Billboard Japan

“No No Girls,” the girls’ group audition project organized by CHANMINA and SKY-HI, leader of BMSG, will begin streaming on YouTube starting in October. In preparation for the launch, on Aug. 9, the audition project’s theme song, “NG,” was released as a digital single. With its dope music and grounded lyrics, it’s like a sister song to CHANMINA’s iconic song “Bijin.”
CHANMINA created quite a stir with her announcement that she had married Korean rapper ASH ISLAND and was an expectant mother, moving on to a new stage in her life. Billboard JAPAN recently had the opportunity to talk with her about what went into the creation of this new song and the audition project.

Congratulations on getting married! Is everything going well, health-wise?

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Thank you. I’m doing great. I appreciate everyone’s blessings. I’m doing just fine!

Around when the music video for “20” came out, a lot of people were suspecting that something was up, and your announcement right after that about getting married and being pregnant with your first child came as quite a surprise.

I thought about not mentioning anything about it, but I’ve never been a fan of hiding my private life, and I’ve always sung about my own life in my songs anyway.

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I’m interested to hear what you feel as you experience marriage, pregnancy, and childbirth. I’m sure there are insights that you can only reach through those experiences. I wouldn’t be surprised if your artistic output also changes.

I think that’ll probably happen. I can already feel it. For example, I’ve gotten back that thorniness I used to have. I lose my temper easily. I think that’s because the “womanly” part of me is taking a bit of a break, in a way. I’m not trying to be well-liked–I’m not hung up on other people’s feelings. I feel like I’m standing up and taking on the challenges I really need to as a person. That’s why this song came out the way it did. It’s been a while since I rapped.

Yes, I wanted to talk about that. So the changes in your personal life are also affecting your music?

I think so. I actually tend to rap a lot lately.

When did you start working on “NG”?

Actually, I started working on it back when I was making “Bijin.” I wrote about ten songs while I was perfecting “Bijin,” and “NG” was one of them. While I didn’t release it back then, I always liked it, so I kept it in my back pocket. It felt like a good match for this audition project, so I rewrote the lyrics, reworked the sound and the melody, and changed up the flow. Really, I finally finished the song by remaking it. It’s not like somebody asked me to make a theme song, but I thought it would be better if the project had one, and that this would be a good fit.

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Now that you mention it, it does feel very close in spirit to “Bijin.” Why didn’t you use this track originally for “Bijin”?

The beat was too hard, and I felt like I couldn’t fully handle it back then. It’s very unique, but also very minimal, and it really felt kind of scary. Plus, there were a lot of other things I wanted to do at the time. For example, I wanted to put in a melodic section. Now, I’m able to take on all those challenges, so I changed up a lot of parts, and this is how it turned out. JIGG, who I worked on the song with, was surprised at how the song evolved.

You said that you’re able to take on those challenges now. Why is that? Does it have to do with the changes in your personal life?

I think so. I don’t worry about the little things anymore. I’m no longer focused on “if I do this, then people will think about me that way.” That’s why the process of making “NG” was a rather fast one. I still can’t really explain the changes that happened in me very well, but what I can say is that I’m in fact changing. It’s like…I’ve become more solid.

Maybe it’s part of getting ready for motherhood.

Maybe. Until recently, I was more a “girl,” but now I’ve become more of a “woman”—more of an adult. I don’t focus so much on the little details. I’ve got bigger things to deal with now. So maybe that’s enabled me to focus on what I really need to do. “Bijin” was a struggle to write, but “NG” wasn’t at all. I knew what I wanted to say, so the whole song-writing process went more smoothly compared to the past.

The lyrics in the first half are about your experience with having your beauty denied.

I left those lyrics as-is from when I originally wrote them. “Bijin” alone wasn’t enough to finish the fight.

One of the things that gives the song such a distinctive CHANMINA feel is that it’s opposed to prejudice based on looks, but it doesn’t deny femininity.

I think you should be able to enjoy femininity. I think that beauty is the state of achieving your aesthetic ideals. So, of course, beauty will be different from person to person. For someone striving for femininity, that will be beauty. For someone who isn’t, then there will be some other kind of beauty.

And then in the second half of the song, you’re singing about human nature and attitude.

I don’t think true beauty is skin deep, but instead is achieved when outer beauty is paired with inner beauty. One of the lyrics is “Your ‘No’s didn’t kill me.” That’s about the responsibility that comes with being a person who lived on, without dying because of beauty. It has a strong sense of doing what you can.

The pronouns in the songs are also interesting. “Bijin” ends with you using “we,” which made quite an impression, but “NG” ends with you using “I.”

That’s another expression of that sense of responsibility. It’s the responsibility shown in saying “I’ll take the lead.”

I see. While the song is sung in the first person, with the lyrics sung from the position of “I,” I feel like it will resonate with anyone who has been told “No.” It will feel like “our song.” So even though you don’t use the word “we,” it expresses that collective “we.” On a wordsmanship level, it may even surpass “Bijin.”

Thank you. I feel like my lyrical skills are improving, little by little. For example, while the content of this song is hard, I don’t use the f-word even once. That’s something I’ve been trying to focus on in general.

So, I hear that this is your first interview since you announced your marriage and pregnancy. Is there anything you’d like to say to our readers?

I never expected for people to celebrate the news so much. There are so many people who have told me that they’re so happy, that it’s like they’re the ones who are getting married and becoming a mother. I’m so grateful for all the wishes, and I feel a profound sense of responsibility.

That just shows how much people are placing their hopes on you. You have to take good care of yourself.

I am. This isn’t just my own body anymore. I didn’t just feel that because of the baby inside me, but because of everyone’s reactions. I’m happy to have sung about my own life.

Right, you’re a part of everyone’s lives, now. You’ve got to live a long, happy life.

Thank you. I’ll do my best!

—This interview by Sotaro Yamada first appeared on Billboard Japan

Kenshi Yonezu announced the dates for the international leg of his 2025 JUNK world tour. The tour is scheduled to start in March after the J-pop hitmaker wraps up his domestic trek, making stops through April in Shanghai, Taipei, London, Paris and New York and closing in Los Angeles. This will be the “KICK BACK” […]

Fujii Kaze will livestream the first of his back-to-back shows at Kanagawa’s Nissan Stadium set for Aug. 24 and 25, entitled Fujii Kaze Stadium Live “Feelin’ Good,” on his official YouTube channel. These stadium performances are expected to draw 140,000 fans over the two days. To commemorate the YouTube livestream, the “Kirari” star will also […]

On April 27 and 28, Ado performed two shows at the National Stadium, entitled [Ado SPECIAL LIVE 2024 “Heart”].
She had just finished [Wish], her first world tour, which took her to Asia, Europe, and the U.S. She carried that momentum with her into the “Heart” shows. This was the first time a female solo artist had ever performed at the National Stadium, whose extensive renovation project ended in November 2019. Tickets for the two day event sold out immediately, and 140,000 people were there to see this historic moment. On the first day of the shows, Ado made a vow.

The show began with the sound of a guitar — the bridge part of the song “KokoroToIuNaNoFukakai.” The volume gradually rose, accompanied by the audience clapping in rhythm, creating a sense of unity. The sound of a heartbeat pulsed through the stadium, followed by a dynamic opening movie, raising expectations. And then Ado herself appeared on stage, above the band, in a box-shaped cage. Her intimidating voice boomed out “What is just? What is folly? I’ll show you.” The first song, unleashing a tidal wave of excitement, was her major label debut, “Usseewa.” The heavy, almost metal-sounding instrumentation and the powerful, shouted lyrics blended to produce a new song that went far beyond the original. It was the kind of sonic world that only Ado could create. A song needs to touch your heart. That’s far more important than how intelligible its lyrics are. This was brought home by the song “Tot Musica.” Ado’s awe-inspiring voice was an embodiment of the movement of the smoke shown on the enormous center screen. The impact of her voice commanded the stadium, like venom, a work of art in itself. Although her singing frequently dipped into growling vocals, it maintained an exquisite balance, never sounding coarse. Her aesthetic sensibilities never faltered.

In contrast to the energy of these two songs, she set a more mature mood with “Lucky Bruto,” which she sang laying on her back, one leg raised high, and “Domestic De Violence,” which she performed laying down, putting on a sensuous dance. In “Aishite Aishite Aishite,” her natural expressiveness shined to its fullest. As if possessed by the song’s protagonist, she held nothing back, expressing the true tragedy of the piece. Every time her vocals seamlessly shifted from a keen voice, sharp as a blade, to a beautiful singing voice, the audience broke out in goose bumps, breath bated. The song climaxed with her shouting out the lyrics “I am so happy! AAAAHHHH!” The crowd broke out in loud exclamations of admiration as her screams paired with the frenzied, flashing lights and the visuals, which faithfully reproduced the feel of the song’s music video. It was an unforgettable moment.

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Her cage rose into the air as she sang “Kagakushu,” followed by “Motherland,” which featured expert vocalization, supported by the crowd clapping to the rhythm. In “Gira Gira,” her rhythmic steps evoked the image of tap-dancing. The cage came down to its original position and a new arrangement of “Eien No Akuruhi” began. Ado’s voice was a genuine expression of a young girl’s mind, like a princess dancing with a prince at a ball. Then the audience looked up at the night sky as one in a moment of reflection on the memories of their youth. As the ballad drew to an end with a majestic outro that was far longer than anyone had been expecting, drones took to the open sky above the National Stadium, depicting a heart, the line of a heartbeat monitor, and then Ado’s symbol, a blue rose, accompanied by fireworks. The crowd broke out in cheers.

A euphoric Ado then performed “I’m invincible,” wearing a large, billowy dress. Her performance made it evident how deep her understanding of the song was, and showed the richness of her expressive abilities. She reproduced every ounce of feeling that went into the song, down to the finest details. In “Readymade” and “Kura Kura,” the crowd sang along. This was followed by the bittersweet “Chocolat Cadabra,” where a wild spirit and dynamism intertwined. On “Value” and “Hello Signals”, her voice was relaxed and smooth, heightening expectations of what was to come. There were many moments in the show in which one felt oneself drawn in by Ado’s humanity and rich expressiveness, demonstrated not only in her almost scream-like vocals, but also in each and every movement of her vivid dancing. Sometimes powerful, sometimes delicate, her steps were always elegant.

Once freed from her cage, she sang “Ibara,” followed by “Show” and “Odo,” the frenzied peak of the night. Stepping one level lower on the stage, she swaggered from one edge of the stage to the other. Flames shot into the air, the crowd clapping in rhythm along with Ado’s flexible voice. Ado’s vitality was truly moving.

Speaking to the audience, Ado reflected on [Wish], her first world tour, how she used that experience in her “Heart” performance, and how the tour made her come to love Japan even more.

“I came to really feel how important it was for the people of the world to learn about what a wonderful country Japan is, and to learn of our culture. I want to become an even bigger global presence, and I hope people can learn about what a great country this is through me.” “I swore to myself that if I could achieve this, I’d bring joy to the people of Japan, whether it be through music or something else.” 

The title of these shows, “Heart,” represents all of the feelings people have: anger, pain, temptation, transience, sorrow, joy, reminiscence. At the same time, Ado explained, it represented the Vocaloid and utaite culture that led Ado to become a musician. “The next song is the final song. You’re ready for more? You haven’t had enough?? You want more???” With that, as silver confetti fluttered through the air, she sang “New Genesis.” The words to the song, “Let’s go to the New World,” “I’ll show you my dreams,” filled the stadium, inviting listeners to a wonderful future.

There were three special guests on the 27th. Opening DJ TeddyLoid, who worked on “Show” and “Odo,” played remixed versions of Ado songs. In the encore, “DIGNITY,” a giant blue balloon appeared on stage. Inside it were Ado and Tak Matsumoto of B’z, who helped write the song. In “missing,” Ado boarded a birdcage cart that took her around the arena, and then Ado, electrifying the audience with “Backlight” and “FREEDOM,” returned to the stage.

“Vocaloid and utaite are at the center of my heart. I hope these two wonderful cultures will grow around the world. If I can, I want to be a bridge between the two. And now is the moment when I do just that.”

Next to Ado, who had changed into elegant, flared pants, appeared the night’s final guest, Hatsune Miku. Dancing symmetrically, the two sang “Sakura Biyori to Time Machine,” a new song written by mafumafu debuting for the first time. Ado’s singing voice was tearful, like she remembering the past as she sang. It was a voice of genuine warmth.

Ado began to reflect on her own past. She used to hate herself, and couldn’t allow herself to rely on others. The only place for her in this world was social media. She wasn’t smart, she said, or skilled. She was gloomy. And yet, she had a desire for recognition and approval, stronger than anyone. She was saved from this tumult of emotion by music and singing, her great loves, so she chose to keep singing…

“Nobody knows that the future holds. That’s why I felt, so strongly, that maybe things would work out. My beloved Vocaloid and utaite cultures gave me faith in the future. Now, here I am, standing in that future I so longed for.” “I hope the song (“Sakura Biyori to Time Machine”) I sang with her (Miku), and this show this evening, can give back to the Vocaloid and utaite cultures, and help lead the way to the future. Please, don’t forget these cultures I love so much.”

The encore ended with a passionate performance of “KokoroToIuNaNoFukakai,” a song with a special significance for Ado. The lyrics “How can I decide my emotions?” had a rawness to them that made the audience’s hearts go out to her. Ado bowed deeply and left the stage and, as if in celebration of her birthday, the sky was lit ablaze with gorgeous fireworks. The magic lingered on, even after Ado’s departure. 

This was a night that embodied Ado’s past, present, and future. The most captivating part was her sincere, humble personality. Her character may be why she keeps evolving while never forgetting where she came from, as her performance made so clear. On July 10, she released her second album, Zanmu, and from July 14th she launched her first nationwide arena tour, [Ado JAPAN TOUR 2024 “Mona Lisa’s Profile”]. The passion she exudes never wanes. Her desires have grown to a global scale, as she wants to share the wonders of Japan through the cultures of Vocaloid and utaite. With Ado, we are truly seeing the new genesis of a pop icon.

This article by Mio Komachi first appeared on Billboard Japan.

Full setlist:

1. Usseewa2. Tot Musica3. Lucky Bruto4. Domestic De Violence5. Aishite Aishite Aishite6. Kagakushu7. Motherland8. Gira Gira9. Eien No Akuruhi10. I’m invincible11. Readymade12. Kura Kura13. Chocolat Cadabra14. Value15. Hello Signals16. Ibara17. Show18. Odo19. New Genesis

Encore20. DIGNITY21. missing22. Backlight23. FREEDOM24. Sakura Biyori to Time Machine25. KokoroToIuNaNoFukakai