Billboard Japan
Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work, in the same spirit as Billboard’s annual Women in Music honors since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Rena Yamazaki chatted with writer Rio Hirai in the latest installment of the series. The former idol group member continues to express her thoughts on society and culture through her regular TOKYO FM radio show “Rena Yamazaki’s Things I Wanted to Talk to Someone About” and her writing. The 27-year-old shared her feelings about moving from being an idol performer to working in the world of journalism, the possibilities for women’s careers, and the importance of speaking out.
What changes have you felt compared to when you used to be an idol performer?
Trending on Billboard
The biggest change is that I’ve started to be involved in news programs. I appeared in a special program on the Upper House elections in the summer of 2022, just before I graduated from the group, and since then I’ve been invited to appear on shows like Sunday Japon, Wake Up, Mr. Sunday and ABEMA Prime. I was interested in politics and the economy since when I was an idol, but never had a chance to talk about them. Now I’m being asked for my opinion more and feel that’s a big change.
What’s the most rewarding aspect of being a radio personality?
It’s a place where I can take time to convey my thoughts in my own words. I also like how I can get close to my listeners and hear all sorts of stories through the messages I receive. Unlike TV, there’s the difficulty of trying to convey things using only your voice and words without relying on visuals, but that’s also part of the appeal.
Is there any difference in your stance towards work between your idol days and now?
When I was an idol, my stance was to do my best within the role I was given. But now, I think about the way I work and have more opportunities to express my own opinion, so I’ve become more proactive. That means I have more responsibility, but the pressure is a good stimulus.
It’s unusual for former idols to go into journalism. What do you think about the second careers of other idols?
Everyone has their own path to take after graduating from being an idol, but many of them go on to become actresses. Even when I was still in the group, I liked studying things of all genres and using words to communicate, and also had opportunities to appear on TV shows, so I wanted to continue doing work that made use of my intellectual curiosity. That’s why I chose to go into radio and writing.
How did you feel when you were first tapped to be a TV commentator?
I was surprised at first, because I never thought I’d be offered a role in a special program covering the results of the Upper House elections. My management team at the time asked me, “We’ve been offered this, what do you think?” and I thought, “It’d be a challenge worth taking on.” I asked them their decision and they said, “We think it’d be good for your career and a good learning experience,” so I was able to make up my mind to give it my best.
Were you always interested in politics and social issues?
I studied media theory and writing techniques at university, and was also interested in politics and economics. I had friends who went into journalism, and I also regularly read newspapers and online articles. But I never intended to make it my career. Once I started working in the field, though, I felt I needed to study more, so I started reading books and talking to experts.
Has anything surprised you while working in the media?
That what I say has more influence than I thought. Even casual comments can be spread on social media and misunderstood, or even lead to slander. I try to choose my words carefully more than ever before.
When celebrities speak out about politics, they’re often criticized. What do you think about that?
Well, it’s true that when I talk about politics, people sometimes say things like, “You’re a smart-aleck” or “You don’t know what you’re talking about.” But I also think that if I don’t say anything, nothing will change. In fact, it feels like when young women talk about politics, they’re met with stronger opposition than when men do so. For example, when a man in his sixties talks about the same thing, he’s seen as calm and logical, but when a woman in her twenties talks about it, she’s seen as arrogant or trying to act mature.
That’s why I think it’s important to keep speaking out. My views may not always agree with those of viewers and may say something wrong at times, but if I keep quiet, people will end up thinking that young people don’t care about politics. I want to show that there are people who do care and think about it.
In today’s age of social media, what are your thoughts on how information should be disseminated?
Anyone can freely express their opinions nowadays, but I feel that this also means people have a greater responsibility for what they say. In particular, in the world of journalism, what you say can be taken out of context and misinterpreted, so I’ve become more careful about the words I choose.
Extreme opinions tend to spread easily on social media, and it can be hard to have calm discussions. In this context, I think it’s important to make your position clear, but also to offer constructive opinions rather than fueling confrontation. That’s why I try to say “I don’t know” when I don’t understand something, and want to keep being open to listening carefully to what experts have to say.
What do you think is necessary for women’s opinions to be heard?
First of all, I think it’s important to have more opportunities to speak out. I also think that we need to create an environment where women don’t feel afraid to speak out, but rather feel that it’s natural to do so. My ideal is to have a society where people who believe women’s opinions should be equally respected become the majority.
What do you think is necessary for idols and female celebrities to have lasting careers?
I think it’s particularly true in the idol industry that it’s hard for women to have long-lasting careers. It’s easy for “youth” to become part of their value, and in some cases, the range of their activities narrows as they get older. That’s why, when I was still an idol, I wanted to find other work that I could do. That’s how I was able to take the first step into fields like radio and writing, which aren’t restricted by age. What would be ideal is an environment where it’d be easy to return after leaving once, and where women could build up their careers more freely.
What do you think is necessary to make it easier for women to play a more active role in the entertainment industry?
I think it’s important to create a better environment for mental health care. More entertainment agencies are providing access to mental health counselors now, but I feel that there’s still a lack of awareness of the importance of mental health care.
When did you first become aware of the importance of mental health care?
When I was in university. At the time, I found it hard to balance my idol activities with my studies, so I sometimes went to a mental health clinic. Many people feel uncomfortable about seeking this kind of support, but from my own experience, I think it’s necessary to protect yourself.
What would you like to try in the future? And is there anything you want to share with our readers?
I’m planning on publishing two books this year, and currently preparing for that. I also want to continue doing what I’ve been doing as long as possible. I want to tell all my listeners to take care of their bodies and minds. Ultimately, only you can protect yourself. I hope that you’ll remember to take care of yourself, with support from the people around you.
This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Mrs. GREEN APPLE’s “Tengoku” hits No. 1 on the Billboard Japan Hot 100, dated May 14, becoming one of the three songs by the band taking up the top three slots on this week’s chart.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“Tengoku” (“Heaven”) was written as the theme song for the movie Shinso wo ohanashi shimasu (“Let me tell you the truth”) starring the band’s frontman Motoki Omori alongside timelesz member Fuma Kikuchi and debuted at No. 11 last week. On this week’s tally, it rules streaming with 9,383,288 weekly streams while coming in at No. 3 for downloads, No. 2 for radio airplay, and No. 4 for video views.
The popular three-man band dominates the top three positions on this week’s Japan Hot 100 with “Lilac” following “Heaven” at No. 2 and “KUSUSHIKI” at No. 3, becoming the second act to do so. The first artist who accomplished this feat was Ado, on the chart released Aug. 17, 2022. (“New Genesis,” “Backlght,” and “I’m Invincible” at Nos. 1, 2, 3, respectively. Fun fact: Motoki Omori wrote “I’m Invincible.”)
Trending on Billboard
WEST.’s “WEST SIDE SOUL!” debuts at No. 4. The theme song for the movie URASYAIN starring all seven members of the boy band sold 236,601 copies in its first week to rule physical sales and comes in at No. 24 for radio.
DXTEEN’s “Tick-Tack” bows at No. 5. The opening theme song for the drama series Yabusaka dewa gozaimasen launches at No. 2 for sales with 90,311 copies sold and comes in at No. 8 for radio.
Other notable chart moves include Shota Shimizu’s “PUZZLE,” which rises 18-11. Released last October as the theme song for his alma mater, the song started gaining traction on TikTok and social media around April, leading to an increase in video views and streams. Streams are up to 112% and downloads to 162% from the week before.
Also, several songs by KinKi Kids have charted after the duo released its extensive catalog on streaming platforms on May 5. “Ai no katamari” comes in at No. 14, “Garasu no shonen” at No. 42, “Aisareruyori aishitai” at No. 81, “Flower” at No. 92, and “Boku no senaka niwa hane ga aru” at No. 99.
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 May 5 to 11, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
back number’s “Blue Amber” debuts at No. 1 on this week’s Billboard Japan Hot 100, released May 7, becoming the popular band’s sixth leader on the chart.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The track is being featured as the theme song for the ongoing drama series starring Keiko Kitagawa called Anata wo ubatta sonohi kara. After being released digitally on April 28, the track came in at No. 2 for downloads (14,750 units), No. 7 for streaming (6,154,747 weekly streams), No. 8 for video views, and topped radio airplay. The song gives the three-man J-pop band its sixth No. 1 (nine weeks in all) on the Japan Hot 100.
Four other songs by back number are currently charting, with “Takaneno Hanakosan” rising 38-35, “Suiheisen” 46-44, “Hanataba” 65-56, and “Happy End” 78-75 this week.
Trending on Billboard
List of back number’s No. 1 Hits:
“Omoidasenakunaru sonohimade” (“Until the day I can’t remember”) “Christmas Song” [Three weeks]“Boku no Namae wo” (“(You called) my name”) “Old Fashion”“to new lovers” (Japanese title: “Atarashii Koibitotachi ni”) [Two weeks]“Blue Amber”
Mrs. GREEN APPLE’s “KUSUSHIKI” follows at No. 2. Compared to the week before, streaming and video for the The Apothecary Diaries Season 2 Part 2 opener decreased to 93%, while downloads and karaoke increased to 108% and 136%, respectively. At No. 3 is the three-man band’s “Lilac,” moving 5-3. Streaming and video for the Oblivion Battery opener gained slightly, while downloads and karaoke showed significant growth of 121% and 135%, respectively.
≠ME’s “Mobunoderella” bows at No. 4. The title track of the group’s 10th double A-side single released April 30 topped sales with 232,441 copies sold in its first week.
King Gnu’s “TWILIGHT!!!” falls a notch to No. 5. The theme song for the animated blockbuster Detective Conan: One-Eyed Flashback scores its third week on the tally, coming in at No. 5 for downloads (6,333 units), No. 4 for streaming (7,639,298 streams), No. 6 for radio and No. 4 for video.
Cho Tokimeki Sendenbu’s “Sekai de ichiban idol” debuts at No. 7. The title track of the group’s double A-side single was released April 30 and came in at No. 2 for sales (85,438 copies) and No. 45 for radio.
Also debuting at No. 9 is Travis Japan’s “Would You Like One?” The theme song for the animated movie Tabekko Doubutsu The Movie launched at No. 1 for downloads, No. 67 for streaming, and No. 55 for radio.
Outside the top 10, Mrs. GREEN APPLE’s new song “Tengoku” debuts at No. 11. It’s the theme song for the movie Shinso wo ohanashi shimasu starring the band’s frontman Motoki Omori (alongside timelesz member Fuma Kikuchi) in a feature film for the first time. The track comes in at No. 3 for downloads and No. 12 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 28 to May 4, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
HANA‘s “ROSE” returns to No. 1 on the Billboard Japan Hot 100, logging its second week atop the tally released April 30.
The major-label debut single by the septet born from the No No Girls audition show dropped digitally on April 2 and debuted at No. 1 on the chart dated April 9. The CD version launched with 46,866 copies after being released April 23 and hit No. 3 for sales. The single ruled video views this week while coming in at No. 13 for downloads (2,741 units), No. 3 for streaming (8,369,460 streams), and No. 9 for radio airplay. The track has been dominating the video metric for four straight weeks.
&TEAM’s “Go in Blind” soars 66-2 this week, selling 620,541 CDs in its first week, marking the group’s biggest sales week to date. The track also ranks at No. 15 for downloads, No. 58 for streaming, No. 45 for radio, and No. 28 for video.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Mrs. GREEN APPLE’s “KUSUSHIKI” follows at No. 3, down two notches from the week before. But the track continues to rule streaming for the third week in a row with 10,607,816 weekly streams.
Trending on Billboard
King Gnu’s “TWILIGHT!!!” rises 7-4. Streams for the Detective Conan: One-Eyed Flashback theme song are up to 227% (No. 4 for the metric), radio airplay to 280% and video views to 188% compared to last week. Mrs. GREEN APPLE’s “Lilac” follows at No. 5 on the Japan Hot 100, showing strength in karaoke, streaming and video, with karaoke holding the top spot for 16 consecutive weeks since the chart released Jan. 15.
The two debuts in the top 10 this week were CANDY TUNE’s second single, “Oshi Suki Shindoi” at No. 7 and RADWIMPS’ “Tamamono” at No. 9. The latter is the theme song for the ongoing NHK morning drama series Anpan.
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 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
CENTRAL MUSIC & ENTERTAINMENT FESTIVAL 2025, a music festival event held in the heart of Yokohama, took place April 4-6, 2025.
Led by the concept of “Bringing the sounds of Japan to the world,” this new music festival in Yokohama presented a wide range of entertainment, from artists that have drawn the attention of the world to anime, technology, and more. The whole city of Yokohama became an enormous festival space, with performances at venues such as K-Arena Yokohama, Yokohama Red Brick Warehouse’s Red Brick Park Special Venue, KT Zepp Yokohama, and Rinko Park. This article covers Echoes Baa, which was held at the Red Brick Park Special Venue of Yokohama Red Brick Warehouse on April 5 and 6.
The event was curated by Echoes, a new label established in September 2024. The main stage lineup featured Echoes artists like YOASOBI, MAISONdes, and Aooo, as well as major artists from other labels invited as special guests. Echoes also runs the MECRE collaboration platform, which brings together people who love music and creation, so in addition to live shows, Echoes Baa also had DJ sets, workshops, and other new forms of entertainment experiences covering a wide range of creative expression.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Looking around the site before the first performance, the first thing that catches the visitor’s eye would be the massive art wall at the rear of the field. Created by up-and-coming artists such as COIN PARKING DELIVERY and SIMON, it became a photo spot for the event’s many visitors. YOASOBI and the mobile bookstore BOOK TRUCK also collaborated in “The Traveling Bookstore YOASOBI.” The store carried YOASOBI-related books, books selected by Ayase and ikura, and books related to other artists performing at Echoes Baa. On both days of the event, there were also workshops with the theme of “Fun DIY for everyone, regardless of skill level.” In the silkscreen workshop, people could print their own t-shirts and apparel with unique Echoes graphics. Those taking part in the tufting workshop were able to make their own Echoes-exclusive rugs. These workshops were so popular that they were fully booked before the live performances even began. There was also Echoes’ first-ever pop-up shop, “Echoes Maaket,” which sold limited-edition Echoes merchandise. In front of the shop were large capsule prize machines with a variety of metal badges adorned with Echoes logos. These were also popular, selling out early in the event.
Trending on Billboard
The first live performance began with an energetic rendition of “Idol” by YOASOBI. ikura declared, “Our show’s going to set the standard for the whole festival’s energy levels!” The band went on to play hit after hit, such as “Into The Night” and their newest song, “PLAYERS.” Between songs, they also talked to the crowd, getting everyone to join in in celebrating Ayase’s birthday, which had been the day before, on April 4. Between performances on the main stage, Gaku, Aiobahn, Aiobahn +81, DJ Kazu, and tomad kept the excitement up from the second stage.
KAFUNÉ kicked off their set with “Otonagokko.” During ”Nounaihanseikai,” they were joined in by the audience, and in their last song, “Melty Love,” they filled the air with beautiful falsetto vocals. During NOMELON NOLEMON’s set, tsumiki declared “We came to win today!” from up on stage and then brought the audience to a fever pitch with their catchy “Midnight Reflection,” a song featured in Mobile Suit Gundam GQuuuuuuX.
asmi, dressed in a colorful costume, started her set with the pop tune “Dokimeki Diary.” She delivered lyric-packed songs like “Face This Way” and “PAKU” in her ennui-tinged yet resonant voice, accompanied by pop melodies. syudou began his first song, “In the Back Room,” with an a cappella intro in a performance that was so confident that you’d scarcely believe that it was his first ever outdoor performance. With a set list that just kept them coming, you could feel the power coming off the stage.
The headliner on the first day was MAISONdes. The show featured a constant tide of “residents” like asmi & THREEE, noa and Kayayu, Pii & meiyo, riria., suisoh, MIKIMARIA, Ren, Yuika & KAFUNÉ and AYUNi D, each creating their own chemical reactions. Rei, from the new project NICHIMEZO, also sang. There was even a surprise appearance by virtual singer KAF, who performed via a monitor and passionately performed “Tokyo Shandy Rendez-vous” alongslide tsumiki’s drums. Then asmi took to the stage again, finishing off the first day’s performances with “Yowanehaki.”
The second day started at a full gallop with FRUITS ZIPPER’s “NEW KAWAII.” In “Watashino Ichiban Kawaiitokoro,” the audience copied the group’s choreography, and the stage positively overflowed with cuteness. Next was Luov, a three-piece band that was just formed in February of this year. They entertained the crowd with their buoyant vocals and sound on songs like “Dai Dassou Keikaku” and “Toumei shabon,” perfect fits for the concert venue, surrounded by the sea and the clear blue sky.
There was a long line at the vending machine selling original Central drinks with designs featuring the show’s performers. While the stage was being prepared for the next act, Gaku, Aruku Hito, DJ To-i (from DISH//), dshino (Toshitaka Shinoda from Ijigen TOKYO) and yuigot put on their own performances, keeping the vibe going.
The main stage thronged with people awaiting Chevon’s set, which they launched into with “Knock Boots.” The audience pumped their hands in the air to Mayuu Yaginu’s vocals, which dripped with charisma and seemed to pierce the sky. Then Mayuu shouted “The second chapter of Chevon starts here and now, at Echoes Baa, with the arrival of the ‘KAIJU! (Japanese title: Daikoushin)‘” and the band charged into the next song, never letting up on their momentum. TOMOO began her set with a rhythmical vocal performance of “Ginger.” Her clear singing voice harmonized beautifully with the ocean-side vista, gently enveloping the audience with songs like “Itterasshai” and “Contrast.” The last song of her set, “Super Ball,” was like a warm spring breeze. The band Aooo, made up of Riko Ishino, THREEE, Hikaru Yamamoto, and tsumiki — each an accomplished artist in their own right — melded the unique sounds of the three instrumentalists with Ishino’s voice. Her voice ranged from wistful, like on “Casablanca,” to powerful and commanding, like on “Fragile Night.”
The headliner on the second day was the opening act on the first day: YOASOBI. They performed hit after hit, such as “Idol,” “UNDEAD,” and “Seventeen,” with Ayase shouting out, “Here, today, I know without question that this is the heart of it all, where we bring music to the world!” During “The Blessing,” the night sky over the Port of Yokohama was lit up with fireworks. Then, with the giant chorus of “Blue,” the second day of the event came to a resplendent close.
—This article by Takayuki Okamoto first appeared on 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