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The Saudi National Orchestra and Choir held a performance of the “Marvels of Saudi Orchestra” in Tokyo on November 22 at the Tokyo Opera City Concert Hall: Takemitsu Memorial.
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The Saudi National Orchestra and Choir was formed in 2019 and began its “Marvels of Saudi Orchestra” world tour to share Saudi Arabian musical culture with the world. The Tokyo concert was its fifth, following performances in Paris, Mexico City, New York, and London.
The concert presented a fusion of the two countries, with performances of traditional Saudi Arabian and Japanese music by the Saudi National Orchestra and Choir, the Orchestra Academy of Tokyo College of Music, and special guest, guitarist Tomoyasu Hotei. The audience was enthralled by the sounds of the traditional Arabic instruments, which there are few opportunities to hear in Japan, and the unique melodies they played.
The concert began with words from Paul Pacifico, CEO of the Saudi Music Commission. 2025 will mark the 70th anniversary of diplomatic relations between Japan and Saudi Arabia, and Pacifico expressed his gratitude for being able to perform in Tokyo before this momentous occasion. He also spoke of the importance of music as a shared language that can bridge the world.
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In the first part of the show, a Japanese gagaku court music group performed “Ryo-o,” a court music and dance piece. A ryuteki flute began playing the melody and was joined by drums and a small metal gong. A dancer, bedecked in red and wearing a mask, appeared on stage and began to dance. Sho panpipes, hichriki flutes, and other instruments joined in, and the energy mounted. The audience was overwhelmed by the stately dance performance, a tradition carried on for over a thousand years.
Part two of the concert consisted of performances by the Saudi National Orchestra and Choir. Along with typical orchestral instruments like the violin and cello were traditional Arabic instruments, like the oud, the zither-like qanun, and the daf, a percussion instrument made of leather stretched over a circular frame, creating a grand spectacle.
The first piece, the rhythmical “Al-Hawa Al-Ghaib,” began with a short introduction on the strings, which were then joined by the other instruments of the orchestra. The tremolo and intricate performance techniques of the ouds and the solo performed on the qanun made the song a pleasant and soothing one.
This was followed by “Wardak Ya Zaar Al-Ward.” The violin solo with which the piece began danced nimbly between low and high notes, an example of superb playing with a complex rhythm that wound its way through tight tonal intervals. Then the orchestra and chorus came in, performing passionate, soaring music.
The next piece was the up-tempo “Shaqni Jaw Al-Janub,” followed by “Tarahib Bi Ghayri,” with a beautiful delicate qanun solo over a rich backing of string instruments playing in unison, and then “Al-Qaid,” a piece that stood out for its fun interplay of cheery flute melodies and men’s and women’s choirs.
Part two ended with an anime medley. The orchestra, choir, and a female solo vocalist performed Arabic versions of Japanese anime theme songs such as UFO Robot Grendizer, Captain Tsubasa, Case Closed, and Pokemon. When the performance ended, the audience showered the performers with cheers and whistles, a testament to the popularity of Japanese anime.
The musical language of classical music, which is now used in countries throughout the world, cannot be applied to Arabic music. There are musical intervals smaller than semitones, making them unplayable on a piano. There are unique scales. The Saudi National Orchestra is a relatively new orchestra, yet it is unique in the way it flexibly combines traditional Arabic music with the orchestra of classical music to share that music with the world. This show, as well, was notable for the way it deftly brought together classical music, popular music, and traditional Arabic music to entertain the audience.
In the third and final part of the show, the orchestra collaborated with Japanese musicians. The stage was packed with the members of the Saudi National Orchestra and Choir and the Orchestra Academy of Tokyo College of Music. This was the first time the Saudi National Orchestra had played with a Japanese orchestra, and this momentous occasion began with a fanfare of brass instruments playing the march-like “Opening of Al-Ula.” After this, the audience enjoyed a rousing medley of famous Saudi Arabian songs, winding through tune after tune.
With passions still high, special guest Tomoyasu Hotei took to the stage, clapping for the two nations’ orchestras, and together they performed “Battle Without Honor or Humanity,” from the film Kill Bill. The sound of Hotei’s guitar melted seamlessly into the two orchestras, and he showed the full range of his virtuoso skills, including a blazing guitar solo.
The concert ended with the Saudi national song “Ammar Ya Darna.” The Saudi Arabian flag fluttered on the monitors and many members of the audience raised their phone flashlights and swung them back and forth in time with the music.
The concert was a demonstration of the way music transcends barriers of language and culture to be enjoyed by all. Through the medium of music, the “Marvels of Saudi Orchestra” showed a new beginning of deeper relationships between the people of Saudi Arabia and Japan.
—This article by Misuzu Yamashita first appeared on Billboard Japan
Rosé & Bruno Mars’ “APT.” holds at No. 1 for the third consecutive week on the Billboard Japan Hot 100, on the chart released Dec. 4.
Compared to last week, the global hit saw an increase of 115% in streaming, 132% in downloads, and 141% in video views, which is a greater increase overall than the week before. This song also topped Billboard’s Global 200 for the sixth week.
SEVENTEEN‘s “Shohikigen” debuts at No. 2. The title track off the group’s fourth Japan single is being featured as the theme song for the NHK drama series Mirai no Watashi ni Bukkamasareru!?. The track sold 514,234 copies in its first week, the most ever for the group, and came in at No. 1 for sales, No. 29 for downloads and No. 54 for video views.
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Creepy Nuts’ “Otonoke” follows at No. 3, with streaming down to 96%, downloads to 94%, radio airplay to 56%, and video to 94% compared to the week before.
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Mrs. GREEN APPLE’s “Bitter Vacances” debuts at No. 6. The theme for the upcoming live-action movie Saint Young Men rules downloads and comes in at No. 8 for streaming, No. 10 for video, and No. 55 for radio. The latest release by the three-man band is the inaugural No. 1 song on Billboard Japan’s new Hot Shot Songs chart that launched this week, ranking currently trending songs.
In other news, BIGBANG’s “FANTASTIC BABY’ returns to the Japan Hot 100 for the first time in 6 years and 11 months, coming in at No. 55. BIGBANG made headlines at the 2024 MAMA Awards held at Kyocera Dome Osaka on Nov. 23rd, when members SOL and D-LITE appeared unannounced during G-DRAGON’s performance. G-DRAGON’s “HOME SWEET HOME (feat. TAEYANG & DAESUNG)” also bows at No. 21 this week.
As December rolls around, back number’s seasonal staple “Christmas Song” rises 26-19 with streams increasing by 18%. Mariah Carey’s “All I Want For Christmas Is You” also returns to the Japan Hot 100 for the first time in 11 months, with video, streams, downloads, and radio showing increases.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 25 to Dec. 1, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
In their first-ever dome tour, YOASOBI 5th ANNIVERSARY DOME LIVE 2024 “cho-genjitsu” (“SURREALISM”), YOASOBI performed at Kyocera Dome Osaka on October 26 and 27 and at Tokyo Dome on November 9 and 10.
Over the four days of the dome tour, commemorating the fifth anniversary of the group’s formation, they played to a combined total of roughly 170,000 people. The theme of the tour was “surrealism,” and, befitting the theme, the shows were packed with surprises that went above and beyond the real. The set list consisted of a total of 25 songs, ranging from their debut song, “Into the Night,” to their newest song, “New me.” The audience got to experience and enjoy the many different faces of YOASOBI, which has become one of the leading figures in the J-pop world.
On the duo’s first-ever solo tour performance at the Tokyo Dome on November 9, the first eye-opener was the way they took to the stage. Shortly after the scheduled starting time, the YOASOBI logo appeared on the massive LED screen at the back of the stage, accompanied by a 10 second countdown. Massive monster claws ripped the logo apart, and gigantic hands appeared from the left and right sides, wrenching open the area above the stage so that Ayase and ikura could make their appearance. ikura shouted, “Welcome to the surreal! You think you can make it through all the way to the end, Tokyo?!” and the duo began playing “Seventeen.” Lasers flittered through the air, and the FreFlow remote-controlled lights that the audience wore on their arms lit up, drawing the 50,000 in attendance into a fantastic world.
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Ayase and ikura, wearing monster-like down jackets, followed this up with “The Blessing.” They then descended, joining the rest of the band to perform two aggressive numbers, “Monster” and “UNDEAD.” Flames leapt from the stage, and the dome rang with the band’s vibrant playing and ikura’s spirited voice.
After introducing themselves again to the audience, Ayase shouted out, “We’re finally here, after dreaming of this for so long! We’re here in the Tokyo Dome!” They then played two endearing and cheery numbers, “Halzion” and “Mister.” The audience clapped along, and the duo waved at fans, left and right, enveloping the dome in a warm and welcoming mood.
For “Mou Sukoshi Dake” an urban scape of skyscrapers was revealed at stage left. In “Umi No Manimani” and “Comet,” stage right was decorated with a seaside set, complete with vending machines and benches. These sets, along with the scenery shown on the video screen, created a new world for each song. YOASOBI is a musical unit that produces music inspired by novels, and there is a story for each one of the songs they have released. Their shows, which depict the worlds of each and every one of their songs, feel almost like theme park attractions.
There was then a video retrospective of their spectacular five year history, such as their performances in the U.S. and in Tokyo’s Nippon Budokan, where they played for the first time to a live audience. It ended with a look at the computer screen on which Ayase wrote “Probably” using Vocaloid. At center stage, a new set was revealed, showing the room where Ayase was living when he wrote the song. Surrounded by objects like a refrigerator and a microwave, Ayase sat at a low table, wearing headphones, while ikura sang the laid-back melody. The middle of the show gave the audience a sense of YOASOBI’s origins, here in this humble apartment. The two then performed “Haruka,” which was followed by an audience quiz using the FreFlow lights. Next, the two played their new song, “New me.” With this fresh, cheery song about starting a new life, it felt like the duo was setting off to a new start of their own.
The two left the stage, and the members of the band were introduced again: drummer Honogumo, bassist Hikaru Yamamoto, keyboardist Zaquro Misohagi, and guitarist AssH, all decked out in black suits. Each performed an energetic solo and talked about how they felt standing on the Tokyo Dome stage.
Then Ayase, also wearing a black suit, called out “Okay, now on to the second half!” and ikura, face covered with a veil, returned to the stage. They played “The Brave,” and then ikura started an a cappella rendition of “Tracing that Dream” before being joined by the rest of the band. The song and performance drew the audience in even deeper. During “RGB,” the crowd swung around their towels, excitement rising even further.
Then ikura told the audience, “We’re going to need all of your voices for this next one!” With that, YOASOBI launched into their smash hit, “Idol.” Cheers broke out when the intro began, and ikura sang at center stage, surrounded by child dancers, while Ayase hammered the drum pads. The heartfelt shouts of the 50,000-strong crowd, calling out “Oi! Oi!” rang through the dome. The venue was on fire. Beaming at the audience, Ayase said “Five years ago, I would have never believed that we’d be standing here at center stage, with cheering people all around us. This is truly wonderful. Thank you.”
He went on, reflecting on the past five years, “…but it wasn’t all wine and roses. There were hard times. There were times when I thought I couldn’t take it anymore.” He said that while there were times when he was happy, just as often, he felt intense loneliness. The turning point, he said, was when the group performed live. He talked about seeing the smiles on the faces of the people in the audience. And with that, YOASOBI began performing “Monotone,” a song about loneliness. Then ikura shared with the crowd the happiness she felt being able to play in the Tokyo Dome, a stage she had long dreamt of performing on. “I think what makes YOASOBI’s live shows great is our live team,” she said, and she thanked the staff who had worked together to create the stage’s sets, led by a desire to create worlds that nobody had ever seen before.
“We’re following the path we feel in our hearts,” she declared, and, her voice rich with deep-felt emotion, she performed “Encore” at center stage. For “HEART BEAT,” she shouted out to the crowd, “Let’s all raise our voices together!” and led a sing-along with the audience.
During “Love Letter,” a hot air balloon decorated like a monster rose from the rear of the stage. Ayase and ikura boarded the balloon, looking down at the audience and waving as they sang. During “Adventure,” the members rode go-carts around the arena, joining up at center stage. Then the child dancers performed again during “The Swallow,” and the group closed out the set with “Blue.” The 50,000 people in the audience came together as one, singing along in the grand finale as confetti fluttered down.
As calls for an encore resounded through Tokyo Dome, Ayase, ikura, and the rest of the band returned to the stage and performed “Butai ni Tatte.” ikura played a white electric guitar as she sang. As she sang the lyrics “Now I’m standing in front of the scenery I dreamed of,” she broke out in a huge smile. It was apparent that she felt that message as one that resonated deeply with YOASOBI’s own position.
Their final song was their debut song, “Into the Night.” The visuals on the screen behind them showed previous performances of the song, and this synchronization of past and present tugged at the audience’s heartstrings. The show ended to roaring cheers. Ayase and ikura took a photo to commemorate the event and then left the stage, but a palpable feeling of joy lingered in the air.
YOASOBI’s first solo Tokyo Dome show was filled with astounding and gorgeous performances. The final impression one was left with was that of the tremendous power of the duo’s music to enthrall so many listeners.
With this dome show, the two finally arrived at a destination they had long worked toward, but it was also a new starting point. From December until February 2025, they will be setting out on YOASOBI ASIA TOUR 2024-2025 cho-genjitsu, a seven-city tour of Seoul, Hong Kong, Bangkok, Taipei, Shanghai, Singapore, and Jakarta. The Tokyo Dome show was a night that took expectations for the future of YOASOBI to an even higher level.
—This article by Tomonori Shiba first appeared on Billboard Japan
YOASOBI, the J-pop duo that turn creative writing into music, is celebrating its fifth anniversary this year and recently wrapped up its first dome concerts marking the occasion called cho-genjitsu (“Surreal”).
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Since leaping to prominence with its debut single “Yoru ni Kakeru” (“Into the Night”) in November 2019, YOASOBI has been blazing the trail of a new era in J-pop. In 2023, their song “Idol” featured as the opener for the anime series Oshi no Ko broke more records than any of its previous releases and became the pair’s biggest hit to date. On the various year-end Billboard Japan round-ups for that year, “Idol” topped five song charts including the all-genre Japan Hot 100, and the duo also achieved its dream of topping the coveted Artist 100 list. In September of that same year, “Yoru ni Kakeru” became the first song in the history of the Japan charts to reach a billion streams, and the hitmakers are advancing a phenomenal career that could literally be called “surreal.”
Billboard Japan spoke with the two members of YOASOBI —composer Ayase and singer ikura — as they contemplate their stances and prepare to move on to a new phase after five years of rapid progress. They shared their current feelings as they celebrate this milestone and the creative process of this year’s releases “UNDEAD” and “On the Stage” (Japanese title: “Butai ni Tatte”), both of which showcase the duo’s positive next step.
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YOASOBI formed on Oct. 1, 2019 and recently celebrated its fifth anniversary. Tell us how you feel now that you’ve reached this milestone.
ikura: It only recently started to sink in as we held meetings for the dome concerts and organized lots of events to celebrate our fifth anniversary. When we started YOASOBI, I never thought it would become such a big part of my life. It all sort of slid into my current life, so I guess you could say it went by quickly, but… In terms of density, it’s been like ten years’ worth of experience packed into five because so much has happened.
It feels like “five years already” while also being “only five years yet.”
ikura: But the five-year mark is a really big one. I guess we’ve broken out of the newcomer bracket. [Laughs] We were thinking of celebrating our fifth anniversary as a new beginning, so we’re also determined to keep growing even more from here.
How about you, Ayase?
Ayase: To be honest, it doesn’t feel too different from our third and fourth anniversaries, but this year, everything we do including the songs we put out and the promotion has been based on the fifth anniversary. It’s kind of a nice round number so I’ve been able to renew my enthusiasm and feel like, “Let’s restart YOASOBI from here.”
So your activities this year are part of the fifth anniversary project?
Ayase: Yes. I mean that in a positive way. Last year, lots of people in Japan and around the world listened to “Idol,” and thankfully, we became the No. 1 artist of the year on Billboard Japan’s Artist 100 ranking. We were able to achieve our goal in Japan, and now we’re working on our fifth anniversary projects with a really fresh feeling. The public might not be too concerned about such things, but for us, being recognized like that was important.
Like a weight has been lifted off your shoulders?
Ayase: Yes, exactly. Up until our fourth year, we’d often do our best to respond to the things we were asked to do and work hard to achieve good results. From our fifth year onwards, we’ve been trying to organize what we want to do and how we want to be seen, how we want to develop YOASOBI from now on, and what YOASOBI means to us in the first place. It’s a year where we begin anew after re-evaluating these things.
You both have often said that you didn’t think the project would last long at first, but now that you’ve reached your fifth anniversary, what do you think has been the driving force and motivation behind YOASOBI’s longevity?
Ayase: That a relationship of trust has been established between the two of us, the existence of our band and team, and of course the support of our fans was also a big factor. Also, I was conscious of things like the charts as a goal, so the fact that we often fell just one step short was big for me. There were times when I was like, “I give up” or “I don’t wanna write songs,” but there were goals that we could reach if we could hang on a bit longer. That was my hope and became my motivation. Even though we get along so well, I think that if we hadn’t achieved any of those goals, our spirits would have broken somewhere along the way.
Feeling like you were really making progress helped.
Ayase: It was only after the beginning of this year that those goals really started to scale up. It wasn’t about numbers this time, but something more vague like where I want YOASOBI’s place to be in society. This fifth year has given me a chance to re-evaluate, and that’s my motivation now.
How about you, ikura?
ikura: It’s hard to narrow it down to one thing because my motivation changed a lot from our first year to the fifth, but… I’d always dreamed of a music career like this, so in the first and second year of YOASOBI, my motivation was a combination of the joy of having a chance at last and feeling that I had to maintain that career and keep growing with the team. Every day was a new challenge that I’d never experienced before.
You were working as a singer-songwriter on your own since you were a student, after all.
ikura: Right. Then after three or four years as a duo, when we went on our arena tour [YOASOBI ARENA TOUR 2023 “Denkousekka” from April to June 2023], it felt like a lot of people had entrusted their dreams to the YOASOBI project, and that we were all moving together on a big spaceship. At first, I was feeling the pressure on my own, but my mindset shifted to the idea that I could put my dreams on board YOASOBI as one of the crew, and that everyone was in that same position, putting their thoughts on board. It was like I had a better idea of what I wanted to express in the group and of my stance in it. So the people who are engaged with us are also a big source of motivation.
The first song you released on this anniversary year was “UNDEAD.”
ikura: It was our first new song in a while.
Ayase: It was really tough. We were working on it while also preparing for first-time endeavors like our performances at Coachella and other shows in the U.S. We spent our days off in New York in the hotel, working on the song the whole time.
That does sound pretty rough.
Ayase: But as I said before, last year’s “Idol” gave me a sense of accomplishment, and now it feels like I’m able to write songs more freely. Of course, I put my feelings into them to make sure that as many people as possible will listen to them, but I’m also thinking about what kind of songs it would be good for YOASOBI to have from now on, as we’ll be doing more concerts in the future.
“UNDEAD” is being featured as the theme song for the anime Monogatari Series: Off & Monster Season. It’s based on the short short stories by [best-selling novelist] Nisio Isin called “Nadeko Past” and “Shinobu Future.” How did you interpret these stories?
Ayase: I’ve seen all of Monogatari Series, and I think one of the themes that Mr. Nisio is probably trying to get across is, “Live your life desperately aiming for happiness.” In fact, in “Owari Monogatari” there’s a line that goes, “It’s cowardly to not try to be happy.” I think the same thing, but it’s not easy to be forceful in song lyrics. But I figured I could say it if I enlisted help from Monogatari Series. As a narrative leading up to that point, I connected things from Nadeko’s past and Shinobu’s future from the original stories to write the lyrics.
You can’t change the past, but you can change who you are now. If you want to change the future, you have to change who you are now. The themes depicted in the original stories must have resonated with both of you now as you celebrate your fifth anniversary.
Ayase: This is pretty wild, but around January when I was working on this song in full swing, I was in exactly the same state as Shinobu Oshino in “Shinobu Future.” She’s been alive for hundreds of years and she’s fallen into a rut, and she feels like nothing brilliant will ever happen to her again and life isn’t fun because she doesn’t have any expectations for the future. That was me. Complete burnout.
I’d always wanted to top the year-end Artist 100, and we finished the year in a big way on Kohaku Uta Gassen, but I didn’t think I’d burn out there. Then our POP OUT Zepp tour started at the beginning of the year. It was a lot of fun of course and I learned a lot, but on the other hand, I was also thinking, “Am I really happy?” Like, if I were to write a song in the future that reaches even more people and that song breaks bigger records, would there be much of a difference in the sense of accomplishment I’ve felt already? But the time and effort I’d have to sacrifice for that would be immeasurable. And I’d also be getting older in the process, so I was like, “Is my life going to be OK like this?”
In “Shinobu Future,” Shinobu Oshino is a former vampire who has lived for over 600 years. She’s become used to the “great, world-changing invention” and laments that she can no longer expect excitement or freshness from the future. The scale is different, of course, but it’s a feeling that anyone could face when they’re evolving.
Ayase: When I read that story at that time, I thought Mr. Nishio was reading my mind. The idea that “all you can do is to polish who you are now” really connected with me, and I’ve finally been able to get out of that negative state of mind over the past several months.
What are your thoughts on this, ikura?
ikura: Until about our fourth year, I just worked hard without thinking about anything else. But I suffered some major health problems around last summer, and after I recovered, I was also like, “What is my happiness?” Though I’m sure I’ve acquired and experienced a lot of things because I’ve devoted my whole life to music and given it my all.
Yes, if you care about your future self, you have to take care of yourself now, too.
ikura: While I have areas of expertise and roles that I’m entrusted with, I was taking on too much so I had to learn to give up in a positive sense and let other people handle stuff so that I could focus on doing what I can do. I felt that I won’t be able to keep at it unless I worked in a healthy way. So when I read the lyrics of “UNDEAD,” I was like, “That’s so true,” and it also felt like it was affirming my life and the way I’ve been working so hard.
“On the Stage” was written for NHK Sports Theme 2024. In the story it’s based on, the presence of a rival who strives together with you was symbolically depicted as well. As members of YOASOBI, is there anyone you could call your rival or someone who’s inspired you?
ikura: There aren’t any other artists that I consider in that way, but as long as we keep doing YOASOBI, I think Ayase and ikura will always have a kind of rivalry. So the first thing that comes to mind is Ayase and our team, including the band members and the staff.
Ayase: I agree. Rival might not be the exact way to put it, but I’m pretty sure we want to strut our stuff to each other. I think we both want to make the other appreciate us, so I guess it is close to being rivals. It’s not about solo work, but as motivation to keep going as YOASOBI.
ikura: They’ve entrusted me with their backs so I’m also responsible for that, too, so I want to fulfill my role well.
—This interview by Takuto Ueda first appeared on Billboard Japan
Rosé & Bruno Mars’ “APT.” stays at No. 1 for a second week on the Billboard Japan Hot 100, making chart history as the only song by a Western act to score multiple weeks atop the Japan song chart.
On the chart dated Nov. 27, the pop-punk duet sees an increase in downloads, streaming, radio airplay and video views, with radio in particular increasing by 2.3 times compared to the week before perhaps due to the buzz surrounding the 2024 MAMA Awards. The track rules streaming and radio this week, while also hitting No. 2 for video and No. 6 for downloads.
Creepy Nuts’ “Otonoke” follows at No. 2. While the points for the Dandadan opener have decreased overall, karaoke is up to 125% week-over-week. The hip-hop hit has held in the top 5 for 7 consecutive weeks.
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timelesz’ “because” debuts at No. 3. This is the title track off the group’s first single under this name and also the last as a trio. The group’s 27th single launched with 277,505 copies to rule physical sales, and also came in at No. 18 for radio.
Mrs. GREEN APPLE’s “Lilac” moves 5-4. Streaming for the Oblivion Battery opener has gained 104%, radio 201%, and video 106% compared to the week before.
Kenshi Yonezu’s “Azalea” bows at No. 5 this week. The theme song for the Netflix series Beyond Goodbye was released digitally Nov. 18 and debuted at No. 1 for downloads, No. 14 for streaming, No. 5 for radio, and No. 13 for video.
This week’s chart is the last for 2024; the new chart year begins next week. The year-end charts for 2024 will be released Dec. 6 at 4:00 am Japan time.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 18 to 24, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
On Oct. 26 and 27, HYDE performed HYDE [INSIDE] LIVE 2024 -EXTRA- at Chiba’s Makuhari Messe.
These shows were an extension of HYDE [INSIDE] LIVE 2024, the music club tour he kicked off at Tokyo’s Zepp Haneda (TOKYO) on June 22. As is clear from its name, this tour was in support of HYDE [INSIDE], his first new album in five years. In 2024, HYDE also played in numerous festivals across Japan, such as the OGA NAMAHAGE ROCK FESTIVAL and the DEAD POP FESTiVAL. Although a respected figure, always on the frontlines of the rock world, he also has many rivals. His constantly evolving live performances have captured the hearts of a diverse fan base.
The show began with a count-up. At 17:06 (or 16:66), the sounds of the show’s opening music filled the club, and then the band kicked things off with “LET IT OUT.” HYDE also performed this as the first song in many of the shows on last year’s tour, HYDE LIVE 2023, but the band’s stage reveal took things up a notch this year. HYDE stood atop a towering platform, looking down on the audience. He wore a military cap adorned with Swarovski crystals, and his piercing stare gave a premonition of the excitement that was to come. In the next song, “AFTER LIGHT,” the volume of the audience singing along to the chorus almost rivaled HYDE’s. The crowd was already clearly warmed up. The band then played “I GOT 666,” which had first been revealed on HYDE’s previous tour before being released roughly a year later on HYDE [INSIDE]. As the song reached its shouted refrain of “I’m aware!” the crowd began head-banging. The audience had reached a fever pitch.
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HYDE and Hiro
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HYDE then spoke to the audience for the first time: “Welcome to HYDE [INSIDE]! Let’s enjoy reality!” From the start, the show drew in the audience with powerful songs like “BLEEDING,” in which HYDE looked straight into the camera lens, a panoply of expressions crossing his face, and “ON MY OWN,” during which he sang while holding aloft a flag that waved in the wind. Then he smoothly shifted gears, with a mournful keyboard arpeggio naturally segueing into “THE ABYSS.” HYDE also performed a solo arrangement of “TOKOSHIE,” a song he wrote together with MY FIRST STORY as the ending theme song for the Hashira training arc of the TV anime Demon Slayer: Kimetsu no Yaiba. The ever-changing drums were a perfect match for HYDE’s singing style, reminiscent of storytelling. The two blended their talents to open up the song and share its vision. It was a moment that made you keenly aware of HYDE’s expressive range.
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Towards the middle of the show, HYDE again spoke to the audience, saying “I’ve done a lot of shows here in Makuhari. I want today’s to be the most chaotic of them all!” In “6or9,” he had the audience take a seat, calling out “Sit down! We’re all going to join together.” He gazed at the audience, looking for the perfect timing, and then the band started playing and the audience leapt into the air as one. During the next song, “MAD QUALIA,” HYDE jumped into the crowd, one man facing off against 10,000. Strings of lights hung down from the four corners of the stage, like a circus tent, and against the back curtain was an electric signboard, brightly emblazoned with the name “HYDE.” It was as if HYDE was the ringmaster of the circus, and he had tamed the audience before him. Or, looked at another way, the audience was taking in the spectacle of a monster (HYDE) in a circus ring. HYDE showed the audience the pinnacle of entertainment, and he himself also abounded with excitement, telling the audience, “You’re on fire today! I can feel the heat coming off you!”
The deeply metal-infused “SOCIAL VIRUS,” the core of HYDE [INSIDE], featured one of the highlights of the show. As the bass boomed out during the long, heavy bridge, HYDE split the audience down the middle, separating it into left and right sides. Then, as he sang “I’ve gotta find a way, to see the light of day,” the audience slammed back together in a wall of death, combining with HYDE’s guttural growl and the band’s breakdown to create a chaotic spectacle. The final song of the set was the ballad “LAST SONG.” HYDE, face covered in blood, sang in the midst of a blizzard of red confetti, baring his heart and revealing the emotions deep inside.
HYDE
Hiroaki Ishikaw/Billboard Japan
The curtains fell, but then after some time, the guitarist took to the stage, playing a guitar solo. The movable drum set then appeared in the crowd, atop a stage erected in the middle of the dance floor. The audience called out “HYDE-!” and HYDE sprang from a massive Pandora’s box to perform the song “PANDORA.” The joy was evident on his face as he shouted “We’ve truly all come together!” He went on, “You need to live your life the way you want. I don’t want to worry about what others think, I want to do what I want. If you want to join me, be my guest!” The audience erupted in applause. “This world is just full of pain, isn’t it! It makes you want to wrap yourself up in an aura of joy!” he continued, and then called on a surprise guest: Hiro (vocalist for MY FIRST STORY), who had just announced his marriage a few days earlier. HYDE asked Hiro to hype the audience up, so Hiro spoke out to the audience, saying, “You guys are bright, so I’m sure you’ve already figured this out. If I’m up here on stage, that must mean…” and with that the band launched into “MUGEN,” the opening theme of the Demon Slayer: Kimetsu no Yaiba Hashira training arc. HYDE put on the ultimate performance, not just in the way he and Hiro played off each other and harmonized, but also in the shouted part of the song, when he grabbed and held Hiro by the lapels.
“Thank you for your love of this insane art!”
HYDE kicked into high gear with “BELIEVING IN MYSELF” and “GLAMOROUS SKY” as the show drew closer to its end. He told the audience how many songs were left, and the crowd went wild, focusing intently on each song. This excitement was heightened by the last song, “SEX BLOOD ROCK N’ ROLL.” “Show me what you’ve got!” HYDE shouted, voice hoarse, joined by the shouts of the crowd. “We tore things up! Don’t forget it! And we’ll do it again! Just wait and see!” he shouted as he smashed the drum set and then left the stage.
The message that ran throughout the show was of the importance of the moment. It seems clear that this ties into [INSIDE], a reference to what lies in HYDE’s heart, but I’ll leave further interpretation up to the readers. HYDE is now in the middle of a world tour, so who knows what else he might have in store before the year is out.
MIYAVI released his newest album, Found in Pain, on Oct. 23. This new album is a companion album to Lost in Love, which he released in April.
The theme running through these two albums is “Duality.” The albums mark the first time that MIYAVI has created a set of albums with a single united concept. They are also the first original album releases in three years for MIYAVI, who has been traveling around the world as a rock musician, actor, and humanitarian aid worker. With this pair of albums, MIYAVI has nimbly transcended his past public image, boldly exploring new territory. He has created an explosive and ambitious work that suddenly opens a new chapter in this artist’s life.
What led him to want to explore this theme? MIYAVI’s motivation lies in giving people courage, energy, and a zest for life, both through the music that he writes and plays and through his humanitarian aid efforts. His goal is to be someone whose path in life moves others to find their own strength to carry on. That’s why MIYAVI goes out on stage, a samurai guitarist, exuding the aura of a rock star. It’s why he makes such a striking impression as he plays his guitar, his powerful and energetic vocal delivery combining with his stage performance to excite the audience and elevate their spirits with his positivity. But while some people are receptive to that kind of straight-forward encouragement—to being told “you can do it”—there are also people who feel crushed by the reality around them. People who can’t put their chin up and push forward, even though they might want to. In his humanitarian aid work, there have been times where MIYAVI couldn’t simply tell someone “You can do it.” In these albums, he wanted to share the loneliness, pain, fear, and conflict he has faced as a rock star. He wanted to show people how he struggled with these issues and how he overcame them by grappling with his own weaknesses and overcoming them, discovering new sides of himself. By depicting this process, he wished to send out a message to those facing their own struggles. That is what led him to create these two albums.
One of the noteworthy things about the albums is that they use a lyrical approach that differs completely from past albums. What’s more, the music and sound of the songs, depicting subtle changes in states of mind, are unlike anything in his previous work. MIYAVI created the songs on the two albums by jamming with a prodigious number of collaborators, beat-makers, and producer. He has taken on the challenge of writing songs in previously unexplored veins. While Lost In Love has darker songs and opulent mid-tempo tunes, Found In Pain has everything from cheery dance numbers to full-fledge ballads. To convey subtle changes in states of mind using a storytelling approach, all of the lyrics on the songs on both albums are entirely in English. Another notable feature of the albums is that, along with these English lyrics, the music itself has a consistently Western groove, with no effort to include J-pop-like melodies.
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Even on first listen, the most striking aspects of the albums are MIYAVI’s vocals. Falsetto, multilayered harmonies, sultry vocals, whispered singing that is almost like speaking directly to the listener—MIYAVI’s talents as a front man are on clear display as he switches between diverse vocal styles not seen on previous albums, acting out the emotions depicted in the varied songs and lyrics. His talent can be stunning. The listener will find themselves thinking “Is this MIYAVI singing?” “I knew about the expressiveness of his guitar playing, but I had no idea that he had such emotional range in his singing, too.” MIYAVI has clearly awakened as a vocalist and singer on these two albums.
MIYAVI has been able to showcase his abilities as a vocalist, sharing his message through his melodious singing, precisely because he has so thoroughly established his identity as a musician through his main instrument of choice, the guitar. As if to demonstrate this, on these two albums, one seldom hears his past approach of singing through his guitar, or focusing on the kinds of phrases that would best highlight his guitar-playing. On these two albums, the highest priority is arranging the songs to best showcase the essence and flavor of their melodies. While on previous albums, keyboard parts or guitar parts by other musicians would be replaced by MIYAVI’s own guitar playing on the final song, on these albums, he kept these parts as-is when they worked well. It’s one of the things to listen for on the albums. The delicate phrasing and tone of MIYAVI’s guitar parts, and each of his performances, stands out with an even greater sense of presence, arranged with pinpoint accuracy.
The best way to listen to MIYAVI’s two latest albums is back-to-back.
The first album, Lost In Love, starts with “Intro,” which opens the gates to the darkness within ones heart. This is followed by “Broken Fantasy,” with its memorable head-shaking choreography. The hip-hop-styled “Real Monster” starts out with falsetto vocals before launching into rap. Then there is “Tragedy Of Us,” a song with a dark, heart-wrenching melody, followed by “Last Breath,” which, through its piano and whispered vocals, punctuated by MIYAVI’s lightning-like guitars, bids a farewell to pain, smothering love, and the darkness within. Heading into the second album, Found In Pain, the first track is the eponymous “Found In Pain,” which starts with a gospel-like chorus and evolves into a dance beat, like a phoenix being reborn and taking flight. On “You Already Know,” MIYAVI, Fender in hand, tells the true story of his own life, starting with his struggles as a teen. “I’m So Amazing” is a collaboration with one of the legends of funk, George Clinton. Later comes “Put Your Hands On Me,” a ballad with sensual lyrics and vocals. The album comes to an end with “One More Time” and “Sanctuary,” through which MIYAVI shares that no matter how his dreams might be dashed and his hope might be lost, his guitar gives him wings to fly, and every time he sings he soars up into the air. For him, music is a holy place. It is a place where he can rediscover his dreams and his will to live, bringing him face to face with himself and allowing him to discover new sides of himself.
One can only hope that this masterwork, in which MIYAVI constantly explores new territory, reaches the people who truly need to hear it, so that MIYAVI’s music can help give them hope and a renewed will to live.
—This article by Sachie Tokito first appeared on Billboard Japan
Rosé and Bruno Mars’ “APT.” hits No. 1 on the Billboard Japan Hot 100, becoming the first song by a Western act to rule the Japan song chart in 11 and a half years.
“APT.” debuted at No. 96 on the chart released Oct. 23 after dropping digitally on Oct. 18 and has continued to perform increasingly well, especially in streaming. Streams for the track have earned a 107% increase this week compared to the week before, while downloads gained 113%, radio 102%, and video 110%. The pop-punk duet rises a notch to No. 1 on the Japan Hot 100 dated Nov. 20, becoming only the fifth song by Western artists to top this chart.
The previous song by a Western act that hit No. 1 on the Japan Hot 100 was The Wanted’s “Glad You Came,” more than a decade ago. Here’s a list of the Western numbers that have topped the tally so far:
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Artist/Title/Chart Release DateLeona Lewis, “Bleeding Love” (April 30, 2008)MIKA, “Blame It on the Girls” (Sept. 23, 2009)Lady Gaga, “Born This Way” (April 6, 2011)The Wanted, “Glad You Came” (May 15, 2013)Rosé & Bruno Mars, “APT.” (Nov. 20, 2024)
CUTIE STREET’s “Kawaii dakeja damedesuka?” rises 19-2. The debut single by the ASOBISYSTEM girl group dropped digitally on Sept. 8 and bowed at No. 84 on the chart dated Oct. 16. The track gained popularity in video and streaming, topping the TikTok Weekly Top 20 chart for five consecutive weeks. The CD version arrived Nov. 13 and launched with 61,384 copies. The track comes in at No. 5 for physical sales, No. 38 for downloads, No. 13 for streaming, and No. 9 for video views this week.
Creepy Nuts’ “Otonoke” is at No. 3. While the track holds its position from last week, points have increased: streaming has gained 105%, downloads 102%, radio airplay 159%, karaoke 104%, and video has also increased slightly as well. The “Bling-Bang-Bang-Born” hip-hop duo consisting of R-shitei and DJ Matsunaga is set to perform at the prestigious year-end live music program, NHK’s 75th Kohaku Uta Gassen.
NEWS’s “Acchi muite hoi” debuts at No. 4. The title track of their 31st single is being featured as the theme song for the drama Takasugi-san-chi no Obento, starring member Keiichiro Koyama. Looking at the metrics of the chart’s measurement, the track rules sales with 137,887 first-week copies, which is more than the group’s previous single, and comes in at No. 71 for downloads and No. 12 for radio.
Elsewhere on the Japan Hot 100, Chanmina’s “FOREVER” debuts at No. 33 after hitting No. 1 for radio. The theme song for the drama Monster was produced by South Korean rapper/music producer GRAY, who also worked with the trilingual rapper on her fourth album Naked.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 11 to 17, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Philosophy no Dance’s Mariri Okutsu chatted with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work.
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Okutsu made the transition from being a singer-songwriter to an idol group member nine years ago. On the podcast “B-side Talk – Are you taking care of your mental health?” she advocates the importance of mental well-being. Okutsu, who says she was able to find “what’s most important” after going through mental health problems, shares her thoughts on the value of being herself as an idol singer and in her private life.
Tell us how you became an idol group member.
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Before I became an idol performer, I was a singer-songwriter and also played in a band. I was asked if I’d be interested in doing idol work, and although it was a world I knew nothing about, you only live once so I figured I’d give it a try. I’d never even danced before, but took the plunge.
What was your personality like before you became an idol?
Before I became an idol, I think I was more particular about things. I liked rock music and thought I was badass when performing, so when people said stuff like, “You have a good figure” [mentioning the size of her breasts] and “You should sing cuter songs,” I resented that people didn’t see the things I wanted them to see. I was more heavily into the rock mentality back then than I am now, so when people said things like that, I turned up the volume on my guitar even more and distorted the sound, just to be rebellious. [Laughs] In terms of clothes, too, I want to wear my favorite gear for “battle” on stage, and to be the way I need to be in order to shine the most.
Did you ever feel bewildered by the idol scene, since it’s so different from your career up until then?
I’m now in my ninth year of being an idol performer, and feel that it’s a very warm world with passionate fans. At first, I searched for ways to live up to the expectations of what an “idol” should be like. I tried wearing big bows and frilly clothes, and even chose “cute” drinks and food. [Laughs] I tried really hard to figure out what my character should be like, but couldn’t keep trying to be someone I’m not. So I went, “Nope! Not gonna work!” and just showed who I really am, and things became so much easier. After I realized that it’s important to be myself, both in my idol career and in life itself, I try not to put on a front and make sure my true self is as lovely as it can be.
I think it takes courage to show your true self. What advice would you give to someone who can’t muster up the courage to do that?
Being able to create your own character by wearing “armor” is also a wonderful thing. It means you have the physical and mental strength to keep wearing that armor. It’s not about which is better or worse. Whichever you choose is fine.
Those are very convincing words coming from someone like you, since you chose to take off your armor and experienced the relief that comes along with that. What kind of person is the real you?
Well… Another thing that confused me when I became an idol was that it became harder to sing songs about romantic relationships. Until then, I thought it was good to sing about things I felt based on my own experiences. But our fans support us with such enthusiasm and romance is considered taboo for idol singers, and I don’t want to make my fans sad. It’s about establishing a relationship of trust with them. So I overcame this barrier by being up-front and declaring loudly that “I want to get married someday!” [Laughs] Because it’s true that I want to marry and have kids someday. Rather than suddenly announcing it and shocking people, my plan is to get my fans used to the idea that “she wants to get married.” At this point, my fans seem to worry about me and ask, “Aren’t you marrying yet?” [Laughs]
You’ve been an idol for nine years, keeping at it while resolving the things you feel confused about in your own way. Is there anything you take care to do to continue working for a long time?
I think I was always worried about the shelf life of an idol, thinking that if I didn’t achieve results after making my major label debut, I’d be replaced by the younger next generation. But somehow I’ve been able to continue for nine years. The key to that has been not to overwork myself. Even if the other person has no bad intentions, you should be ready to say “No” and take care of yourself when you feel mentally tired or when you feel like you’re not heading the way you want to go.
It’s true that being young is still considered important in today’s idol scene.
Youth is a really powerful thing with its boundless energy and enthusiasm, but I think Philosophy no Dance right now is also in really good condition. We might not have that drive of being young, but we’re calmer grownup women, you know? We’d really like people to check us out.
Why are you able to continue doing what you do with such sincerity?
I went through some mental health problems once. When that happened, I stopped and thought about what I really wanted to do, and decided that the biggest goal in my life was to keep doing music. I figured out what’s most important to me, so I quit all my part-time jobs and the priorities of my various choices from that point on became clear.
You advocate mental well-being in the podcast “B-side Talk” which you host. Are there any episodes you remember in particular?
They’re always interesting, but during the episode on “Sports and Mental Health,” I learned that placing winning above all else can be one of the factors that causes mental distress for athletes, and thought that the concept also has a lot in common with the world of idols and entertainment. The desire to “make it big” can be an effective stimulant, but it can also wear you down mentally. So it’s important to enjoy what you do without being too obsessed with achieving results. I was surprised to find that many of the things I thought were far removed from my own genre were actually connected in terms of mental well-being.
Sony Music Entertainment Japan has been expanding a project called “B-side” that provides support for artists and creators in the entertainment industry, both mentally and physically. I understand that they offer a variety of programs, including counseling. What did you think when you first heard about this system?
I was genuinely happy. As an artist, it’s something to be grateful about, and it’s reassuring to know that we’re being cared for as people, rather than being consumed as products. I actually went in for counseling. I’d never really heard of counseling before, and didn’t have any particular problems, so I was wondering if it was OK to go ahead with it. I thought counseling was something you went to receive advice on whether or not your concerns were right or wrong, and what you should do about them. But when I actually experienced it, counseling felt more like a conversation with myself. Talking to myself helped me to organize my thoughts, and it was like the counselor paved the way for me to find answers like the things that were bothering me or that I was worried about. If anyone has vague, unsettled feelings, I think counseling can help you untangle the knots in your mind.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
AFSHEEN, a recording artist, songwriter, producer and DJ based in LA, has just released a new album called SMALL WORLD. One of the lead singles from the album was “No Muse,” which he wrote and sang together with HARU NEMURI, a Japanese singer/songwriter who has been well-received overseas and has recently concluded her successful North America tour.
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The song is a distinctive fusion of drum and bass with HARU NEMURI’s richly imaginative singing. It is dedicated to the Woman, Life, Freedom movement of AFSHEEN’s home country, Iran (readers will recall that Iranian human rights activist Narges Mohammadi won the Nobel Peace Prize in 2023).
In September 2022, a young woman named Mahsa Amini was taken away by police for not wearing a hijab. She was later found dead. This re-sparked the movement, and AFSHEEN sought to depict this tremendous struggle for the people whose freedoms are being taken from them.
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In an interview with Billboard Japan, the two artists spoke about the creation of “No Muse” and discussed making connections through music and “making the world smaller.” (This interview was recorded in late September 2023.)
How did you two meet and come to work on “No Muse” together?
AFSHEEN: I met HARU through Justin, who is interpreting this interview. When he came to my studio the first time, he played me some of HARU’s videos. That was the first time that I saw her, and I just fell in love with her music.
Her music is so unique, and there was something about it that I’d never felt before. So I really wanted to work with her in some way. Then, a while later, I put out the song “God Is a Woman,” inspired by the Woman, Life, Freedom movement. Her team thought that maybe she could do a new version of that song. We talked with each other over Zoom, a lot like this interview, and we decided to make a whole new song from scratch. This is how it was connected to birth of the idea of creating “No Muse”.
HARU, what was your impression when you first encountered AFSHEEN’s work?
HARU NEMURI: A lot of AFSHEEN’s music was in genres that I’ve never worked with before, so at first I couldn’t really imagine what kind of music we could make together. But once we decided to make a new song from scratch, AFSHEEN sent over a demo, and it felt like an abstract landscape. Given the feel of the music, I came around to think that I’d be able to write something for it. What AFSHEEN sent over came from a totally different direction than what I’d been imagining, so I found it really interesting.
AFSHEEN and I have very different personalities and energy levels, but I felt this sense of unity in the world evoked by the track. It was like I realized that two people who are so different had this common ground. I’d been under the impression that there wasn’t anything AFSHEEN-like within me, but actually there was a lot. And, on the other side of that, I didn’t think that there was anything of me in AFSHEEN, but there was. My impressions changed because of the project.
AFSHEEN: That’s so beautiful. That’s what I’m trying to do with SMALL WORLD. It’s about taking a step outside of your comfort zone and having the courage to explore what you don’t know. A lot of people are scared to try something new. I feel a lot of respect for HARU and her artistic sensibilities, and it’s beautiful that she trusted me and tried to create something unique. The core of music comes from the heart, and that’s where real connections are made. Heart to heart and soul to soul. What’s important isn’t what it sounds like, but how it makes you feel.
In AFSHEEN’s part, there’s this one phrase that really stands out, “No muse but the music,” which is even used in the name of the song. I feel like that connects to the theme at the heart of the song. Could you talk a bit about the title, “No Muse,” and about this line?
AFSHEEN: When HARU heard the song I sent her, she just said “No muse.” It started there. When you’re writing songs, there are some things you just can’t explain. You just feel them. When she said that, I was like, “Let’s start with that.” Then she sent back her demo, which had the phrase “No muse,” and I felt like I had to make that the chorus.
For me, personally, “No muse” isn’t true, because, first and foremost, music is my muse. Also I have someone who is my muse, in a way. But I had to run the music through the filter of the women of Iran, who feel like they have no muse. So I sang “No muse” myself. But the music keeps me going. Most of the time, I don’t like to describe these things because I want the audience to take it in and make it their own. But I do love that line. I’d even like to make merchandise like a shirt that says “No muse but the music” on it. I think that would be wonderful.
So HARU came up with “no muse?” HARU, what did you mean with that line?
HARU NEMURI: I think that there are times in people’s lives when they’re suddenly saved by art. The landscape I imagined, with its android goddess, captures that moment. In that moment of salvation, it feels like a religious experience, like there is a goddess present. But the reality is that you’re not being saved by some sort of mystical force, but by the art before you. You were saved by the fact that someone existed and created that art.
I don’t have any problem with people calling someone their muse, or using muse in their personal relationships, but I want to free people from this sense of being saved by something mystic. When I wrote the lyrics, I tried to depict what it would be like to be standing there, alone, in this kind of landscape. The lyrics have a storytelling feel, with room for interpretation. That’s unusual for me, and I hope people also enjoy that part of the song.
We’ve talked about the song’s theme and message, as expressed through its lyrics, but now, using that as a launching point, I was hoping you could speak a little about something deeply tied to the song, Iran’s Woman, Life, Freedom movement.
HARU NEMURI: In Iran, a woman in her early 20s was arrested and questioned by the police for not adequately covering her hair with a hijab, and she died under suspicious circumstances. The Woman, Life, Freedom movement itself had existed in Iran before that, but this news sparked major protests. That’s when I found out about it, seeing it on the news.
I despise systems of controlling people, like nations or societal systems. I truly do. People should have religious freedom, and to worship whoever they want, but when religions or systems become political powers, what we’re talking about stops being simple belief. People die. It needs to stop.
AFSHEEN: I 100% agree. I 1,000% agree. It was one year ago, at this time of the year, when all of this was happening(*). I had gone to five different countries, working on SMALL WORLD, and then I started hearing about this woman who got killed for showing her hair. Then it started snowballing into a revolution, with more kids being killed. It was heartbreaking. When I was coming back to L.A., I knew that I had to do something musical about that. The world is a beautiful place, but it’s also a cruel place. There is so much unfairness. I knew that energy was going to do something, though I had no idea what.
I didn’t know that a year later I’d be here, talking with HARU. That’s what SMALL WORLD is about. It’s how we make the world smaller. HARU, you’re a Japanese artist, so you didn’t have to do or say anything about this, but you did. That means a world to me, and, I’m sure, to a lot of young women that will see this. I pray for true freedom for everybody. We should all have the freedom to do what we feel, as long as it doesn’t harm anyone. I think that’s what my work has to say about the Woman, Life, Freedom movement.
*As mentioned previously, this interview was conducted in September 2023, roughly one year after the death of Mahsa Amini.
AFSHEEN, in making SMALL WORLD, you collaborated with artists around the world. HARU NEMURI, you’ve also become internationally active, collaborating and touring with overseas artists. How do you two feel about venturing out from the countries you’re familiar with and working overseas?
HARU NEMURI: I think that, for any given country, there’s only a certain percentage of people who really need my music. Going to a lot of different places increases my likelihood of encountering that small percentage of people in any given country. I also don’t like staying in the same place for a long time. I want to travel to alot of different places.
But I feel like the situation in Japan is an unusual one. In any country, most musicians aren’t going to be in the superstar camp or in the “We just started out and we only have five fans” camp. But in Japan, the musicians in this middle area, the largest area, never leave Japan. There are a lot of musicians who have no particular reason to tour outside Japan, but who also have no particular reason not to tour outside Japan. I always wonder why they don’t go, especially when I look at overseas artists.
What about you, AFSHEEN?
AFSHEEN: I think it’s important for every artist to be able to open up and collaborate with other artists. It’s important to be able to go to other markets or cities or countries where you wouldn’t normally have an audience or fans. It will expose your music to more people, and make the world smaller. That’s the true message of SMALL WORLD, and the essence of who I am as a person. I love to see people from different backgrounds and countries and genres coming together. What makes music so exciting is the way it brings us together. I feel that it’s important to step out of what you know and expand your world.
Then, in closing, was there anything in this collaboration that inspired you and that you think will influence your future activities?
HARU NEMURI: In “No Muse,” I put storytelling and the depiction of the song’s landscape first and foremost, which is very unusual for me. I think that’s because usually I just don’t have the talent for that. That’s why I haven’t made any attempts to do it out in public. However, now, having tried it, I realized that I wasn’t able to do it because I didn’t have a clear visual picture myself. I discovered that I could write lyrics as long as I had my own clear picture. I’d like to refine my own sensibilities so that I can get a clear picture in mind before I start.
AFSHEEN: That’s beautiful. I think that’s the key point of collaborations. If we can walk away as better writers and better artists, I think the collaboration was a success. I would never have thought of doing a vocal duet, but the fact that HARU enjoyed “God Is A Woman” gave me power and encouraged me to sing the chorus. Thank you for liking my voice. If it weren’t for you, I might never have done what I did.
—This interview by imdkm first appeared on Billboard Japan