall,” “Que Sera Sera,” and “Lilac.” As of November 2025, they hold a record-setting 31 songs that have surpassed this milestone — the most of any artist on record (according to Billboard Japan). This year alone, new releases such as “Darling,” “KUSUSHIKI,” “Heaven,” and “breakfast” have all passed the 100-million mark.
2025 marks the group’s 10th anniversary, and under the banner of “MGA MAGICAL 10 YEARS,” they’ve been celebrating alongside their fanbase (JAM’S) and listeners nationwide. They’ve made a strong impact this year, with their anniversary concert, MGA MAGICAL 10 YEARS ANNIVERSARY LIVE ～FJORD～, drawing a total of 100,000 attendees in two days, and a range of initiatives launched nationwide to highlight their anniversary best-of album 10. Meanwhile, each member has also expanded into individual activities such as acting and hosting work, earning wide support that extends from music to variety entertainment.
Now in the midst of the largest tour of their career, the five-dome run entitled DOME TOUR 2025 “BABEL no TOH,” the three members — Motoki Omori (vocals and guitar), Hiloto Wakai (guitar), and Ryoka Fujisawa (keyboards) — made time between an exceptionally packed schedule to chat with Billboard Japan, to express their gratitude to reach 10 billion streams.
You’ve become the first act to surpass 10 billion domestic streams in Japan. Congratulations!
Motoki Omori: The number is so massive that it still doesn’t quite feel real, but knowing that so many people are listening truly motivates us in what we do. We’re genuinely grateful.
Ryoka Fujisawa: None of us have ever even seen a number like 10 billion. There’s still a part of me that can’t fully grasp it, but we’ve been hearing from so many listeners across different generations who are enjoying Mrs. GREEN APPLE right now. That means everything. Thank you so much.
Hiloto Wakai: I feel the same as the other two — the number 10 billion is overwhelming. But more than anything, the fact that our music is truly reaching each and every person who listens makes me incredibly happy.
This year, you celebrated your 10th anniversary with events across Japan and a series of six consecutive monthly releases. There was so much excitement on the charts and across social media. What kinds of messages have you heard from listeners?
Fujisawa: We approached everything with the hope that people could enjoy our 10th anniversary in many different ways, so we put out a lot of things and organized various projects. We heard from families, from friends who went together, and from people who came alone — so many different kinds of listeners were able to enjoy it. Receiving those messages made us really happy.
Your dome tour “BABEL no TOH” has only just begun, but how does it feel so far?
Wakai: For us, this tour is a real challenge, so we were honestly a bit nervous (before it started). But seeing how much everyone is enjoying it has put us at ease, and it feels like we’re on a tour that’s incredibly rewarding.
In November, you’ll become the first Japanese act to release two films simultaneously along with an IMAX® screening of your concert film. And in December, the 10th-anniversary exhibition MGA MAGICAL 10 YEARS EXHIBITION Wonder Museum is coming up as well. What would you like visitors to take away from these projects?
Omori: In the past few years, a lot of people have discovered us for the first time. So both for those who have supported us from the beginning and those who just recently started listening, this is a chance to share the essential part of what Mrs. GREEN APPLE values. Whether it’s the concert film, the documentary, or the exhibition, each one is entertainment — but they’re also things made from who we are at our core, something genuinely alive. So more than anything, we just want as many people as possible to see them.
The announcement that Phase 2 will conclude within the year came as a big surprise to many. With the time remaining, what do you hope to continue expressing through the end of this phase?
Fujisawa: Phase 2 has really been driven by the desire to meet as many people as possible and to bring Mrs. GREEN APPLE to many listeners. So through the end of the year, we want to continue delivering a bright, energetic Mrs. GREEN APPLE — both in who we are and in our music.
Wakai: We still have the tour ahead, so I hope everyone continues to enjoy Mrs. GREEN APPLE’s Phase 2 in different forms.
Omori: In the new year, we’ll shift into Phase 3 — but that doesn’t mean some drastic change is coming. It’s simply one of our own markers, a way of organizing our direction. So just like always, we’ll keep making music in a way that people can enjoy. And we hope to spend the rest of our 10th anniversary expressing our gratitude to as many people as possible.
–This interview by Mariko Ikitake first appeared on Billboard Japan
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Kenshi Yonezu’s “IRIS OUT” stays atop the Billboard JAPAN Hot 100 for the eighth straight week, on the chart released Nov. 12.
Across individual metrics, the Chainsaw Man – The Movie: Reze Arc theme continues to dominate streaming, video views, and karaoke, while coming in at No. 3 for both radio airplay and downloads, and No. 15 for CD sales. Radio impressions saw a 168% increase from the previous week.
Until now, Yonezu’s longest-running No. 1 was “Lemon,” which led for a total of seven weeks. “IRIS OUT” has now surpassed this record with eight weeks at the summit. Among all artists, the track now ties for the sixth-most total weeks at No. 1 in Japan Hot 100 chart history.
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List of All-Time Total Weeks at No. 1 on the Billboard Japan Hot 100
YOASOBI “Idol” 22 weeks
Creepy Nuts “Bling-Bang-Bang-Born” 19 weeks
Ado “Show” 13 weeks
Official Hige Dandism “Subtitle” 13 weeks
Aimer “Zankyosanka” 9 weeks
LiSA “Homura” 8 weeks
Kenshi Yonezu “IRIS OUT” 8 weeks
Official Hige Dandism “Pretender” 7 weeks
Mrs. GREEN APPLE “Lilac” 7 weeks
Official Hige Dandism “I LOVE…” 7 weeks
Kenshi Yonezu “Lemon” 7 weeks
Yonezu and Hikaru Utada’s “JANE DOE” returns to No. 2. Though overall points for the ending theme of the same movie declined, the track rises from No. 5 last week. Yonezu also scores multiple entries this week: “1991” climbs from No. 9 to No. 5, while “Plazma” comes in at No. 50, “KICK BACK” at No. 70, and “BOW AND ARROW” at No. 89.
HANA’s “Blue Jeans” rises 11-3 this week, while the group’s “My Body” lands at No. 6 — one of seven songs the girls have on the chart this week. AiNA THE END’s “On the Way” rebounds from No. 12 to No. 4, marking her first return to the top five in about two months.
MAZZEL’s “Only You” debuts at No. 8. The lead track from their upcoming single of the same name, due out Nov. 26, leads downloads and hits No. 3 for video views and No. 27 for streaming with its advance digital release. Outside the top 10, Tatsuro Yamashita’s “MOVE ON” bows at No. 12. Featured in Daihatsu’s TV commercial for its kei-type vehicle MOVE, the song from the veteran singer-songwriter’s first single in two years earns the week’s No. 1 in radio.
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 Nov. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Billboard honors leaders driving the success of the music business outside the U.S. through its Billboard Global Power Players list. Among the industry figures recognized this year is Taeko Saito, Senior VP of business development and strategies, Asia Pacific at EMPIRE, marking her first appearance on the list. To commemorate the achievement, Billboard Japan spoke with Saito about EMPIRE’s business strategy, the growth of streaming markets across different countries, and the challenges facing Japan’s music industry today.
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Could you tell us a bit about your background?
Taeko Saito: I spent most of my childhood in the U.S., and after graduating from university, I began my career as an assistant at AAM, a music producer management company. I later joined the publishing company SONGS Music Publishing as an A&R, where I handled deals with artists like Diplo, Lorde, and The Weeknd. After that, I moved to Downtown Music Publishing, where I helped establish its Japan office, and since 2023, I’ve been working at EMPIRE.
Tell us about EMPIRE’s business operations.
EMPIRE was founded in 2010 as a music distribution company. At the time, there were very few distributors specializing in specific genres, but we focused on hip-hop from the start. From there, the company expanded into label and publishing operations, leading to where we are today.
What led EMPIRE to focus on hip-hop?
It comes from a desire to share music from underrepresented communities with the world. Our CEO, Ghazi (Shami), comes from an immigrant background, which may have influenced that vision. He grew up in San Francisco surrounded by street culture, so in many ways, the focus on hip-hop was a natural extension of that. These days, though, we’re not limited to hip-hop — we’ve expanded into regions like Africa and Asia. One of the fastest-rising artists on our roster right now is Shaboozey, a Black country artist.
With streaming now the dominant form of music consumption, artists no longer need to be signed to a record label to release their work. They can do everything independently, though many still don’t fully understand the options available to them or the finer details of how to navigate that process. That’s where we come in: we offer independent artists a range of contract structures and opportunities tailored to their needs. Our goal is to show that there’s more than one way to succeed, and that artists can take flight in ways beyond the traditional system.
Your work focuses on the Asia-Pacific region, is that right?
Yes, mainly Asia. Aside from myself, we have staff based in Singapore and Indonesia, and we work closely together. Also, EMPIRE’s workforce is culturally diverse, with people from many different countries. This mix of cultures makes it reassuring to have headquarters collaborating with us as part of the same team.
The streaming market is slowing but still growing, with particular attention on Asia, Africa, and South America. How does EMPIRE view this situation?
Expectations for growth in Asia are very high. For example, a recent deal I handled was with a label in Cambodia. Spotify only became available there four years ago, in 2021.
That’s quite recent.
Yes. The music business there is still very young. Among the labels we’ve signed, the most successful artist is VannDa, whose videos have racked up hundreds of millions of views on YouTube and who’s seen remarkable growth just over the past year. Countries like Myanmar and Laos also have predominantly young populations, which makes them especially eager to embrace new services.
That said, there are still challenges on the business side in that royalty rates remain low. Japan has the highest rates in Asia, but in other countries, they’re significantly lower compared to regions outside Asia. It’s a complex issue that involves negotiations between nations, but I believe continued dialogue will help drive further growth.
Japan is often seen as a rare example of a country where CD sales and streaming coexist in its music market. What are your thoughts on this situation?
I think it’s wonderful how Japanese artists place such great importance on quality and on treating each fan with genuine care. However, I’m not sure the same approach would necessarily be accepted in the U.S. in exactly the same way. There are cultural differences and what people embrace or don’t, what they find easy or difficult to digest. That’s why I feel the way music is presented varies greatly from country to country.
I also think that what “success” means can differ from artist to artist. For example, say an artist wants to go global and win a Grammy. But is the goal simply to win a Grammy, or to earn the recognition of the Recording Academy members and to have them feel that this artist deserves a Grammy? Those may sound similar, but the narratives are very different.
And if the goal is to top the Billboard charts, that’s another story altogether. Grammy-nominated artists or works aren’t always those with the greatest commercial success — cultural impact, musicality, and message often carry more weight. So sometimes, winning a Grammy and achieving commercial success don’t necessarily go hand in hand.
So in terms of differences between Japan and other countries, I think the definition of success itself is different. In Japan, there’s a strong focus on nurturing lifelong bonds with each fan — the kind of fan who will buy CDs and cherish that artist for years. The approach is completely different overseas, and I think that gap is part of why the two worlds haven’t always connected. Still, many have continued to take on new challenges, and with the precedent set by K-pop, there’s now a growing sense of optimism across Japan’s music industry. I think what’s most important going forward is to stay adaptable and keep pushing forward with that spirit of challenge.
Have you noticed any major changes in the U.S. music scene over the past ten to twenty years?
The biggest shift has been in the independent music scene. Twenty years ago, “independent label” mostly brought to mind alternative bands, but now artists of all kinds own their rights and release their music on their own. Seeing that change makes me think Japan can move in the same direction. For idol groups and similar acts, where producers lead the projects, it’s natural for those producers to claim ownership of the rights. But for singer-songwriters, bands, or rappers who write their own material, I’m not sure that same structure always fits. Some artists may thrive under that traditional setup, while others might prefer to manage their own work and release independently. I believe that the latter market will only continue to grow, and when that happens, it’ll be crucial for major labels and agencies to adapt accordingly.
When you look at organic reactions online, you often see artists who go viral once but fade quickly afterward. In those moments, what really matters is an artist’s ability to build their brand and develop a lasting fan base. Today’s younger audiences move fast and shift to the next trend almost instantly. In that kind of environment, understanding what makes an artist someone you want to keep following is where labels and management teams can really make a difference.
And because artists now have the right to choose their own path, I want them to think carefully about what approach best suits them. When I sign an artist, I always make it clear that EMPIRE isn’t a one-size-fits-all label. The artists we work with are business owners in their own right — people who can think about how to evolve and expand their own ventures. Only a small number of artists are truly the right fit for EMPIRE, but for those who are, we’re confident we can help them grow more than anywhere else.
Are there any Japanese artists currently signed to EMPIRE?
Yes, we recently signed an artist named Litty. She only began releasing music last year, so she’s been active for about a year now. She also took part in a songwriting camp we hosted recently, where she collaborated with overseas artists for the first time. She absorbed everything like a sponge, and it was inspiring to see.
Billboard recently launched in Africa, signaling growing global attention on music scenes outside the West. What are your thoughts on that trend?
It’s hard to say definitively why African music has become so deeply rooted in the U.S., but I think part of it comes from a desire within the Black community to reconnect with their roots. Looking at trending charts, there are moments when I sense a similar response among Asian listeners in America — almost as if they’re reacting to how Asian artists haven’t always been fully recognized in the past. Seeing the global success of artists who weren’t traditionally part of the mainstream, especially in K-pop, feels like a reflection of more people embracing their own roots and identities.
The U.S. is the world’s largest music market and a multicultural nation. Do you think it’s because of that diversity that music from so many different countries is being heard there and spreading globally through social media and streaming?
Exactly. The music industry is undergoing a fascinating transformation right now. Music is being heard across borders more than ever, and listeners have become increasingly open to that diversity. For us, Asia still has so much untapped potential. Going forward, we want to build on EMPIRE’s strengths while exploring how best to adapt them to each country’s unique landscape.
—This interview by Naoko Takashima first appeared on Billboard Japan
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The 2026 edition of MUSIC AWARDS JAPAN (MAJ), one of the country’s premier international music honors, is set for June 13 next year.
The Grand Ceremony, including the red carpet and presentation of the major categories, will be held that evening at TOYOTA ARENA TOKYO, while the Premiere Ceremony, which covers additional categories, will take place earlier that day at TOKYO DREAM PARK. The MAJ week, running from June 8 to 13, will also include artist performances alongside seminars and showcases featuring music industry professionals from Japan and abroad.
At a press conference held in Tokyo on Wednesday (Nov. 5), organizers revealed mid-year standings based on data from January through August 2025, covering the current entry pool of eligible works and artists. Nominees for Artist of the Year include some of the year’s most prominent acts: timelesz, HANA, Gen Hoshino, Mrs. GREEN APPLE, and Kenshi Yonezu, among others. For New Artist of the Year, the list includes CANDY TUNE, CENT, TENBLANK, HANA, Brandy Senki, MON7A, and ONE OR EIGHT.
The Song of the Year field features many of the year’s defining releases, such as AiNA THE END’s “On the Way,” Sakanaction’s “Kaiju,” JENNIE’s “like JENNIE,” Snow Man’s “CHARISMAX,” and multiple tracks from HANA (“Burning Flower,” “Blue Jeans,” “ROSE”), BE:FIRST’s “Muchu,” and Mrs. GREEN APPLE (“KUSUSHIKI,” “Darling,” “Heaven”), as well as Kenshi Yonezu (“BOW AND ARROW,” “Plazma”).
Meanwhile, Album of the Year contenders include acclaimed works such as Southern All Stars’ THANK YOU SO MUCH, Snow Man’s THE BEST 2020 – 2025, Fujii Kaze’s Prema, BABYMETAL’s METAL FORTH, and Mrs. GREEN APPLE’s 10.
Eligible works include songs and albums whose full official versions were first released between Jan. 1 and Dec. 31, 2025, either on public digital services or in physical form (with some category exceptions). Winners are determined through voting by members of the music community.
The award categories have been restructured since the inaugural MAJ with 14 new categories added. To reflect the diversity of Japan’s music landscape, new Dance & Vocal categories (Group/Solo) and separate Boys Idol Culture and Girls Idol Culture Song awards (Group/Solo) have been introduced. In response to the rise of long-running hits and renewed attention on catalog music, a Back Catalog category has also been created to honor works that continue to be embraced over time. In addition, with vinyl experiencing a resurgence, an Analog Record category has been established. The Largest Live Audience (International) award and Best Music Video Director award have also been newly added.
Founded under the theme of “Connecting the world, illuminating the future of music,” MAJ was established by five major organizations in Japan’s music industry. At the inaugural event held in May, music professionals voted — with some category exceptions — to determine winners across 62 categories (including six major awards) from a pool of approximately 3,000 entries.
Mrs. GREEN APPLE took Artist of the Year, Creepy Nuts won Song of the Year with “Bling-Bang-Bang-Born,” tuki. earned New Artist of the Year, Fujii Kaze won Album of the Year with LOVE ALL SERVE ALL, YOASOBI took Top Global Hit From Japan with “Idol” and aespa won Best Song Asia with “Supernova.” The ceremony at ROHM Theatre Kyoto was streamed worldwide on YouTube.
Ceremony Date: Saturday, June 13, 2026
MAJ Week: June 8 (Monday) – June 13 (Saturday), 2026
Venue: TOYOTA ARENA TOKYO, Tokyo
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Kenshi Yonezu’s “IRIS OUT” continues to dominate the Billboard Japan Hot 100 for the seventh consecutive week, on the chart released Nov. 5.
While overall chart points for the Chainsaw Man – The Movie: Reze Arc theme dipped slightly compared to last week, karaoke performance increased to 116%. The track sits at No. 1 for streaming, video views, and karaoke, while hitting No. 3 for downloads, No. 9 for CD sales, and No. 13 for radio airplay, extending the hitmaker’s longest-running stay atop the Japan Hot 100.
At No. 2 is Sakurazaka46’s “Unhappy birthday Koubun,” which jumps from No. 15. The girl group’s 13th single sold 614,231 copies to take No. 1 for sales, and comes in at No. 10 for downloads, No. 9 for streaming, No. 70 for radio, and No. 61 for video.
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Three songs debut in the top 10 this week. LE SSERAFIM’s “SPAGHETTI (feat. j-hope of BTS)” sold 92,621 copies to arrive at No. 3, BE:FIRST’s “I Want You Back” rules radio to bow at No. 4, and Travis Japan’s “Disco Baby” lands at No. 7 after topping downloads.
In other chart moves, several songs by veteran band back number see renewed momentum. “Blue Amber” rises 35-32, “Takaneno Hanakosan” 72-56, “Suiheisen” 79-77, while “Koi” returns at No. 87.
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 Oct. 27 to Nov. 2, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Since making her major-label debut in April 2024, eill has enthralled countless people with her unparalleled voice and her overwhelming musical sensibilities. On Nov. 5, she will release her second EP, Action. This will be her first CD release in three and a half years, and the title track, “ACTION,” is the ending theme of the second arc (the Nerima Arc) of the TV anime TOUGEN ANKI: Legend of the Cursed Blood (airing on Nippon Television and affiliated stations). The EP contains a total of six songs, through which she expresses different aspects of her artistry.
She recently spoke with Billboard Japan at length about what went into the making of the album and about her upcoming [ACTION TOUR 2025-2026], which will begin in November.
On November 5, you’ll be releasing your second EP, ACTION, and the title track will be the ending theme to the TV anime TOUGEN ANKI: Legend of the Cursed Blood. I’m sure you watched the anime before writing the song. What was your mindset going into creating this song?
I’ve written several tie-up songs for animes before, and I’ve always made sure that I didn’t just make typical J-pop songs, but instead gave them some more musical depth. This time, I used some elements of new jack swing. I wanted to create a song born from the battle between dance and anime. I also listened to music from the new jack swing era and talked with other musicians to figure out what kind of synthesizer tone to go with.
Was that at the request of the anime producers?
There weren’t any requests, I just thought about what would fit the anime. There are battle scenes, so I didn’t want to make the song flat. Instead, I wanted there to be soft parts and powerful parts, to match the battle scenes. It was also important that listeners could get into the music and dance to it.
How did the name “ACTION” come to you?
I’d like to be able to say “I read the manga and the name just came to me,” but unfortunately, it was nothing like that (laughs). When I was working on the melody, recording a temporary vocal, my producer had left their mic on, and they let out a sneeze, which sounded kind of like “hakushon.” The completed song starts out with record scratching, and then someone saying “ACTION,” and the point where they say that is right where my producer sneezed. We were like “This is fire!” So that’s where “ACTION” came from.
I’ve got to say, I wasn’t expecting an origin story like that (laughs).
Right? (laughs) But it really does perfectly express this transition into the next era, so I think it’s a great title.
I bet you’re looking forward to seeing the reaction when the show starts airing. Now, about “last scene.” This is the theme song of season three of Love Transit (on Prime Video), and it’s the third theme song you’ve written. What was the writing process like?
Well, originally, I’d written a demo version of the song a long time ago, so I changed the arrangement a bit for Love Transit. I wanted to make it cinematic, so I added strings. Love Transit is the kind of show that viewers can get emotionally invested in, because they can see their own past or present romantic experiences reflected in it. So with “last scene.” My hope is that listeners will remember past loves as they listen to the song, and that they’ll listen to it after future heartbreaks, too. I wanted to make a song for people who were at a crossroads, or for a movie about people at a crossroads in their lives.
One thing I keep wondering is why you put the period at the end of the title.
I wanted to add my own personal touch (laughs). “last scene” by itself would just be so commonplace, so I decided to add a period at the end (laughs).
Another song on the EP is “what am i made for?” That’s a deep title. What led to the making of this song?
I just finished this song recently. Because of that, it might just be the song that best reflects where I am now. After having had different experiences, like solo shows, I wanted to sing a song about life. I’m not the kind of person that has lofty goals, so when I’m really busy, and I’m really working hard, I often think “What am I working so hard for?” The reason I work so hard has got to be something that’s in me, but I sometimes lose sight of it. I often find myself struggling to answer the question of why I’m making music. It’s not like I’m agonizing about it or anything. When I write a good song, or I put on a good live show, those worries all vanish. But if someone asks me “what kinds of things have you been worried about lately?” sometimes the answer is “Why am I making music?” So I expressed that through the lyrics to this song.
Moving on to “NEEMIA,” this is a bit of strange song. What does “NEEMIA” mean?
“NEEMIA” doesn’t mean anything. I wanted to repeat some word with no particular meaning, and I was like “neemia’s got a nice ring it, don’t you think?” I don’t even remember why I said “neemia.” In the temporary vocal track, I just sang “nya” for the lyrics, and that stuck. The world’s getting too complicated, so I was thinking that not everything has to have a meaning. That’s how I came up with the song.
That’s a very artistic sense of playfulness. It really clicks for me.
But the lyrics are packed with meaning, and the song has the same vibe as my music from my indie days. I think for people who know my music from back, it might feel a bit nostalgic.
Looking at the song selection, there’s a lot of variety on the EP. In November, you’re going to be starting a tour, [ACTION TOUR 2025-2026]. You’ll be playing in five cities in Asia, right?
Earlier, I talked about not being the kind of person with goals and dreams, but that said, one goal I have had, ever since I started performing as eill, has been to put on an Asian tour, so I’m really looking forward to it!
You’ll be visiting different countries, so there’ll lots of fun things to do, in addition to the shows.
So many. In Taipei, I want to do java sparrow fortunetelling. The birds tell your fortune by instinctively picking cards. I hear it’s really accurate. So I definitely want to do that, and then in Thailand I want to go to the night market. There’s also this artist I love named LUSS. They made a guest appearance on my last album, and I’d love it if they could come to a show and we could collaborate (laughs). I love Korea and I’ve been there several times. There are these places set up outside convenience stores where you can drink alcohol. They have paper cups and ramen machines, so I like to kick back with some Chamisul (a Korean liquor) and some Shin Ramyun. So I’ll definitely be doing that. In Shanghai, I want to get false eyelashes. In Chinese, false eyelashes are called “jiajiemao,” and I want to just go to a shop and buy jiajiemao to my heart’s content. I hear Hong Kong is really humid—so humid that the locks on people’s houses break. I always keep the humidity level in my house at 80%, for the sake of my voice, so I think Hong Kong will be perfect for me. I want to feel that humidity, so I’m looking forward to it!
They all sound fun. And, of course, you’re going to be touring Japan as well. How are you feeling, going into your first tour in a year?
My songs often express what I feel inside, but before reaching the level of the emotional content of my music, I want the audience to want to move their bodies and throw their hands up in the air. I want people to be more honest with themselves about their urges and desires. I hope that’s the kind of tour this will turn out to be.
I’m looking forward to it! In closing, what are your next goals, after finishing the Asian tour?
Right now, nothing specific. But throughout my life, I’ve kept pushing forward even though I didn’t have any specific goals. Recently, looking back on it, I’ve realized that I’ve led a really wonderful life. So I can’t just put a lid on my own weaknesses and worries. I mean, after all, these are emotions that only I can experience, right? If I take them head-on, I can change my own future. So I plan to cherish each and every day.
—This interview by Azusa Takahashi first appeared on Billboard Japan
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Kenshi Yonezu’s “IRIS OUT” extends its run at No.1 on the Billboard Japan Hot 100 for a sixth straight week, topping the chart dated Oct. 29.
The Chainsaw Man – The Movie: Reze Arc theme leads four metrics this week: — downloads, streaming, video views, and karaoke. Downloads dipped 26% from the week before, but the song returns to No. 1 on the metric for the first time in three weeks. Radio airplay continued to build for a second week, rising to 127% of last week’s points.
Yonezu’s previous longest consecutive streak at No. 1 was the five-week run of “Lemon” in January 2019 (seven total weeks at the summit). With “IRIS OUT,” he now sets a new personal record for consecutive weeks at the top.
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JO1’s “Handz In My Pocket” moves to No. 2, soaring from No. 41 following its CD release. The single sold 692,223 copies in its first week, launching at No.1 for sales. Since debuting, JO1 have now placed all ten of their singles at No. 1 for sales. The CD release also lifted other metrics: downloads climbed from 19-3, streaming 40-33, radio 58-4, and video 65-47. Radio saw the sharpest increase, jumping to 655% of last week’s points.
At No. 3 is “JANE DOE” by Kenshi Yonezu and Hikaru Utada, rising a spot from last week. Karaoke increased to 108% of the previous week. HANA’s “My Body” climbs two notches to No. 4 as the breakout girl group places seven songs on the chart this week, including “Blue Jeans” at No. 6 and “ROSE” at No. 14.
Yonezu’s “1991” settles at No. 5, down two positions. The track comes in at No. 3 for streaming, No. 6 for downloads, No. 8 for video, and No. 14 for radio.
Elsewhere in the top 10, CLASS SEVEN’s first single “miss you” bows at No. 9, selling 18,522 CDs to place No. 4 for sales, while hitting No. 2 for radio and No. 89 for downloads. CUTIE STREET’s “We Can’t Stop Suddenly!” returns to the tally for the first time in about three months, charting at No. 10. The CD sold 50,567 copies to hit No. 2 for sales.
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 Oct. 20 to 26, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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LiSA and Demon Slayer: Kimetsu no Yaiba: the record-breaking collaboration that established a milestone in the history of Japanese entertainment is back. LiSA’s “Zankoku na yoru ni kagayake” (English title: “Shine in the Cruel Night”) graces the blockbuster animated movie Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle — Part 1: Akaza Returns as one of its two theme songs alongside Aimer’s “A World Where the Sun Never Rises.”
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Yuki Kajiura, who composed the soundtrack for the movie with Go Shiina, wrote “Shine in the Cruel Night.” Kajiura is the songwriter responsible for some of LiSA’s biggest Kimetsu collabs that perfectly capture the work’s universe, including “from the edge,” “Homura,” “Akeboshi,” and “Shirogane.” This comeback marks a significant chapter in LiSA’s hits-laden music career.
The songstress saw her singing overlap on screen with the actual movie footage for the first time shortly before this conversation with Daisuke Koyanagi (Interview inc.). Brimming with excitement, she spoke enthusiastically and deeply about the journey that led to her return to the world of the Kimetsu anime.
The movie was amazing, wasn’t it? We just saw it.
LiSA: I thought the animation’s production team was incredible. The way ufotable illuminates the scenes in the movie is just so beautiful. Throughout the entire film, the light in the characters’ eyes, too… the Infinity Castle movie is a work of art that makes abundant use of torchlights and illumination. The skillful craftsmanship of the artists is amazing, and the story is also great.
It really felt like the final battle in Demon Slayer: Kimetsu no Yaiba has begun at last.
Yeah. The story makes it clear that no one can be missing from it.
And this is also your first Kimetsu theme song since the Mugen Train story arc.
While we were working on it, Ms. Kajiura and the team at ufotable talked about making a song that would grace the story. Ms. Kajiura and I wanted to make a song with a quiet chorus that would let everyone reflect on the tale so far and feel emotional, a tug at their heartstrings.
It was amazing. Perfectly intertwined with the story. It makes you wonder what kind of roadmap they created and how much they calculated to achieve that level of precision.
Ms. Kajiura puts thought into how a song will become part of the story, and also writes them with a lot of love for the singer. I think she considered how I could sing it as my own song for a long time to come. We discussed it together, exchanging ideas like, “How about something like this?” or “What about this kind of feeling?”
I’m guessing that until now, the situation was more like “LiSA sings songs written by Yuki Kajiura,” but this one was created differently, with you involved in closer proximity.
I was happy about that, too. Ms. Kajiura believed in me and welcomed me into her circle as someone she could talk to about music. At first, my mind was to just entrust her with (writing the song). In the sense that I have complete faith in her. I can tell that she cares deeply about (Kimetsu) and about me, too, so I thought my job was to interpret that and sing the songs. But after seeing the movie just now, it struck me again that everyone involved poured their hearts into every single scene. I felt that no one wanted to compromise on anything. So they probably also wanted to focus on the music and work closely with Ms. Kajiura to pursue it to the utmost.
Right.
The fact that they took my views into consideration helped me interpret the song with greater clarity when I sang it, and I felt like we were fighting together, which strengthened my commitment towards (the movie).
I get what you mean. How did you feel when you first heard that you’d be working with Ms. Kajiura again on a theme song for Kimetsu?
We last “fought” together on the Mugen Train story arc TV series [televised in 2021, a year after the Mugen Train movie opened in theaters], so being able to work with her again for this felt like we were taking it on together, just like in the story.
It’s been about five years since “Homura” (Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train theme song) and you’ve gone through various phases in your career. Ms. Kajiura is someone who helped you seize a huge opportunity. Working on Kimetsu again with someone who knows you so well must have been both exciting and stressful, stirring up all kinds of emotions.
To be honest, I didn’t feel much stress about it. After all, anything that comes from working with her on a project like Kimetsu is bound to be good. I was just excited to see what kind of song she would give me to sing and what new perspectives the work itself would open up for me.
What was your impression when you first received the demo from her?
When I first heard it, it was a bit darker. It felt like it was a little more in tune with a darker mood.
And that changed with each take?
Right. When I received the song, I wanted to talk to her directly, so I visited her studio. I spoke to her of my resolve to fight alongside her as comrades in the same battle, and how I interpreted the song as “a story about us meeting again and going to defeat Muzan, our final enemy” and that I hoped my resolve would be reflected in it. I think that’s why it became more emotional and dramatic during the process. It was the same way with “Homura,” I was the one who wanted to include bright, hopeful phrases, while Ms. Kajiura wrote about sadness as it is. My impression of her first version of that song was also sadness being depicted as sadness.
That’s interesting.
(For “Cruel Night,”) I didn’t convey any wishes to her or anything, just talked about how I felt as we were about to fight alongside each other, like I mentioned. But I did tell her that rather than singing about sadness in a tragic way, I wanted to convey a bit more hope. From Tanjiro (the protagonist of Kimetsu) and the others’ perspectives, they’re having a rough time, but that’s why they don’t want to give up on victory. Then she arranged it into the chorus we have now.
That means you felt it was perfectly natural to talk directly to Ms. Kajiura about such things, and that you felt a sense of responsibility in being involved with the work.
Yes, and also that she lets me do it. She’s left that door open for me, and after working together on four songs, I feel like we’ve built up a relationship of trust, so I figured she’d be OK with it.
And your vocals on this are incredible too. Starting off with a nuance like it’s blended into (the movie), it gradually becomes the theme song, and then ends up as a LiSA number. I imagine the process of making that happen must have been carried out with great precision and attention to detail. How did you approach it?
When I recorded the demo, I was thinking how the chorus shouldn’t sound too bright, but I have a bright voice to begin with, so no matter how hard I try, it ends up sounding like that. I spoke to Ms. Kajiura about it and she told me, “The brightness of your voice is wonderful and that’s what I love about it.” So I decided to trust her to handle that bright quality of my voice. She also said that I didn’t have to lower it on purpose. Since I was going to sing the chorus like that, I figured I’d sing the other parts as someone other than myself… with various personalities, and then just be me in the chorus. I think I was able to sing with various personalities because she said she loved my voice.
You can hear completely different vocalizations in each part.
It was so much fun. For my performance of “Homura” at Nippon Budokan (May 15), too, I was like, “It’ll be ‘LiSA’ no matter how I do it, so I might as well go all out!” [Laughs] I don’t have to try to be LiSA to make her manifest, so I can focus on the emotions. The joy of singing like that is what I’ve gained from Ms. Kajiura’s music.
That’s true, your performance of “Homura” at the Budokan was different from before. Or rather, it felt like your interpretation of the song has become more multi-layered. Does that have something to do with you having recorded this song (“Cruel Night”)?
Yeah, it has a lot to do with it. If “LiSA” is going to manifest without my being like, “This is LiSA!” then I can enjoy using myself more freely and sing songs that fit the music.
Right. If you let “LiSA” out at full blast even for a second, you can make her manifest throughout. At this point in your career, you just have to let that full blast out once, then the rest will become a proper LiSA number even if you create the story that fits the song. Your methodology is changing and becoming more precise. I’m guessing you’ve felt that way for a while. How has it deepened?
I hope I’m not misunderstood, but one thing is that I’ve gained confidence in expressing “LiSA.” Songs like “Rising Hope,” “Catch the Moment,” and “Gurenge” are examples of this, but the LiSA that manifests through identifying techniques is unbreakable now, no matter what I do. I now have a lot of songs that give me confidence that she’ll never disappear. That’s why I can enjoy other ways of expression and feel the potential. I just finished watching the movie, so I’m really identifying with Tanjiro right now. I think I’ve become really fast with a sword because I’ve trained so much. [Laughs] I’ve grown stronger through training.
You’ve become stronger through training, and faster, and it’s like you have a clear view of your surroundings even while fighting at incredible speeds. Like a heightened awareness… the way you manifest “LiSA” and her world is unclouded now.
Yeah. Today, while watching the movie, there were many phrases that made me go, “I get it!” I’ve read the original manga so many times, but there were still lots of phrases that I wanted to remember as words to live by. I think they resonated with me because I’m in this phase of my life right now.
What I found particularly impressive about “Shine in the Cruel Night” was how bare and raw the vocal mix sounded. The last chorus in particular sounds so raw like nothing was done to it after recording. It feels so realistic that it’s like you sang it and just left it as is.
Ms. Kajiura said, “That’s great!” on the first take, so I think that’s what they used.
She did? That’s amazing. When someone tells you, “That’s great!” when you sing once is the ultimate sign of trust.
I always practice really hard for recordings, but this time I approached it with the mindset of creating something together with Ms. Kajiura. As we went through multiple takes, there were a few instances where she said, “This is it!” And whenever she said that, I was thinking the same thing while singing it. But I’m greedy, so I think, “If I could do it now, I could sing it even better if I try a bit harder,” and record it again, but usually the first take is better. [Laughs]
So you were like, “Oh, this will be the one,” when you’re singing it.
Yeah, exactly. It’s like you’re in the zone at times like that. It’s more of a sensory experience so it’s not like you’re thinking with your brain, and you’re not controlled by your emotions, either. When you sing from your senses, that’s what comes across, I think. It was the same with “Homura.” That’s why I trust Ms. Kajiura so much.
“Shine in the Cruel Night” is one of the biggest and greatest achievements of what Demon Slayer: Kimetsu no Yaiba, Yuki Kajiura, and LiSA have built up over time. The universe that you’ve all created is proof of the wonderful time you’ve spent together.
It really is an all-out battle. Maybe that’s what Demon Slayer: Kimetsu no Yaiba is all about. Everyone strives for that state and pours their love into it. It’s like no one feels anything else.
—This interview by Daisuke Koyanagi first appeared on Billboard Japan
