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Singer-songwriter YU-KA traveled to Sweden to work with local creators and co-write the songs on her newly released five-song EP, Wild Nights. With songs like “Feel Like This,” the ending theme to part 1 of the Netflix series Beastars‘ final season, the EP has a mellow electronic sound evocative of northern Europe, and YU-KA’s delicate singing voice and expressiveness are in full bloom. She talked with Billboard Japan at length about how her time in Sweden stimulated and inspired her, and how she put those feelings into her music.
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Your new EP, Wild Nights, came out six months after your previous EP, Sunshade. Were the songs on the albums written around the same time?
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I didn’t write the lyrics or put the finishing touches on the songs until after Sunshade‘s release, but I made the actual demos for all of the songs in Sweden last summer. I was there for a little under a week, and while there I wrote a lot of different songs with different writers. The songs on Wild Nights come from the songs I wrote there. The speed with which the Swedish writers worked, and their way of thinking, was a little different than Japanese artists. Even the way they chose sounds was totally different, so it was an extremely stimulating experience.
Actually having gone to Sweden, did you find that it had a unique atmosphere of its own?
In Japan, everything gets lumped together as “Western music,” but the music in Sweden has a different feel than American or British music. Also, even though Sweden and Japan are very far away geographically, the character of the Swedish people is a good fit in many ways for that of the Japanese people. I felt a strange link between the countries. The artists I co-wrote with have also written songs for other Japanese artists, so they had connections with J-pop. I felt an unexpected affinity throughout the songwriting process.
What is the concept behind Wild Nights?
When writing the lyrics afterward, I wanted to make the theme for the EP “night.” Ever since my debut, I’ve been writing and releasing music, so I decided to stop for a second and think about my own artistry and my own strengths. I realized that, in the duality of light and dark, I tended toward the dark side. Other musicians and my vocal coaches often describe my voice as having a “shadowy” feel. Also, a lot of the songs I wrote a long time ago, on my own, were dark songs. So that’s why I decided to make the theme of the EP “night.” The title Wild Nights comes from a poem by Emily Dickinson. I found out about her in university, where I was majoring in English literature. When I was struggling with the decision of whether or not to become a singer, I was inspired by her poetry, and I decided to give music my all. “Wild nights” refers to stormy nights, and I thought that fit perfectly with the EP’s image, so I chose it as the title.
The image of your previous EP, Sunshade, was that of being out in the sun, so the new EP’s title stands in contrast.
The theme of Sunshade was “J-pop.” The songs I wrote in Sweden had a sound that was more like Western music, so before releasing them, I wanted to make an album that embodied my J-pop side. That was Sunshade. That’s also why the lyrics are relatively straightforward, while the lyrics on Wild Nights are a bit more aggressive and wild. In that sense, too, I think the two EPs present a contrast.
“Feel Like This” is the ending theme of part 1 of the Netflix series Beastars final season. Since it’s a tie-up, you’d expect it to go in a J-pop direction, but instead you took a bold approach, going with all-English lyrics.
The anime’s production team asked me to use English lyrics, and I thought it was a good idea. It’s evidence of the fact that anime is watched around the world. I was really happy that they picked me to write the ending theme. When I wrote the song, in Sweden, my vision was to pair it with English lyrics, so I think it was easier to write the lyrics in English than if I’d tried to write them in Japanese. I like lyrics that tie into the work the song is being used for, so I had fun writing them.
Beastars is set in a school, and it’s a love story, but it’s also enjoyable because of its takes on social issues like discrimination and its exploration of identity. What did you focus on when you wrote the lyrics?
The main character, a wolf, is in love with a rabbit, who’s a herbivore. In the natural world, their relationship would be predator and prey, but there’s a romance element, which is one of the key features of the anime. I think that contrast between reason and instinct is really important. The whole anime is a metaphorical depiction of problems in human society, and I think there are themes that apply to everyone. For example, think of what you want to do as being “instinct” and what you have to do as being “reason.” There are a lot of people who sacrifice what they want to do for what they have to do. It’s important not to let your instinct run rampant, but if you go overboard in ignoring your own desires, you’ll eventually come apart at the seams. I’ve felt that in my own life, so I based the lyrics on that idea. The lyrics use the contrast between certain expressions in English, and there’s a sense of playfulness that runs throughout.
I wrote the song “1-2-3” [also on the album] with David (Fremberg), who also worked on “Feel Like This.” Originally, we were just working on “Feel Like This,” but then we realized that if we kept focusing on this one song alone, we wouldn’t be able to come up with anything good. Instead, we figured we should play around with something else for a while and then come back to “Feel Like This.” And that’s how “1-2-3” came to be. We wrote “Feel Like This” and “1-2-3” in a single day.
The new EP has a good balance of English and Japanese lyrics. The last song, “Silent Parade,” is in Japanese, so the message and intent come through really strong.
There’s been a lot going on in the world recently, and perhaps because of that, the sight of people taking a position and asserting themselves has stuck with me. Asserting yourself is an impressive feat, you know. But if you think about it, being a singer-songwriter is similar, in a way. Singer-songwriters start out on their own, but they’re able to keep on making music thanks to the relationships they develop with all kinds of other people, like listeners or staff members. As they go on, that line of people becomes even longer. The question is whether, when you start out as in this silent parade, all by yourself, you can imagine all the people that will one day join in. Whether you can trust that to happen. That’s why it’s “Silent” and not “Alone.” I wanted to encourage people who step forward. They may feel like they’re alone, but when people have their sights set on the future and they keep pushing forward, they’re walking at the front of a long line of the people who will one day join them. When I started out, I thought I was all on my own, but now, as YU-KA, I’m surrounded by staff members and people who support me. Writing the song, I was struck once again by just how precious their presence is, and it made me want to make the YU-KA parade an even bigger one.
This interview by Hiroko Goto first appeared on Billboard Japan.
The details and entries for all 62 categories in the inaugural Music Awards Japan, set for May 21 and 22 in Kyoto, have been announced. Yellow Magic Orchestra (YMO) has been named the Symbol of Music Awards Japan 2025, the act that personifies the spirit of this year’s MAJ.
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About 3,000 entries were announced, with 256 songs up for Song of the Year, 167 artists in Artist of the Year, 171 albums in Album of the Year, 61 artists in New Artist of the Year, 100 songs in Top Global Hit from Japan and 24 songs in Best Song Asia.
Voting is currently underway among artists and creatives nominated for an award, plus media-related and other music industry professionals from Japan and overseas. The nominees will be announced on Thursday, April 17, and the award winners will be revealed at the ceremony set for May 21 and 22. All of the entries can be viewed on the official MAJ website, and Spotify is currently celebrating the entries with its “museum” playlist. Fans can check out playlists for each category on various streaming platforms including d Hits, Amazon Music Unlimited and Apple Music.
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Atarashii Gakko! took to the stage at the event in Tokyo announcing this year’s entries. The four-member group is slated to perform at the music event called matsuri ’25: Japanese Music Experience Los Angeles on Mar. 16 with Ado and YOASOBI, an event by the Culture and Entertainment Industry Promotion Association (CEIPA) that organizes MAJ.
In addition to the main categories mentioned above, MAJ has a total of 62 categories including: International Special Awards — awarded to songs that have won an award for Best Song or an equivalent prize in music awards in six countries — linked to award events in South Korea, China, Thailand, Indonesia, the Philippines and Vietnam; the award for Largest Live Audience honoring Japanese artists who attracted the largest crowds in shows; and the Honorary Award in Music Technology, which celebrates Japanese music-tech professionals who have contributed to the music industry on a global scale.
Fans can participate in the selection process for the following five categories: through Spotify’s voting function for the Best of Listeners’ Choice awards for Domestic Song and lnternational Song powered by the streaming platform; the Special Award: Karaoke for J-pop and Enka / Kayōkyoku powered by DAM & JOYSOUND honoring songs sung the most at karaoke; and for the Special Award: USEN Request Oshi-Katsu Request Artist of the Year powered by USEN honoring the song requested the most on the USEN Oshi-Katsu Request Ranking.
Yellow Magic Orchestra (YMO) has been named the Symbol of Music Awards Japan 2025, the act symbolizing the guiding principle that MAJ aims to achieve. The trio consisting of Haruomi Hosono and the late musicians Ryuichi Sakamoto and Yukihiro Takahashi formed in 1978, sparking a techno-pop craze in Japan and successfully touring internationally. The group was chosen as this year’s Symbol for the way they transcend borders and eras, showing a future that the MAJ strives to aim for. A YMO tribute concert will take place at the Kyoto International Conference Center on May 20, with performing artists and other details announced later.
International Special Awards: This category was established by CEIPA, the organizer of MAJ, in collaboration with music awards and their organizers in six countries: South Korea, China, Thailand, Indonesia, the Philippines and Vietnam. It recognizes songs that have won the award for Best Song or an equivalent prize at music awards in the six countries. The top executives of the music awards in each country, or those nominated by the top executives, will participate in MAJ as overseas voting members. The category aims to connect the countries of the Pacific Rim through music, such as by realizing collaborations between artists from various countries through the collaborations between music awards.
Largest Live Audience: This award honors the artist who attracted the largest number of people to their shows. Based on the research data of the Live Entertainment Research Committee — a group of organizations and companies that surveys the size of the domestic live entertainment market, instances of overseas expansion, etc., and compiles an annual report — the artist who attracted the largest number of people to their live performances in Japan in 2024 will be awarded. This award celebrates the activities of artists who have energized the live music scene that has been on the road to recovery since the end of the pandemic.
Best Radio-Break Song: Radio DJs/personalities, directors and producers from 99 radio stations across Japan, who are at the forefront of the music scene and in direct contact with listeners, will vote as special radio voting members. This category will select songs with innovative appeal that update the music scene through a professional perspective, based on the music airplay data compiled by radiko.
Overseas Voting Members (partial list):Lucian Grainge (Chairman and CEO, Universal Music Group)Rob Stringer (Chairman, Sony Music Group)Robert Kyncl (CEO, Warner Music Group)Lyor Cohen (YouTube & Google Global Head of Music)Annette Barrett (President, IMPF)Hannah Karp (Editorial Director, Billboard)Ellen Lu (Vice President of Regional Festivals at Goldenvoice)Alex Norström (Co-President and Chief Business Officer at Spotify)
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.
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The latest installment of the series features Aimi Kobayashi. The 29-year-old classical pianist first performed with an orchestra when she was seven and made her international debut when she was nine. In 2021, she came in fourth place in the International Chopin Piano Competition, attracting attention from around the world. In November 2024, she released her first new album in three years after taking maternity and childcare leave. On behalf of Billboard Japan, the writer Rio Hirai spoke with Kobayashi, who shared her current mindset as she continues to advance her career while enjoying the major changes in her life.
You’ve built a career as a pianist, garnering international attention from a young age. Has your approach to music changed since you got married and became a mother in 2023?
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Aimi Kobayashi: My approach to music hasn’t really changed. Of course, the way I use my time has changed dramatically since becoming a mom. I have an adorable little monster at home, so it’s tough to find time to practice for concerts. But when I see how cute my child is, that alone makes me feel like working hard again.
So even after the stage in your life has changed, you continue to be committed to music. Still, there must be difficulties in continuing your career while parenting.
There are many other difficult things in life besides childbirth. So you just have to adapt to the situation you find yourself in and get on with it. You get used to the situation and it becomes the norm, so you don’t have to think too much about it and just do what’s in front of you, thinking “I have to get it done somehow!” I do my best with housework and parenting, but I don’t expect to be perfect at everything. I’m pretty casual about everything except my job. I think the secret to continuing your career is to get help from the people around you like your parents and set up a support system.
Were you good at relying on other people before you became a mom?
No, I was the type who couldn’t rely on others. But after having a baby, I found myself thinking more often that you can’t live on your own, so I started relying on people around me without hesitation. I’m a mom, but don’t think I have to raise my child on my own. Of course I feel that I have to protect my child, but both the mother and father should equally fulfill their parental roles. You share the housework and childcare with your partner, and if that’s still too much, you can ask for help from other people and raise your child together.
That’s true. When you were in your teens or early twenties, did you ever feel anxious about balancing work with marriage and parenting?
No! I didn’t intend to give up either. I think it’s possible to balance both depending on who you marry. I wanted to be a pianist even after I got married and became a mom. That’s why I wanted to marry someone who would understand and support my career.
When you were 17, you took a break from playing in concerts and went to study at The Curtis Institute of Music in the U.S. Did you feel differently then, compared to during your recent maternity and parental leave?
During my time abroad, I only took a break from doing concerts and continued to practice improving my skill, so it felt completely different. As for maternity and parental leave, it was the first time in my musical career that I took a real break. It’s not often that you get a break that everyone around you congratulates you on. I really enjoyed raising our child and doing the housework while waiting for my partner to come home. But as it continued, I really started to feel the desire to go back to work. My partner continued to perform at concerts, so there were times when I felt anxious and wondered, “When will I be able to get back to work?”
I see. How did you overcome that anxiety?
I decided to push my comeback back two months, and that was a big relief. I had concert plans and other things lined up, and had initially decided to return to work as soon as possible because I didn’t want to cancel or postpone. I’d never experienced any major illnesses and was in good health, so I thought I’d be able to manage it if I just worked hard, but giving birth was harder than I’d expected. Even so, I still thought I had to return as soon as possible and ended up getting sick and feeling mentally overwhelmed. Then, the people at my agency and my manager told me, “Your mind and body will be back to normal with time, so take it easy and rest.” Their kind words lifted the weight off my shoulders and eased my postpartum anxiety, and I was able to return to work.
I’m really glad there are people around you who understand. What do you think is necessary for women to continue making music in this industry for a long time after marrying or becoming a mom?
It’s good to have a place to return to after taking maternity leave. Children are a gift, and there will be times you have to cancel shows. I was grateful there were so many people who understood this and waited for me to come back. This isn’t just limited to the music industry, but if there’s an environment that supports women taking maternity leave, then it will make it more enjoyable for them to look after their kids. And although it may be slow, I think that society is changing. Rather than focusing on the things that mothers and women can’t do, I want to believe that the world is becoming a better place and live my life as I wish.
Many women have careers in classical music, but for example, more men have been awarded at the International Chopin Piano Competition, and the ratio of male and female musicians also differs depending on the instrument. What are your thoughts on the gender imbalance in this industry?
I do sense some remnants of history, like the fact that Western orchestras used to be comprised of only male musicians in the past. A friend of mine, a female musician in an orchestra once told me that it’s hard for women to actively participate in orchestras. I do think that it takes intense conviction. The same is true for office workers. Some might imagine that a woman has to work as hard as a man to advance her career in an administrative position. I think I can make the most of my strength as a woman without compromising my identity.
Have you personally been affected by gender inequality?
I do feel it since I became a mother. Being pregnant was a wonderful experience. Only women can experience nurturing a life inside themselves and giving birth. But I also envy men who can pursue their careers without taking time off when they become fathers.
In addition to motherhood, changes in the stages in women’s lives can sometimes be an obstacle to career advancement.
Women do go through various changes in their lives, like having to raise kids or care for their parents someday. When changes like these happen in the home, more women tend to sacrifice their careers, and it feels like this is linked to gender imbalance in society. Also, women often suffer from physical problems due to hormonal imbalance caused by age. Women have to overcome many obstacles to advance their careers.
Do you have any role models, someone who makes you think, “I want to live my life like this person”?
There aren’t too many (female) classical musicians who continue to be active after having children. So I admire women in any field who flourish in the work they want to do after having kids. But this is my opinion as a married woman who has a child. Whether or not you get married is up to you, and being a mom isn’t everything. I think it’s fine as long as you’re happy.
I think you’re a role model for many people. Do you have any messages for women who might be worried about being able to advance their careers even as changes happen in their lives?
When you can’t find the answer to something even after thinking hard about it, it’s important to summon up your courage and take a step forward. You might gain new perspective, and even if you don’t find it right away, you might be able to arrive at your own answer by taking one step at a time. When I was a teenager, I used to think I had an infinite amount of time, but after becoming a mom, time passes like the wind. So I think it’s better to try the things you want to do now without holding back, and to live your life without regrets.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Travis Japan’s “Say I do” debuts at No. 1 on the Billboard Japan Hot 100, dated March 12.
This song is being featured as the theme song for Honnou Switch, the drama series starring member Kaito Miyachika and actress Wakana Aoi, and is the first CD single by the seven-member boy band. The track launched with 147,896 copies to rule sales, top downloads, and came in at No. 53 for streaming to give the group its first-ever No. 1 on the Japan Hot 100.
Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2, extending its stay in the top 10 to 47 weeks. The Oblivion Battery opener rules streaming for the 27th week with 10,034,805 weekly streams, tops karaoke, and comes in at No. 7 for downloads and No. 2 for video views.
Sakanaction’s “Kaiju” also holds at No. 3. Streaming for the Orb: On the Movements of the Earth opener stays at No. 2 (83% week-over-week), and comes in at No. 4 for downloads (54%), No. 4 for radio, and No. 16 for video.
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Mrs. GREEN APPLE’s “Darling” rises two notches to No. 4. The track is currently at No. 3 for streaming and has stayed in the top 3 for the metric since its debut on the list. The former No. 1 hit is at No. 19 for downloads, No. 6 for video, No. 16 for karaoke, and moves 74-36 for radio (160%).
SEVENTEEN’s “Shohikigen” returns to the Japan Hot 100 for the fifth time after the CD sold 94,151 copies this week. Kenshi Yonezu’s “BOW AND ARROW” rises 19-6 after the accompanying music video featuring superstar figure skater Yuzuru Hanyu powered the track to No. 1 for video. Aimyon’s “Sketch,” the theme song for the latest Doraemon feature film, Doraemon the Movie: Nobita’s Art World Tales, soars 69-7. The single rules radio, comes in at No. 5 for sales with 9,217 copies sold, No. 13 for video, and No. 90 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 March 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
With their third full album, awake&build, released in 2024, yama completed their Moratorium Trilogy. Now yama has put the finishing touches on their fourth full album, ; semicolon, in which they set off to a new start as an artist.
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In addition to the previously-released “BURN,” created under the name of yama x WurtS, and “Drop,” which was produced by indigo la End, the album contains new songs which saw yama being joined in the songwriting process by creators and artists they hold great respect for, like maeshima soshi and Shota Horie. These new songs make up the majority of the album. As yama’s career has advanced, their thirst for expressivity has grown even stronger. What is the philosophy that underlies his artistic efforts? Billboard Japan talked with yama about what lay behind the creation of ; semicolon and delved into who they are as an artist today.
I’ve heard that the album’s title, ; semicolon, is meant to represent taking a new step forward as an artist.
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This new album is packed with things I love, music I love, and messages I want to share. I tried to be as much a part of the songwriting and lyric-writing process as possible. I wanted to be involved in any way I could in the album’s creation. I feel like, with my past trilogy of albums, I’ve finally set the foundation in place to move forward (as an artist).
Your 2021 release, the meaning of life, your 2022 release, Versus the night, and your 2024 release, awake & build, make up the “Moratorium Trilogy,” right?
I was feeling things out as I went through my Moratorium period. I was hesitant to perform in front of people, and going up on stage was a struggle. But I couldn’t back down. That’s because for as long as I can remember, music has been the only thing that truly interests me. I just want to keep moving forward. I can’t stop myself. I feel like I’ve grown as a person through this process of trial-and-error. At first, I couldn’t convey what I was feeling to others, but now, having finished the trilogy, I’ve defined what it means to be “yama.” That’s why I was able to make ; semicolon.
Of all of your albums, ; semicolon has the most songs on which you’ve been personally involved in the songwriting and lyrics.
I love singing, of course, but with Versus the night I also started writing songs. Through the process, I found that I was surprisingly strong-willed. I realized that there were things I wanted to say and to communicate, though I didn’t put them in words, and I had a stubborn streak, unwilling to compromise on my message. I started thinking that I’d be better able to convey my aesthetics and my human nature if I wrote my own music.
So turning your own feelings into song and sharing them with others gave you a sense of fulfillment?
Not so much “fulfillment” as more like “purging.” I first fell in love with music because when I listened to music it took a weight off my shoulders and set my heart at ease. When I share my own music, and when I put my own emotions into musical form, it makes my heart feel a bit lighter. That said, I’m still exploring the process of making music. I have this need to make everything perfect, so I overthink things. I just can’t bring myself to feel optimistic, and my output is slow because of that. But when making ; semicolon, I just put that all aside. I took this stance that “I’m just a beginner,” and I started out simply focusing on getting things in song form.
So that creation process itself may have been a way of accepting yourself as you are, flaws and all.
I feel like I’ve been able to forgive and accept myself, a bit at a time. Initially, I didn’t want to show people my shortcomings. But when I revealed my imperfections, I was surprised at how much they resonated with others. People became interested in yama, the person. So, because of that, I’ve also become able to accept my own imperfections.
The album’s name, ; semicolon, came from Project Semicolon, an American movement to support people struggling with mental health issues. Specifically, the semicolon represents the idea of moving from a difficult chapter of your life to starting a new chapter. What was your impression of the project?
I found out about Project Semicolon the first time I performed live in front of an audience. A person who’d been a fan of mine since my indie days gave me a letter and, along with it, a ring with a semicolon on it. In the letter, they wrote about the meaning of the project, and it made a deep impression on me. At the time, I was recklessly rushing forward, doing all I could to move forward. I thought, “I can’t do it yet, but I hope one day I’ll be able to put this concept into song.”
What about Project Semicolon made such a strong impression on you?
That interaction with a fan was a formative experience in my musical career, truly feeling that there are real people out there listening to my music. I’d seen comments on my videos on streaming sites before, but my musical activities had been limited to the internet, so I almost never received messages directly sent to me. But then, this one day, this fan sent me a message. It said “I’d been feeling like I just couldn’t keep struggling with life, and I was thinking about killing myself when I heard the song you released today. I want to hear more of your music, so I’ll keep on trying.”
So your song saved that fan.
I’d been working so hard making music to save myself. It was the first time that I felt that my efforts could save and provide comfort to someone else. Later on, I went on to perform live in front of an audience, and that’s when that fan taught me about the concept of Project Semicolon. Just living each day had been hard for them, but they kept pushing forward, looking for something they could enjoy in their life. Little by little, I grew more confident in my own skills, too, and I got better at communicating with people. It was a gradual process. I never got a semicolon tattoo, but putting these feelings in song form was the same thing for me. I named the album ; semicolon and wrote a song named “semicolon,” and for the rest of the album I let my own curiosity and sense of excitement lead me as I wrote the kinds of songs I wanted to write.
You discovered a new world through your interactions with others. I feel like that’s why you went from having a hard time performing in front of people to coming to enjoy performing live, and it’s where the song “semicolon” came from.
I’ve always made music for myself. That was true long ago and it’s still true today. The issue’s been how much I could grow, how much I could comfort myself, and how much I could forgive and accept myself. I’m sure everyone feels the same, and that everyone’s hard on themselves. But if I extended a helping hand to people simply out of some kind of sense of obligation, that wouldn’t be truly from the heart. I don’t want to pretend to be something I’m not through my music. I make music to cleanse my own heart, and if that comforts other people, then that’s wonderful. I wish someone had told me about the semicolon movement earlier. But unless I can forgive and accept myself, I don’t think I’ll be able to overcome my trauma or the ties that bind me. That’s why I tell myself “Accepting yourself isn’t compromising yourself. It’s just one part of taking control of yourself.” Of course, listeners can take the music as they wish, but I’d love it if when people listened to the song, they didn’t take the lyrics as me or someone else talking to them, but instead felt like the lyrics were a message they were telling themselves.
—This interview by Sayako Oki first appeared on Billboard Japan
Awich dropped a collaborative single called “ASIAN STATE OF MIND” featuring South Korea’s Jay Park; India’s KR$NA; Masiwei, the leader of the Chinese group Higher Brothers; and Cambodia’s VannDa on Feb. 28.
The Okinawan MC and top rappers from each country came together to usher in a new Asian era on this cypher track, mixing their native languages with English to simultaneously compete with each other to flex their uniqueness while giving off a sense of Asian unity.
The accompanying music video, released along with the track, racked up a million views in just 24 hours after its release. Excited fans have left over 20,000 comments in various languages. As the title “ASIAN STATE OF MIND” suggests, the video was shot in each of the home countries of the rappers, who share the same pride as Asian artists.
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Awich, the queen of Japanese Hip-Hop, was recently appointed as global ambassador for JORDAN (Nike), and is set to further expand her reach outside of Japan in the future.
Jay Park, founder of AOMG, H1GHR MUSIC, and MORE VISION, has released a diverse range of music including collaborations with other artists. He’s the first Asian to sign with JAY-Z’s Roc Nation, and is enjoying international success as a highly acclaimed artist.
KR$NA, hailing from Delhi, India, garnered recognition with his Hindi song “Vyanjan.” The 37-year-old MC’s catalog has been highly acclaimed both in India and internationally, and he’s known as lyrical innovator in the Indian hip-hop scene.
Masiwei, from Chengdu, Sichuan Province, is the leader of the Chinese hip-hop group Higher Brothers and also active as a solo artist. In September 2023, he released a collaborative single with Japan’s Satomi Shigemori called “LION (feat. MASIWEI).” The 32-year-old is also the founder of the fashion brand AFGK.
VannDa, born in Sihanoukville in 1997, achieved the feat of being the first Cambodian artist to have a music video (“Time to Rise”) score over 100 million views on YouTube in October 2022. He was included on Forbes’ 30 Under 30 Asia-Pacific music list the following year, and went on to perform along with Phoenix and other acts at the closing ceremony of the Paris Olympics in 2024, introducing Cambodian music on the global stage.
Naniwa Danshi’s “Doki it” blasts in at No. 1 on the Billboard Japan Hot 100, dated March 5.
The J-pop boy band’s eighth single is being featured as the theme song for AOKI’s “Freshers Fair” commercial starring the seven members. The single launched with 336,529 copies to rule sales, while coming in at No. 4 for downloads and No. 9 for radio airplay. This is the band’s third single after “UBU LOVE” and “The Answer” to hit No. 1 (and the fourth week, as “UBU LOVE” stayed atop the chart for two weeks). and “The Answer”).
Mrs. GREEN APPLE’s “Lilac” follows at No. 2. Streaming and video for the track are down from the previous week, but downloads gained by 104%, radio by 117%, and karaoke by 107%. The Oblivion Battery opener has coasted along in the top 5 for the 46th consecutive week, with six of them at No. 1.
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Sakanaction’s “Kaiju” slips a notch to No. 3. While overall points for the Orb: On the Movements of the Earth opener have decreased, streaming rises 3-2 (up 119%) and radio jumps 4-1 (up 147%).
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=LOVE’s “Tokubechu, shite” shoots to No. 4 from No. 56. The track marked the girl group’s highest first week sales with 302,589 copies, coming in at No. 2 for the metric.
timelesz’s “Rock this Party” debuts at No. 5. This is the first new song by the now eight-man group formerly known as Sexy Zone, after five new members joined through the audition called timelesz project. It’s also the first digital release by the boy band since their debut as Sexy Zone. The buzz around the new-member audition powered the track to No.1 for downloads, No. 8 for streaming, No. 53 for radio, and No. 86 for video. In addition, the release of the introductory digital compilation album Hello! We’re timelesz including songs from the group’s Sexy Zone years has sent “RUN” and “Jinsei Yugi” back into the Japan Hot 100. It’s been about four and a half years since the former entered the charts (No. 57 this week), and about a year and three months for the latter (No. 95).
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 Feb. 24 to Mar. 2, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
The third installment of the business conference NOW PLAYING JAPAN, organized by Billboard JAPAN and Luminate, was held on Feb. 6 at Billboard Live Tokyo.
At this event, executives from Billboard JAPAN and Luminate gave presentations on the latest domestic and international trends in music consumption. Additionally, Tatsuya Nomura, Chairman of the MUSIC AWARDS JAPAN Executive Committee, and Yutaka Inaba, Vice Chairman, appeared as guest speakers to discuss MUSIC AWARDS JAPAN, which will be held in May 2025. They focused on Japan’s music market and explained the efforts being made to help domestic artists succeed on the global stage.
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Scott Ryan, Executive Vice President of Luminate, took the podium first to discuss global trends for 2024, including streaming growth, genre trends, and audience insights, using Luminate’s “2024 Year End Report.” In 2024, global on-demand audio streaming grew 14% over the previous year to reach 4.8 trillion streams, which represents an increase of approximately 75% from 2.7 trillion streams in 2022. While 30% of this streaming volume is from the U.S., the growth rate from 2023 to 2024 for countries outside of the U.S. was 17.3%, indicating that the streaming market is growing on a global scale. He also explained that when focusing on Japan, the total number of streaming users (including both premium and ad-supported) grew by about 13%, and the number of premium users grew by more than 10%.
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In addition, Ryan introduced a new metric developed by Luminate, the “Luminate Export Power Score.” This metric is designed to evaluate a country’s ability to export recorded music globally, and is comprised of four data points. The U.S. is ranked first in this metric, with its top importers being Canada, Australia, and New Zealand; Brazil ranks 10th, with Portugal, Bolivia, and Peru being the top importers. Japan ranks 14th in this metric. Ryan also noted the country of origin for artists as a point of interest, and revealed that English speaking markets losing share to imports is becoming a new trend. Meanwhile in non-English-speaking markets, domestically produced works are gaining market share over imports from English-speaking countries (Japan also falls into this category).
Ryan also mentioned that Luminate, now with data enrichment services, has begun to access songwriting works data, and can now share at a broader scale, more information about how songwriters are driving cultural exchange and activity. By taking the top 1,000 global on-demand audio songs and then analyze them using data enrichment services from the team formerly known as Quansic, Luminate can now identify the top songwriters. The top global songwriter was Taylor Swift followed by Max Martin and The Weeknd.
Looking at regional and market based trends, the amount of J-Pop streams outside of Japan was mentioned as a notable trend. The number of premium users is also growing globally, with Asia, Europe, and Latin America showing the largest growth in 2024 from the previous year. While Latin America has been the fastest growing region overall since 2021, when focusing on 2024, Asia and Europe are showing a more rapid growth compared to other regions.
Ryan concluded by listing four key points: “Streaming in Japan and globally continues to grow at double-digit percentages, faster than in Western mature developed markets,” “Share of local content is increasing in Japan and many non-English speaking countries, and declining in English speaking markets like the U.S., UK and Canada,” ”Quansic Music Enrichment and Matching Services now provide new visibility on Songwriter and Recording activity” and ”New Audience Insights information will be coming soon for Japan and other top global music markets, enabling strategic planning.”
Next, Tatsuya Nomura, Chairman of the MUSIC AWARDS JAPAN Executive Committee, and Yutaka Inaba, Vice Chairman, took the stage for a discussion on the theme “The Meaning of Hosting an Awards Show in Japan Today.” Billboard JAPAN’s Naoko Takashima served as moderator.
The inaugural MUSIC AWARDS JAPAN will be held on May 21 and 22, 2025, in Kyoto, with an awards ceremony and performances. The May 22 event will be broadcast on NHK, including some BTS coverage, and will also be available worldwide on YouTube with a delayed stream. Unlike traditional Japanese music awards, MUSIC AWARDS JAPAN has been designed with a global perspective. One of the key reasons for establishing this award was the shift in Japan’s music industry from a CD-centric model to streaming, a transition accelerated by the COVID-19 pandemic, which highlighted the growing international reach of Japanese music.
Nomura and Inaba emphasized that Japan lacked a transparent, democratically structured awards show akin to the Grammy Awards. Nomura explained, “In the U.S., the Grammy Awards recognize the best music of the year, and I thought Japan needed something similar. While Japan has various awards, they often lack transparency and industry participation. We wanted to create an opportunity where people could participate democratically, engage thoughtfully, and vote with genuine interest.” Inaba added, “This award is managed jointly by five major music industry organizations, meaning it exists for the benefit of the industry rather than any single entity. If any revenue is generated, it will be reinvested into Japan’s music industry. Many companies have resonated with this vision and have chosen to support us as partners. The more people take an interest in music, the more it will enrich and revitalize various aspects of society.”
MUSIC AWARDS JAPAN will have six major categories in addition to more than 60 other award categories. The primary selection of nominated artists will be based on Billboard JAPAN’s charts, utilizing publicly available data to ensure an objective and quantitative perspective that fairly captures listener response. Following this, over 5,000 music industry professionals will vote to determine the winners. The voting criteria will shift from quantitative analysis to a qualitative approach, evaluating artists based on their creativity and artistic excellence. Inaba noted, “Even if we narrow down the top five artists based on chart performance, industry professionals might have different opinions regarding who is truly the most outstanding artist, regardless of general fan popularity. We want to encourage deeper discussions about music.”
Nomura also revealed some of the challenges involved, stating, “The more we ensure transparency in the selection process, the more difficult the artist bookings become.” Beyond the awards themselves, the committee announced plans to support the global and digital expansion of Japanese music throughout the year by organizing showcase live performances worldwide. Already scheduled for March is a showcase event within SXSW, which is expected to continue annually, as well as “matsuri ’25: Japanese Music Experience LOS ANGELES” at the Peacock Theater in Los Angeles, featuring Ado, ATARASHII GAKKO!, and YOASOBI. Moving forward, the committee aims to create more opportunities for artists to engage with local J-Pop fans not only in the U.S. but also across Asia, Latin America, and Europe. Additionally, to support the industry beyond live performances and artist activities, a training program for music industry professionals is set to launch in the spring.
Seiji Isozaki from Billboard JAPAN delivered the final presentation under the theme “Reflections on Providing Global Data.”
Isozaki outlined the various services currently offered by Billboard JAPAN, including the “Global Japan Songs excl. Japan” chart, the “Chart Insight Global” data analysis service, and Luminate’s CONNECT service for corporate clients, highlighting their respective benefits. While acknowledging that some companies hesitate due to the high cost of these services, Isozaki pointed out that relying on inexpensive peripheral data often leads to mere “predictions,” which can ultimately put companies at a disadvantage. Isozaki then emphasized the advantages of utilizing accurate data to make informed decisions. He also reiterated the importance of enhancing music and artist identifiers, a topic that had been raised at the previous convention in September. Currently, tens of millions of songs by millions of artists, including their derivative versions, are being streamed across hundreds of platforms in dozens of languages. He expressed concerns that this explosive growth in content has led to lost opportunities and revenue overseas. Isozaki emphasized that improving metadata accuracy can help increase revenue, warning that using lower-cost alternative services with limited coverage rates would require working with multiple providers, ultimately leading to higher costs. He urged consideration of updating metadata through Luminate, which would allow for higher matching accuracy.
Isozaki also discussed the potential impact of MUSIC AWARDS JAPAN, presenting comparative data on streaming trends before and after the broadcast of multiple songs during the 2024 year-end NHK Kouhaku Uta Gassen. The graphs showed a significant increase in streaming numbers for all featured songs following the broadcast. He explained that MUSIC AWARDS JAPAN, like Kouhaku, has the potential to become an internationally recognized program that influences audiences both in Japan and globally. He also reaffirmed Billboard JAPAN’s commitment to fully supporting the initiative and closely monitoring its impact.
—This article by Haruki Saito and Maiko Murata first appeared on Billboard Japan
The Japan Culture and Entertainment Industry Promotion Association (CEIPA) and TOYOTA GROUP are joining forces to launch the Music Way Project, a collaborative endeavor that supports and promotes the globalization and sustainable growth of the Japanese music industry.
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With “Japanese music drives the world” as its concept, this project will focus on “human development” and “place development” for those taking on challenges on the global stage in music. For the former, to be a guiding light for young people with aspirations in music, the project will help refine the talents of those active globally through corporately supported seminars for student talents, training young people in the industry, and workshops with creators. For the latter, the Toyota Arena Tokyo — slated to open this autumn in Japan — will be utilized, and showcases will be held in the United States (Los Angeles), Europe (London) and Asia (Thailand). Toyota Group will offer its overseas bases to “providing spaces for young talent to shine.”
CEIPA Chair of the Board Shunsuke Muramatsu, TOYOTA GROUP Representative Akio Toyoda, and composer/Agency for Cultural Affairs Commissioner Shunichi Tokura took the stage at the joint press conference held in Tokyo Tuesday (Feb. 25). “With the expansion of the streaming business, the market for entertainment content is growing rapidly. Music is always closely linked to contents that Japan excels in, such as games, anime, live-action films, and events. Music has the power to spread without limit,” Muramatsu said, noting that the project is focusing on music first among the many forms of entertainment.
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As a move towards producing artists who reach global audiences, a major showcase event called matsuri ’25: Japanese Music Experience LOS ANGELES, will take place in March at the Peacock Theater, set to feature J-pop stars Ado, ATARASHII GAKKO!, and YOASOBI. Also, the inaugural MUSIC AWARDS JAPAN, the largest music awards in Japan, is slated for May at the ROHM Theater Kyoto.
When comparing export values by industry, automobiles are worth 22 trillion yen, semiconductors 5.5 trillion yen, and steel 4.5 trillion yen, while the content industry, including entertainment, is worth 5.8 trillion yen. Elaborating on TOYOTA GROUP’s intention to participate in this project, Toyoda said, “When I was president of Toyota Motor Corporation, I think my driving force was my love for Japan. That is why I want Japan to continue to be needed by the world.”
He went on to express his hopes for the development of the project, concluding, “There’s a lot of good music in Japan, as well as many talented people. We want them to rock the world with their music, and want to support them so that people everywhere can get to know their talent. If you see someone working hard, please support them. Your support will widen paths and build more of them. When more paths are built, you can climb even the steepest mountains. Please give them that chance.”
MUSIC WAY PROJECT Outline
Promoters: CEIPA x TOYOTA GROUP
Aim: Supporting and promoting the fundamental globalization and sustainable growth of the Japanese music industry.
Human development that refines the talents of those taking on the global stage:
Student Seminars: Courses for students in collaboration with domestic universities, etc.
Professional Seminars: Online courses for young industry professionals, etc.
Co-Write Global CAMP: Hosting cowriting camps where creators from around the world assemble.
Place development to provide spaces for young talent to shine:
Enhancing overseas bases: Utilizing three bases in the U.S. (Los Angeles), Europe (London), and Asia (Thailand), and supporting activities of artists domestically.
GLOBAL SHOWCASE LIVE: Strengthening artists’ footholds and networks by developing showcases in Asia and Europe. Utilizing TOYOTA ARENA TOKYO, slated to open this fall.
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.
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Keropons, the duo consisting of Yuko Masuda (Kero) and Akiko Hirata (Pon), are the next featured guests. Probably known best for their kids’ tune “Ebikanics,” Keropons is hugely popular with children and parents in Japan. The duo’s catchy melodies and lyrics, impossible to forget once you’ve heard them, have provided fun times for many families over the years.
The unit was also tapped as the first act for the KIDS MUSIC PARK music project launched by Universal Music Japan in collaboration with major Japanese publisher Kodansha. The two women spoke with writer Rio Hirai on behalf of Billboard Japan for the latest installment of the WIM interview series and shared their views on creating an environment that makes it easier for women to work, based on their experience interacting with parents and children all over Japan throughout their careers.
You two were chosen as the first act for the music project KIDS MUSIC PARK, a collaboration between Universal Music and Kodansha’s online media “with class mama.” You wrote a new song called “Chu-zaburo” based on the honest voices of moms and dads all over the country for this project. How did you feel when you were asked to take part in it?
Akiko Hirata (Pon): We were so happy. It was exciting because there were parts that were similar to the family concerts we’d been doing up until now, and the person at Universal Music who started the project is also a mom raising kids, which I thought was great. The project was a new endeavor in that we spoke directly with mom influencers and wrote the song with them after hearing what they had to say.
There must be many moms out there who have been helped by your music. Have you ever discovered something new or had fresh insights from the feedback and comments from your listeners?
Yuko Masuda (Kero): Yes, a lot. This time, Pon wrote the lyrics first, and then we worked on the music. We asked the moms to listen to the lyrics and when we asked how their kids react to music, one of them said, “My child laughs when I shake my hips!” Other moms followed suit, like, “Mine does, too!” so we went, “Well then, let’s shake our hips in this song.” That’s what the production process was like. A mother who was facing difficulties raising her child mentioned that she felt too self-conscious to give hugs or kisses, so we incorporated hugs and blowing kisses into the choreography. Everyone can do these naturally when they’re part of a song. It’s interesting how people gradually get used to it as they do it while laughing.
You’ve also performed it live after it was released digitally in December. How was the reaction to it?
Pon: It’s been really fun. I was wondering if people would hug, but everyone seems to enjoy it more than I expected. The kids hug each other, of course, and parents hug their kids, and also adults at training sessions for nursery school teachers did it, too. Everyone gets all excited when the hugging part comes.
You’re also a mother of two kids, Pon. How have you managed to balance work and parenting?
Pon: I had twins and went back to work four months after they were born. At first, I was really keen to do everything myself without relying on anyone else, but in reality, all sorts of unexpected things kept happening.
What happened?
Pon: First of all, I got sick soon after becoming pregnant and was bedridden for almost a year. I’d actually planned on working right before my due date, but suddenly wasn’t able to work at all. Our work schedule is decided a year in advance. We had a packed schedule of concerts lined up but I couldn’t move, so I ended up having to rely on a lot of people for help.
I told everyone around me that I wouldn’t trouble anyone but ended up inconveniencing my company, and wasn’t sure if I’d be able to raise my kids properly. Becoming a mom was supposed to be a happy occasion, but my worries became bigger than the joy and I just kept crying in bed.
How did you manage to lift your spirits from there?
Pon: I thought, “I can’t take any more time off,” and resumed work four months after my kids were born. We moved to Nagano later on, but raising twins was hard. Even though I sought help from my mother, my ex-husband, my neighbors, and anyone else I could think of, it still wasn’t enough. In the end, I used the Family Support Center run by the local government. It’s a system where registered people in the community look after people’s kids.
But my job often required me to stay overnight and I had to go work almost every weekend, and this system didn’t cover overnight care. I was at a complete loss when one of the support staff said to me, “It’s not allowed under the current system, but I know you need assistance,” called a few people to help, and they started providing overnight care.
You started your activities in 2004, and I imagine you still have many opportunities to speak with moms and dads. Do you sense any changes in society or the times?
Pon: Yes, I do. There are more young female artists, singers like us, who are also working while raising children. I think it’s easier now for people like them to say, “I’m going to take a break to have a baby, but I’ll be back,” and everyone accepts that. That atmosphere is different from what it used to be like.
It might still be like the old days in some ways, but it has changed a lot.
Pon: That’s so true. Now, taking maternity leave has become the norm, and the pandemic led to a trend of people being encouraged to take it easy and rest, which is also a big change. In the past, as a duo, we worried that if one of us took time off, the work wouldn’t get done. But now we have more young people working in our field and the way of thinking in society as a whole is becoming more flexible, which is great.
Have you ever felt that being a woman has impacted your career, not just in terms of motherhood?
Kero: I’ve come this far without really having to be aware of being a woman, and never faced any major obstacles in that sense. There are lots of women in music colleges, and also a lot of women in the field of childcare.
Pon: Shortly after having kids, a man in the same industry said to me, “It must be hard for you to work in this kind of job when you have a baby.” I was surprised by his tone, which was like, “It’s not my problem because I’m a man.” It makes me feel uncomfortable when people talk about childcare like it’s something only women do. I was too taken aback to respond at the time, but I told Kero about it right away.
The way people think about gender roles is gradually changing, though, isn’t it?
Kero: I think so. At our concerts in the past, there’d be guys who were like, “Daddy just brought the kids” and dozing off, but now the fathers are enjoying the shows together with their children. We see more men come with babies in their arms, bringing their kids along. Times have really changed.
In the entertainment industry, working hours are irregular and often involve working on Saturdays and Sundays. What kind of changes do you think are needed to make it easier for women to work?
Pon: What I noticed through experiencing motherhood is that the systems in place in Japan aren’t keeping up with reality. Government workers think that women who raise children work from 9 to 5, but there are also irregular jobs like in the entertainment industry, and jobs that require working at night or staying overnight. I felt that there still aren’t many systems in place that are in line with that reality.
When you’re young, you tend to think that you have to work hard to not cause trouble for other people. But as you get older and gain more experience, you start to think that it’s OK to ask for help. Can you give some advice to people who might be trying too hard, on how they can make things a little easier?
Pon: If you have someone you can talk to about how you feel, that alone can make a difference. It can be your friend, your partner, or someone you’re connected to through social media. The important thing is not to keep everything bottled up inside.
When I was living in Nagano, I was at a loss about how to balance work and childcare after my divorce, and really struggled with the question of whether I should move back to Tokyo or stay in Nagano. I didn’t know if I could continue my career and felt like I was up against a wall. I was at my wit’s end, so I called a professor from when I was studying childcare who’d been very helpful to me in the past. I was crying, saying, “I don’t know what to do anymore.” Then that professor said to me, “Have you discussed that with your kids?”
What? Your kids?
Pon: Yes, my kids were in third grade at the time. So I said, “They’re still so young, I can’t ask them for advice,” but she was like, “What are you talking about? You’re family, right? They might say something insightful, even if they’re kids.” So I went home and spoke to them during dinner. “Mommy’s really worried. Should we go back to Tokyo, or stay here in Nagano? Should I quit my job and do something else? What do you think?” Then, after thinking about it for a while, my kids said, “We’ve gotten used to living here, so we think you should stay and keep doing what you do.” They both agreed.
So your kids’ words led to a big decision in your life.
Pon: Right. That’s why it’s really important to talk things over. If you just ask without assuming that no one will understand or some specific person won’t understand, you might get an unexpected answer that opens up a new path.
—This interview by Rio Hirai (SOW SWEET PBLISHING) first appeared on Billboard Japan