Billboard Japan

The December edition of Billboard Japan and TikTok’s hybrid program Next Fire featured a fresh roster of Rooftop artists including Anatsume, Kubota Kai, and award-winning rapper Rinne.
Next Fire is a show on TikTok Live that highlights the rising J-pop artists of the moment, based on Billboard Japan’s TikTok Weekly Top 20 chart. The collaborative project streams live performances and pre-recorded interviews by the featured act of the month to give fans an in-depth look at their artistry.

Rising rapper Anatsume was the first to appear in the studio decorated with a Christmas tree and lights for the December mini-festival. He kicked off his three-song set with “Stay True,” a song with lyrics that touch on the theme of determination expressed through the young rapper’s gentle voice over an airy sound. Next, he brought out a special guest, the vocalist Ai from the all-female band Haku, for a performance of the collaborative track “Aoi tobari” that features the band. “This song is about a precious time in your life and your youth,” said Anatsume before the male-female vocals depicted a wistful, sentimental scene that tugged at viewers’ heartstrings.

The 19-year-old artist closed his showcase set with “Tokyo no Fuyu” (Winter in Tokyo), a song based on the ABEMA romantic reality show he appeared in called Koisuru Weekend Homestay 2020 Winter Tokyo. “The next will be my last song,” he said, introducing the number. “It’s a really valuable song for me because it let me meet a lot of people. I wrote it for the person I was in love with when I was in high school.” The warm, genuine lyrics and the feel-good groove got the audience swaying naturally.

Anatsume

Masanoi Naruse

Next up was Kubota Kai, who took over the stage and immediately launched into the up-tempo and funky “Midnight Dancing.” The young artist hyped up the audience with his speedy rapping over the powerful groove from his backing guitar and keyboards, while drawing them in with his boisterous stage presence. Kubota — his name is stylized in Japanese order, surname first — then slowed things down a bit with a performance of “Seikatsu,” accompanying himself on an acoustic guitar. As the title suggests, the lyrics depict the minutiae of daily life over a gentle track. Kubota finished his set with his hit song “Piasu” (Pierced Earrings) that charted on the TikTok Weekly Top 20 for four weeks in a row. Many viewers seemed familiar with this song that showcases Kubota’s versatile vocal techniques, and the speed of the comments being sent in visibly increased during the performance.

Kubota Kai

Masanoi Naruse

Last but not least on the roster was rapper Rinne, who kicked off his set with “heaven town.” The Japan Record Awards New Artist winner for 2020 then segued into “Blue Diary,” performing twosongs off his latest album cloud achoo back-to-back. The melodious chorus exuding emotion in its tranquility left a lasting impression.

The 24-year-old then took a moment to introduce himself and his backing DJ, ShunMaruno, and addressed the audience watching the livestream. “I first came across the incredible culture of hip-hop and rap through my cell phone, kind of like today’s TikTok. I’m sure you’ll also find your own thing through such means someday,” he said. “My buddies from the same agency are here today. We’ve made a lot of history together, and I’m looking forward to  performing with them tonight.”

Rinne first invited Kubota Kai back into the studio. “‘Kubokai’ and I have been friends for a long time,” he shared about his label mate. “Ever since we first met at a freestyle rap battle, the timing for everything we do has been the same, like our first concerts and the like.” The two rappers performed “Haru ni furarete” (Dumped in Spring), a collaborative track released last year featuring catchy rap phrases that highlight the differences in their styles and a chorus that displays the chemistry of their voices.

Then Rinne brought back Anatsume for a performance of “raspberry,” also a collaboration from last year. The bright and cheerful beat featuring brass and other instruments filled the studio with a cheery vibe.

Before the next song, Rinne paused again to encourage fans. “Four or five years ago, I was the one doing the chasing, but now I have a junior colleague like Anatsume and a friend like Kubokai. My old dreams are coming true little by little,” he said. “But what led to my current position was just a tiny opportunity that was lying right at my feet. So if you’re a younger person watching TikTok now, or someone my age, or even someone older, I think it’d be a waste to give up on your dreams too soon. The reason why I say this is because many of my own dreams have come true, partly by luck and partly by coincidence. Like recently, I was asked to write theme song for a TV drama series. It’s a dream that came true thanks to everyone’s support. I was so moved when I was offered the opportunity.”

He then performed the theme he wrote for the NTV drama series Sister, entitled “qualia.” The lyrics, which he said he made a little easier to listen to while retaining the emotional weight of the suspenseful drama depicting a messy love triangle, was delivered over a melodious track.

The last number of the evening was Rinne’s biggest hit to date, “snow jam” from 2020. “I met so many people through this song and I’m still singing it like this. I hope this winter becomes a wonderful one for you all,” he said before performing the smash hit, which struck a chord with students during the early days of the pandemic. Viewers shared their excitement in hearing the live version of the number perfect for winter, featuring a chill vibe that makes you want to lose yourself in the laid-back flow of sound.

A pre-recorded interview by Rinne, Kubota Kai, and Anatsume will stream on Billboard Japan’s TikTok channel (https://www.tiktok.com/@billboard_japan). Excerpts from the Dec. 9 livestream can be seen on each artist’s TikTok account.

INTO1 SANTA’s new song “I’m from…” was released digitally on Nov. 25, 2022. SANTA made his debut in 2020 as a member of WARPs UP, a boy band made of Japanese and Chinese members. In 2021, he joined INTO1, a limited-time-only boy band, through his involvement in the Chinese TV show CHUANG 2021.
Since then, he has been active in the Chinese entertainment scene. SANTA began polishing his dance skills from an early age, and he has won countless dance contests. These include “STREET DANCE KEMP EUROPE,” one of the world’s top dance battle contests, for which he became the youngest winner ever.

In “I’m from…,” whose lyrics he wrote himself, he opens his heart, sharing his feelings about how far he has come by chasing his dreams. He spoke to us at length about his new song, what he’s been doing in China, his family and colleagues, and his future plans.

Congratulations on the release of your new song, “I’m from…” What are your feelings on the release of the single?

Thank you! The theme of “I’m from…” is how I used to live and what I’ve learned from it. The song’s title, “I’m from…,” refers to where I came from. I am where I am today thanks to the support of my family, my friends, my colleagues, and all kinds of people. I poured that gratitude into this song, and when creating it, whether it was writing the lyrics, creating the track, or filming the video, every step was something that I could never have done alone, so I felt that same sense of gratitude through the process of making the song. I really am just filled with this tremendous sense of thankfulness to everyone.

Did you start feeling this sense of gratitude to those around you during the course of your own artistic activities?

I think the impression I make on other people now is “that’s the guy who came here to China from overseas.” I was also a dance world champion, so I think people have that surface level-view of me, like “that’s the dance world champion.” But it’s precisely because of those successes that I realized “I want to work hard to bring joy to the people around me.” This song is about that desire, so I wrote the lyrics along with a lyricist and included memories I have of my friends and family.

In the lyrics, you also express your thanks to each of your parents.

I feel like I’ve been blessed with family and friends, and that’s how I’ve gotten to where I am today. At first, my dream was to be the best dancer in Japan. After I took that title, I wanted to become the best in the world. I won a dance contest in the Czech Republic when I was 17, taking the title of world’s best, but I actually wasn’t all that happy. At the time, what I kept thinking was just “I want to hurry back to Japan and tell my family.” I wanted to see them break out in tears of joy when I told them. I wanted to tell my friends and hear them bragging about me. That was when I realized why I’d been working so hard to succeed. The thing that led me to coming to China and trying to become even bigger is the same — if I make it big, it’ll make my family and friends happy and they’ll look forward to what I do next. That, in a way, is what drives me.

I see. So that’s why you have the one line in Japanese, “arigato.”

Right. That expresses my gratitude in the native language of the people who’ve supported me. My family has been behind me since I was born, and my friends have supported me since I met them, so this “arigato” expresses my thanks to them.

Did it take a long time to write the lyrics? Do you have any stories about the writing of the song?

As far as writing the lyrics, I’m always jotting down my feelings of gratitude. With this song, I wanted to sing about my whole life, so picking which individual events to use in the lyrics was difficult. Translating Japanese directly into Chinese would also sound a little strange, so I had to think about how to phrase things.

One line that makes a particular impression was “It’s not easy to chase your dreams.” As you touched on, it must have been really hard to overcome the language barrier and work overseas. How did you manage to do that?

Chinese has been incredibly hard for me. I really struggled, and I’m still learning. [Laughs] However, I never thought of that in a negative way. I think most people who’ve studied a foreign language will know what I’m talking about, but the more you come to understand what people are saying, the more you come to like them, and the more you come to understand their country. So, for me, it wasn’t an unpleasant struggle. In the line “It’s not easy to chase your dreams,” what I was talking about was how only a handful of people can achieve their dreams — and this also applies to when I was a dancer — so achieving your dreams is no easy matter. You have to work hard, and even then there’s only a slim chance that your hard work will be rewarded. However, I like the time I spend trying to achieve those difficult dreams, which I think is why I can keep going.

You began polishing your skills as a dancer since you were a young boy. Have you always taken on difficult challenges?

Yeah, I can’t stand to lose. [Laughs] For example, when I appear on TV sometimes they’ll introduce me as “the world’s number one dancer!” But the reality is that “the world’s number one dancer” also means “the dancer that’s lost the most times in the world.” That’s how often I’ve lost. I’ve won contests less often than I’ve lost them.

What kinds of things did you struggle with?

When I was a dancer, the hardest thing was making ends meet. Victories in street dance contests don’t come with millions of yen in prize money. So that was hard. It was like, I’d produce results, but I wouldn’t have any money. [Laughs]

People often talk about your brilliant successes, but you’ve also experienced setbacks along the way.

That’s right.

What led you to decide not to remain a dancer but to do what you’re doing today?

When I was pushing myself to get results, it was like playing a sport. My mindset was simple: “I lost. What a disappointment. Next time, I’m going to win.” But when I won (the dance contest) and went beyond, then, like I said earlier, I realized why it was that I was working so hard. Now that I know my objective, it feels like I can try all kinds of things. It’s like I’ve kept moving forward led by the spirit of “I want to make it bigger, and if an opportunity presents itself, I want to take advantage of it.” In the past, I just aimed for whatever goals were dangling in front of me, but now my goals are those deep in my heart, and I want to do my best to achieve them. The reason I put the “…” at the end of “I’m from…” is that I’m not just trying to point to some “location,” like saying that my nationality is Japanese, or that I started out as a dancer, but instead at something deeper. That’s the idea that I’m trying to convey through that space.

On Twitter, you’ve released some illustrations that express the “I’m from…” concept. Did you make them yourself?

Yes, those are mine. They were really hard to make. [Laughs]

It seemed like the contents of the illustrations reflected the message of the song. How did you make them?

First I thought of the story, and then I just started drawing off the top of my head, using a black pen. Then I zoomed in and drew the next element of the story. Then at the end I went in and added color and details.

Have you always been gifted at illustration?

In high school, I was in the Design Information Section, so I studied things like Illustrator. At the time, my future plan was to make a living as a dancer. I figured that when I became a dancer I’d hold my own events or announce that I was offering lessons, so I could save some money if I knew how to do that myself. [Laughs] That’s when I started studying illustration.

Is it important to you to properly express your ideas to others?

Yes. This time around, I told my life’s story in the form of a song, but in general I like communicating not through words, but through dance, or art, or some other medium.

Dancing and art are other ways of expressing yourself. So, along those lines, what does music mean to you?

Well, for example, in the (dance) freestyle battles I’m taking part in now, the DJ plays whatever song they want, and the dancer has to improvise to the music. So if the song isn’t conductive to what I’d originally wanted to express, I need to match the music. However, in situations like the “I’m from…” song, where I can make the music that I want, I’m able to express things even more granularly — I can express things that I couldn’t express through dance. It’s like I have another method to express things directly.

“I’m from…” is an edgy track with a chorus melody that stays with you. Have you always been a fan of this type of music?

No, not really. [Laughs] I listen to all kinds of genres of music. I really like old ballads, I like music by bands, I like foreign hip-hop… That’s why I plan to write songs in other different styles in the future, too.

What inspires you, whether in music or in your life?

I find travelling overseas really stimulating, but, actually, what inspires me the most is my father. He used to be an entertainer himself.

Oh, is that so?

Yes. So when I was little, he often took me with him to the radio station where he had a radio program. I saw a lot there, and I saw a different side of my father than the one who just lounged around at home. [Laughs] So my first stimulus was seeing him at work and thinking, “This job is cool.” He was a comedian, so the approach I took was very different, but I aspired to go out in front of people and communicate through self-expression. Also, ever since I was little, I’ve always been eager to win, so I wanted to surpass my father. So starting from there, I’d gradually build up new experiences and try to take on new challenges, and that’s what got me here.

I see. So, what kinds of things do you appreciate about living in China?

I’d have to say China’s language and culture. I started studying Chinese after arriving in China, and at the start it was hard. I didn’t understand anything. But as I came to understand more, I found myself able to understand conversations between people on the street. Or, for example, when I first came, if I got in a taxi and the driver started talking to me I would have no idea what he was saying, but after a while I came to understand that they were saying “It’s hot today” or “A new cafe opened near here recently.” I learned more and more about the culture and people’s lives, and it became really enjoyable. This is something that I really appreciate about living overseas, and it’s a lot of fun.

That’s something you can’t really experience unless you really get out there and do things. I’m sure there will be some teenagers who read this interview and think “I want to work overseas like INTO1 SANTA.” Do you want to inspire people like that?

Yes, I do. There are probably readers who want to work overseas, and, since I started out as a street dancer, there are dancers who came after me, and child dancers — people who knew me back when I was a child dancer. They’ve also seen me during all those times when I wasn’t sweeping the battles, and I’m sure now when they see me they are like, “it looks like he’s really having fun, now.” I hope that this can spur them on, showing them that “it’s okay to chase your dreams.”

You’ve also released a music video called “I’m from… (Live Show Video).” What’s that video like?

I have very strong preferences about everything I create, so I thought about what kind of content the video should have, how it should be filmed, and what kind of dancers I should dance with. There are a lot of props in the background that are tied to things in my own life. I think viewers will enjoy it even more if they look not only at my performance but also the other elements of the video.

What are your future career dreams and goals?

I really want to give back to the people that have supported me, so I want to keep giving back to them for as long as I can. I also want to share what I’ve learned with others in the hope that I can provide someone, even if only one person, with the inspiration and encouragement they might need in their life.

Do you have any final message for our readers?

Thank you, from the bottom of my heart, for your support. My new song, “I’m from…,” is an expression of my gratitude, and I hope you find it an uplifting song that provides positivity in your life, so I’d love it if you could listen to over and over again. Thank you!

—This interview by Takayuki Okamoto first appeared on Billboard Japan

8LOOM is a limited-time-only seven-member boy band that was launched by the TBS drama I’ll Be Your Bloom (which airs Tuesdays at 10 p.m. JST).
Their songs have enjoyed continued success on the charts. Their first single, “Come Again,” which was released on September 21, has maintained its position at No. 3 for five consecutive weeks in Billboard Japan’s Heatseekers Songs chart dated November 30, and also came in at No. 49 on Billboard Japan’s Hot 100 song chart. The chart ranks rapidly rising songs poised to become the next breakout hits, by tabulating radio airplays, downloads, streams, and weekly video views for songs in the Japan Hot 100. Their third single, “Melody,” (released on November 9) came in No. 1 for two consecutive weeks on the Heatseekers Songs chart and reached as high as No. 32 on the Japan Hot 100 chart. The band’s success shows no signs of slowing. Let’s take a look at the appeal of 8LOOM’s music, which is tightly linked to the TV show’s concept and story, and how the band has been performing in the charts. 

 The drama series I’ll Be Your Bloom, headed by actress Tsubasa Honda, is an original story from screenwriter Erika Yoshida, winner of the 40th Mukoda Kuniko Award for her drama series Koisenu Futari (2022/NHK). Asuka Nakamachi used to be a high school teacher until a setback forced her into early retirement. A series of events lead her to becoming the live-in dormitory mother for a boy band called “8LOOM.” The seven members of the band just can’t seem to catch their big break, and as Asuka spends time with the band, she becomes closer to them, helping them in their efforts to achieve success. 

 The members of 8LOOM are played by Fumiya Takahashi, Ryubi Miyase, Keito Tsuna, Rintaro Hachimura, Shuto Mori, NOA, and Koki Yamashita. The talented members of 8LOOM, who are actors, musicians, and dancers, have released songs and made their debut as a band outside the drama. Their activities have extended beyond the bounds of a TV series to include appearances at the KCON 2022 JAPAN K-culture festival and a solo concert tour. The band has a steady hold on the spotlight and is continually improving its salesmanship. 8LOOM’s YouTube music videos are subtitled in English, Korean, and Chinese, and their efforts to become a global boy band are one of the distinctive features of the band. Let’s look at the singles they’ve released so far. 

* 1st single “Come Again” 

 The melody line of “Come Again,” 8LOOM’s first single, is fresh and light, yet at the same time melancholic, with a pleasant, bouncy feel. The line “We are blooming here, Myself from tomorrow is calling” is a direct reference to the story of I’ll Be Your Bloom, and to the concept of 8LOOM itself. It’s an ideal debut song thanks to its arrangement, which blends a light pop feel with great musical depth. 

 The music video showcases the vocal and dance skills of each member, and depicts the hard work they’re putting into making their dreams come true. The high quality of the song provides a clear view of their potential as a boy band. In the TV show, the members of the band, who have hit rock bottom, perform a song at a show to a disinterested audience. The iconic scene of them starting to claw their way to a success generated a lot of buzz in social media. 

 This single debuted on Billboard Japan’s Heatseekers Songs chart at No. 3 and kept that position for five weeks. On the Japan Hot 100, it showed tremendous growth on the November 23 chart, going from No. 46 to No. 26 in terms of downloads and from No. 69 to No. 46 for streaming plays. Its overall ranking also improved dramatically, going from No. 91 to No. 50. On the November 30 chart, it climbed even further, to its peak position of No. 49. It performed particularly well in streaming, peaking at No. 36. As the rankings show, more and more people are learning about “8LOOM.” 

* 2nd single “Kimi no Hana ni Naru” 

 8LOOM performed at the Rakuten Girls Award 2022 AUTUMN/WINTER (Makuhari Messe, Chiba) on October 8 and at KCON 2022 JAPAN (Ariake Arena, Tokyo) on October 15. Immediately after they raised their profiles by captivating audiences with these live performances, they released their second single, “I’ll Be Your Bloom.” The song was produced by UTA, who has also produced songs for Daichi Miura, BTS, and Kohei Matsushita. 

 The song begins with a soaring chorus by the entire band. The song stands out with its tight four-on-the-floor beat, its beautiful guitar riff, and the way the melody opens up when the chorus hits. The message shared through the lyrics is one of working together to keep moving forward, no matter what happens. This ties into the TV show’s story, but it’s also a message directed at listeners about “being their flower,” successfully elevating 8LOOM’s presence as a real boy band. Bearing the same title as the TV show, this became 8LOOM’s first anthem. 

 On the Heatseekers Songs chart, the single reached a record high of No. 2 on November 2. On the Japan Hot 100, it came in No. 49 on the October 26 chart, and although it then dropped off the chart for a moment, the rising popularity of the TV show and the accompanying increase in streaming plays, along with the further growth in already-solid downloads caused the single to bounce back up. On the November 30 chart, it came in at No. 35 for downloads and No. 52 for streaming, both new records that hint at the single’s potential to become a long-lived hit. 

* 3rd single “Melody”

 In the fifth episode of I’ll Be Your Bloom, the band is told that if they don’t come in first place in the streaming chart, their contract will be terminated. That’s when this song appears. Released on November 9 as the band’s third single, “Melody” really did come in at No. 1 on the Heatseekers Songs chart on November 23, after the episode aired. Many fans rejoiced that “the show has become reality!” The music video for “Melody” surpassed one million views in just three days, record speed for the band, and on the TikTok Weekly Top 20, a chart measuring songs popular on TikTok, it entered the Top 10 by taking the No. 5 spot on November 30. This was likely driven by the desire among listeners who had become interested in 8LOOM through the series to turn the group into a real-life success story, as well, together with the high quality of the song itself. As the trajectories of the previous two singles show, the success of this song also significantly boosted the rankings of “Come Again” and “Kimi no Hana ni Naru” in the November 23 and later charts, following the airing of the fifth episode. 

 “Melody” begins with the sweet line “My heart sings a beat, Next to you is My Best Place.” With its smooth, delicate rhythm and its sound, evocative of neo soul or city pop, this song has a pop sensibility that appeals to a wide range of listeners (even more than 8LOOM’s previous singles). 

* 4th single “HIKARI” 

 From November 2 to 15, 8LOOM held its first and last multi-city tour — the I’ll Be Your Bloom “Let’s 8LOOM” TOUR ~FIRST and LAST~ — with shows in Tokyo, Osaka, and Fukuoka. As the band broke through in the TV drama, which wound towards its finale, 8LOOM released its fourth single. The kick drum sets a pleasant, fast pace. A synth line floats on top. The rhythm of the chorus bounces long. The lyrics share the message “You shine just the way you are.” This pop tune balances all of the best features of 8LOOM. 

 Looking through the comments on the video for the song, “8LOOM ‘HIKARI’ Special Video for 8LOOMY [TBS],” on the official TBS YouTube channel, you see many sentiments like “I don’t want this to be a limited-time-only group, I want you guys to keep going. I became a die-hard fan after watching the show,” or “The lyrics are so beautiful they bring tears to my eyes. I don’t want 8LOOM to end.” Comments like these are a testament to 8LOOM’s growing momentum. This can be seen in “HIKARI” debuting at No. 31 on Billboard Japan’s Hot 100 chart released on November 30, a new record for the band, as well as the single debuting at No. 8 on th Download Songs chart. 

 On December 2, 3, and 4, 8LOOM played solo shows at Tokyo Garden Theater on their I’ll Be Your Bloom “Let’s 8LOOM” TOUR ~THE FINAL~. They’re still highly active, releasing their fifth single, “Forever or Never,” on December 7th. As the series’ finale approaches, without a doubt, even more eyes will turn to 8LOOM to see what becomes of this “limited-time-only boy band,” so deeply intertwined with the show’s story. 

—This article by Tomoyuki Mori first appeared on Billboard Japan.

Billboard Japan’s Women in Music initiative launched this year in the same spirit of Billboard’s annual Women in Music issue that began in 2007, with a mission to produce interviews, live performances and panel discussions focusing on trailblazing women in the Japanese music industry.
ermhoi is the second featured artist in Billboard Japan’s Women in Music interview series. The trackmaker and singer with roots in Japan and Ireland began music at an early age and continues to release works with her own unique world view not bound by any genre or style. In 2018, she formed Black Boboi with Utena Kobayashi and Julia Shortreed. The multi-talented artist looks back on her career so far and shares how she currently feels after working in solidarity with other female solo artists in this comprehensive interview.

I understand you became a musician because you’ve always loved music since childhood. Did you have any role models, women you idolized or looked up to?

I’ve never really been conscious of female figures to look up to, but I think that a lot of fictional female characters I’ve liked have been strong, independent, and unique, like Mathilda in the movie Léon: The Professional and the title character in Amélie. But I never considered them as role models and just thought they were cool. Recently, though, I had the opportunity to spend some time with the musician Eiko Ishibashi [her most recent projects include the score for the Oscar-winning film Drive My Car] and for the first time, it felt like I found a woman I could look up to. I’ve never thought of anyone in terms of whether or not they’re a woman, but Ms. Ishibashi is a person whose works are fabulous and whose way of  communicating with people is lovely.

Do you ever feel empowered by the music of female artists?

There are many female artists whose works I’m simply drawn to. Joni Mitchell has always been a favorite of mine. Recently, I’ve also been into the Colombian artist Lido Pimienta. Her works and performances are fascinating, and I’m inspired by the way she openly speaks about a wide range of topics including being queer and her background and also about political issues.

Do your values in terms of what you consider cool change over time?

To me, values are something that changes every second it feels like, and it’s hard to maintain for a long time. I’m the type of person whose thoughts are always going around in circles, and I don’t have any motto that I live by. I think I’ve always chosen what I thought was good at each particular moment.

As a musician, does being a woman affect your activities in any way?

Not too many people do similar things in my category of music to begin with, and since I tend to also cross over genres, I’ve always been made aware of my position as an outsider more than the difference in gender. So I might not have had too many opportunities to be aware of being a woman. But there was this one time I was categorized as what’s called a “takuroku joshi” (bedroom producer girl), which made me feel uncomfortable because recording stuff at home is just a tool of expression and it’s not like my activities center around being “a girl who records stuff at home.”

There was a time when women in the minority in a male-dominated genre were mocked as being “so-and-so joshi” (girls) in Japan, perhaps to highlight their presence, but I didn’t feel comfortable with that. I also often hear about the difficulties of artists categorized as “female singer-songwriters” in Japan. Male fans would criticize them in a condescending way and give them advice they didn’t ask for. In other words, mansplaining is a thing that happens a lot.

Sexual harassment has become an issue in the dance music scene, in places like clubs and music festivals for example.

I sometimes feel uncomfortable when I attend events as a listener. I don’t deny the motives of people who come to clubs to meet people, but I’m there to listen to music, and there are people who approach me more than necessary. I’m not the type of person who goes out that much, so when I do go out and have a bad experience, I wish I hadn’t come at all. And although I’ve been lucky to have never experienced such a thing, I’ve heard stories of sexual abuse and it’s a shame that opportunities to enjoy music aren’t equal.

On the other hand, such problems have come to light lately and I’ve had more opportunities to sense the determination of organizers and performers to create safe parties. There’s also a movement to even out the ratio of male and female performers, so I hope things are moving in the right direction.

You formed Black Boboi in 2018 to create a place for musicians who are hard to categorize. How did this project get started?

I was used to being the only woman in a predominantly male environment, but when I met Utena Kobayashi and Julia Shortreed we started talking about a lot of things and I realized that there were times when I wasn’t really being myself (in such environments). Not that there were misogynistic people around me, but I was still in the minority, so I felt a difference in values and sometimes felt uncomfortable in the homosocial atmosphere. I started Black Boboi because I wanted to create a community with members who shared these feelings so we could support each other.

In Japan, it feels like whenever a woman speaks out when a problem arises, they tend to be described as being a “hysterical feminist” and are shut down. That may be why women can share the problem amongst each other, but there aren’t too many opportunities to share it with men. My partner is Australian, and when I ask him about his upbringing, I get a sense that gender equality is naturally prevalent in his environment and that’s one of the reasons why I feel comfortable sharing things with him. I also get the impression that many people in the younger generation have more of an unbiased perspective.

So there are those you feel comfortable talking about gender inequality and other issues and those you don’t.

Yes, I’ve become very careful about what I say on Twitter and elsewhere, not only about gender inequality but also about social issues. I worry so much that I get uptight and find myself choosing my words too carefully. I was actually a little apprehensive about doing this interview as well.

But I decided to do it because I figured there might be something I could convey, even if I’d acquired that perspective from someone else. When I refrained from speaking out, there was a period of time when I took a break from thinking about such topics at all. I needed that time to step away, but when I noticed something and wanted to talk to people about it, I started thinking again. Now that I’ve started thinking again, it’s occurred to me that the time I wasn’t thinking was such a waste.

I recently had the opportunity to get a hands-on look at what the Japanese non-profit Houboku does, and perform at a crowdfunding concert for this organization that supports those in need mainly in northern Kyushu. I’m not a protest musician, but it occurred to me that I could shed light on other issues through music. I feel that working independently allows me to choose whether or not I speak out and to take responsibility for it.

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan.