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Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
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U.S.-based dancer Shiori Murayama spoke with writer Rio Hirai for the latest installment of the series. Murayama started dancing when she was 6 and built her career in the U.S., performing in some of the most prestigious events in today’s entertainment including the Super Bowl halftime show and Coachella. She shared her thoughts on the cultural differences she experienced in the U.S., the challenges she faced as a female dancer, and her dreams for the future.
You started dancing at the age of 6 and moved to the U.S. by yourself after graduating high school. What were some of the differences you felt when you went abroad from Japan?
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I was impressed by how friendly and unpretentious everyone was. I started taking classes without knowing much English yet, but my classmates were much more open in sharing praise and telling me what they thought was good, which felt new to me. The atmosphere during classes and even during rehearsals is really relaxed, but when it’s time to run through the routine, they go full out. Obviously I don’t mean to say that dancers in Japan do things halfway, but people here are very focused on the actual performance and put lots of energy in rehearsals.
Would you say that difference in stance is something anyone who has been dancing all their lives in Japan would feel when they go to the U.S.?
Yes. I also feel that there’s less hierarchy in the U.S. I came here on an artist visa in July 2023, so it’s been less than two years. When I got a job and went to the studio, there were some famous dancers that I knew about through the media, but even they would treat me in a friendly manner without making me feel like I was beneath them. There are lots of projects that are short-term, ranging from a week to a month, and even in that short period of time, there’s good teamwork and everyone treats me kindly for the most part. People are just nice.
You’ve performed on some of the most sought-after stages in entertainment, like the Super Bowl halftime show and Coachella. Has it hit you that it’s pretty amazing to have accomplished these feats as a dancer from Japan?
I didn’t really feel it immediately after the performances, but when I received warm messages from everyone and when I watched the videos of my performances, it hit me that I had really done those things.
Are you seeing a trend toward Asians being able to perform on such stages?
I’d say it depends on the artist, but there are many projects that are culturally, racially, and gender mixed these days. Maybe Asian dancers are being hired intentionally because of the current popularity of K-pop in the music industry. I’ve never felt any barriers based on race or gender in the projects I’ve participated in. I suppose there might be instances where an artist goes, “I only want black dancers for this song” or “Only white dancers for this song,” but I feel that the range of activities available to Asian dancers like myself has expanded since I came to the U.S.
Still, it’s true that there are differences in body shape and appearance between Japanese and Americans. When I don’t make the cut, I sometimes wonder, “Maybe I was judged on my appearance?” But there’s a limit to how big I can get by training at the gym, and there’s nothing I can do about the difference in physique I was born with. I try to leverage my strengths that aren’t in that area.
What do you think are your selling points, as you work in your current environment?
I have very fair skin to begin with, which I take in a good way because it makes it easier to recognize me onstage. And I have very long hair at the moment, so I often get complimented on my hair. People also tell me that my dancing is really powerful. Despite having a thin build, people are often surprised by the power I bring to my performances, and I think that’s one of my key strengths.
How do you think being a woman has affected you?
I believe that the female body has its own unique movements and expressiveness. I’m always trying to explore expression by imagining myself dancing to a song, like, “I could make this part more supple,” or “I could make it more feminine, attractive, and sexy.”
When I performed LISA’s song “Elastigirl” at Coachella recently, the choreography expressed the sexiness and strength of women. I wore heels, and tight clothes from rehearsals to be conscious of the shape of my body, paid attention to the angle of my neck, things like that to present myself and give a performance in a way that only a woman can, in my unique way of expression.
In what ways do you feel that dancing in the U.S. suits you better than back home?
My powerful style works better here. In Japan, women are often appreciated for their flexibility, but since my dance is powerful, I can express the many facets of a woman. I feel that I have more opportunities in the U.S. to showcase my powerful moves and stylish choreography with intricate footwork. Also, Japanese people tend to prefer being like everyone else, but I like that there are many opportunities to express my individuality in the U.S.
Have you ever experienced any setbacks or come up against a wall in your long dancing career?
To be honest, I don’t remember any major setbacks, but I did experience some difficulties. After I completed my dance major in college, I was able to work in the U.S. for a year on OPT (Optional Practical Training, an internship-like visa). Until then, I wasn’t allowed to earn money as a student, so although I had connections with choreographers, I couldn’t work. I saw the people around me getting hired and wanted to be like them.
My dream was to switch to an O1 visa, so when I made it to the final round of an audition I participated in, I was elated, thinking, “If I get this job, I might be able to switch visas.” But in the end, a Japanese dancer who was a good friend got the job and I didn’t. Of course I was happy for my friend, but it was still a shock. The same day, I was scheduled to work as an assistant for a workshop, but was told that I didn’t have to come in because their usual assistant was available. It was quite hard when things like that happened simultaneously.
Some people, when they’re young, can be afraid of making mistakes or hesitate to take on challenges because they think they need to become better at it first. What would you say to encourage someone like that?
The other day, my mother said to me, “You won’t succeed unless you take on challenges” and I totally agree with her. If you like (dancing), I’d like you to have fun doing it before anything else. Of course, you’d need to train to improve your skills if you want to make it your career. Dance is such a deep field and taking hip-hop for example, there are many different styles within that genre. Watch different people, be influenced by them, and challenge yourself as much as possible.
A lot of times, things turn out all right when you take that first step even though you’re afraid to. I’d rather you regret doing something than regret not doing it.
What are some challenges you’d like to take on in the future?
For a long time, I’ve wanted to become a dancer who works on a global scale. I want to participate in a world tour and perform in Japan as well. Also, my family has supported me since I started dancing… no, since I was born, so I want to give back to them through the stage.
—This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Brandy Senki released their first album, BRANDY SENKI, on May 14. The band, which formed in August 2022, is made up of Hazuki (guitar and vocals), Minori (bass), and Bori (drums). They’ve picked up a tremendous amount of momentum, selling out shows on both their first solo tour of Japan, in January 2025, and their upcoming BRANDY SENKI 1ST ALBUM RELEASE TOUR, which will begin in June.
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Their major label debut album, BRANDY SENKI, is the culmination of their efforts so far. It’s a collection of 13 songs including “Musica,” which brought them to the attention of the world at large, “Coming-of-age Story,” which generated a ton of buzz when it was shared by NJZ’s Minji, and “Fix,” a dramatic song that depicts the weaknesses we all have. Billboard JAPAN took the opportunity of this momentous release to talk with Brandy Senki about how they felt as they enter this new stage of their musical careers.
To start off, could you tell us about Neon Oasis Fest 2025, the Taiwanese music festival you just finished performing at in late April? What did you think of your first overseas show?
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Hazuki: Standing up there on stage, you could feel the love, even in another country with a whole different language. Also, the way people listened was a little different than the way Japanese audiences do. There were people who were really amped up, but there were also people slowly swaying to the music. There was this striking feeling of personal freedom. It was a lot of fun.
Your new album, BRANDY SENKI, is the same as your band’s. What led you to choose this name?
Hazuki: There are only really a few times when you can self-title an album. This album has lots of songs that we’d released in the past, so we talked about making it a self-titled album to share the message that “this is what Brandy Senki is today.” That’s why we called the album BRANDY SENKI.
I think the first song on an album is important. Why did you pick “The End of the F***ing World” to start off the album?
Hazuki: We thought a lot about how someone who didn’t know Brandy Senki would feel when they listened to the album for the first time. We thought it would be good to start with a song that would get the listener excited, like “What’s about to start?” This song was perfect for that.
You’ve said that this song was influenced by the British show The End of the F***ing World. When you write poetry or music, Hazuki, are you usually influenced by things like novels or movies?
Hazuki: Always. But being inspired by a single work, like I was with “The End of the F***ing World,” is unusual.
Could each of you share a song on the album that is especially important to you?
Bori: For me, it would be “The End of the F***ing World.” There’s this bouncy beat that goes through the entire song, and it was a bit of a struggle to perform. Now, having finished the song, whenever I hear it or when I play it live, I’m glad I put in the effort.
Minori: For me, it’s the fifth song, “Water Mirror.” We’ve been playing it pretty much since our first show. I think it was also the first song that I wrote a bass line for after Hazuki sent me a demo. So, for me, it’s an important song because it represents a lot of firsts.
Hazuki, what about you?
Hazuki: I’d probably answer that question a different way every day (laughs). Today, I’d say the first song, “Spring.”
The lyrics of “Spring” are very evocative of summer. They mention the beach, and a shirt, and a “Sicilian painting,” which conjures the image of the seaside.
Hazuki: The reality is that, for the people in the song, spring hasn’t even come yet, let alone summer. The heart of the song is this longing to go to the beach, this yearning for Sicily, that kind of feeling. But time just passes in this room.
You’ve also been playing “Last Live” since your early live shows, right?
Minori: It goes back to right around when we were starting out, but we changed the arrangement a little when recording it.
How so?
Minori: In the middle, when the tempo changes in the bridge. There’s a drum fill there now, but that wasn’t there originally.
Bori: We decided to make that part, so we changed the arrangement around that.
Hazuki: We were thinking of a cool way to speed up the tempo of the song.
I also saw the music video. It has this very “kawaii” feel to it. What did you and the director Nathalie Scarlette talk about when making it?
Hazuki: Nathalie came up with pretty much every aspect of the music video, starting from the initial idea. For us, filming in Akihabara or a roller skating rink was really novel. We were really impressed with how great the visuals came out.
Minori: Nathalie really loves Brandy Senki. She understood the lyrics Hazuki had written at a deep level, which was wonderful. Nathalie’s Australian, so she understands what Japan looks like from the outside. She sees beautiful things that we overlook because we take them for granted. It’s wonderful having someone who notices those things and can depict them. I’m always impressed at how she can make these interesting music videos that wouldn’t have even occurred to us.
Bori: It was all shot guerilla-style, too. We set up a drum set in a truck, and there were tourists out there taking photos of us. It was a very different experience than the usual filming of a music video, and really stimulating.
Then there’s the lead single, “Fix.” That word has a lot of different meanings, right?
Hazuki: It’s used to mean a lot of different things, so we thought it would be an interesting name for a song. You can fix something in place, or you can fix something that’s broken. In the song, we use it in different senses, singing about whether you can fix these relationships between people–between yourself and others.
There’s also a brand-new song, “Memento Waltz” Does the title simply mean “don’t forget this waltz?”
Hazuki: Yes. We wanted to make a waltz, or rather a song in triple meter. That was our starting point.
It also has a string part. Was this was your first time using strings since “Nightmarish – Acoustic?”
Minori: “Nightmarish – Acoustic” had strings, too, but this was our first time using strings that were performed live. On the album, there are strings on “Memento Waltz” and also on “Untitled”
“Untitled” is an acoustic piece. When was it written?
Hazuki: We wrote “Untitled” over a year ago. It’s the only song on the album that I think you could call a pure love song.
To close off with, are there any new things that you’ve been trying your hand at, or that you want to try to do in the future?
Minori: I like going on long train trips, but you need to have a whole day free to do that. I want to make time for myself and learn about trains throughout Japan.
Bori: In a certain sense, I’m taking on the challenges of drumming. Ever since I started playing in a band, I’ve been learning different beats and really making them part of my own repertoire. Lately, I’ve been reexamining just what a drum is, and learning more about drums — how do you get a better sound? What form should you use when drumming? That sort of thing.
Hazuki: I just want to work hard on writing our next song.
—This interview by Tatsuya Tanami first appeared on Billboard Japan
FRUITS ZIPPER’s “Kawaiitte Magic” blasts in at No. 1 on the Billboard Japan Hot 100, on the chart released May 21.
This song by the seven-member girl group is the theme song for the animated movie Oshiri Tantei: Star and Moon that hit domestic theaters on Mar. 20. The CD version sold 292,341 copies to rule physical sales, powering the track to No. 1 on the Japan Hot 100. It’s the first chart-topper for the ASOBISYSTEM group — here’s a list of the FRUITS ZIPPER’s chart record so far:
“NEW KAWAII” (Peaked at No. 10)“Watashi no ichiban kawaii tokoro” (No. 13)“Kagami” (No. 48)“Fruits Basket” (No. 67)
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Mrs. GREEN APPLE’s “Lilac” holds at No. 2, coming in at No. 13 for downloads (2,329 units), No. 2 for streaming (8,457,867 streams), No. 91 for radio airplay, and topping video views and karaoke. The three-man band continues to dominate the top 10, with “KUSUSHIKI” following at No. 3, “Tengoku” at No. 4, and “Darling” at No. 10.
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XG’s “MILLION PLACES” debuts at No. 6, coming in at No. 2 for sales (39,404 copies), No. 11 for downloads (2,193 units), No. 4 for radio and No. 93 for video.
Elsewhere on the Japan Hot 100, Gen Hoshino’s “Star” soars 84-12 this week, following the release of his new album Gen on May 14. The music video accompanying “Star” also arrived recently, and the track comes in at No. 72 for downloads, No. 76 for video, and rules radio.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 12 to 18, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
The members of King Gnu chatted with Billboard Japan for its Monthly Feature series spotlighting currently notable artists and works. The popular four-man band’s latest single “TWILIGHT!!!” was written as the theme song for the blockbuster anime movie Detective Conan: One-Eyed Flashback and dropped digitally on April 18.
Last year, the “SPECIALZ” band’s first-ever domestic five-dome tour entitled King Gnu Dome Tour “THE GREATEST UNKNOWN” drew crowds totaling 380,000 people. Soon after, the quartet embarked on its first Asia tour visiting Taipei, Singapore, Shanghai, and Seoul, expanding its overwhelming presence outside of its home country.
The band’s new single is being featured in the latest movie version of the hugely popular Detective Conan anime, also known for having a history of famous theme songs. “TWILIGHT!!!” fuses ’80s synths and Afro-inspired grooves to create a danceable track that transforms incredibly live. The four members — Daiki Tsuneta, Yu Seki, Kazuki Arai and Satoru Iguchi — talked about this new single, which they say is an extension of a new way of working they settled upon during the making of their most recent album THE GREATEST UNKNOWN.
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First, tell us about your KING GNU LIVEHOUSE TOUR 2025 CLUB GNU EDITION that ran from February to March. Most of your performances of tracks off your albums CEREMONY and THE GREATEST UNKNOWN probably took place in arena-sized venues or larger, so were there any new takeaways or insights when you performed them in a club setting?
Kazuki Arai (Bass): The audience was really close to us, so I think there was more tension because of that. We could feel the passion from the audience directly without loss, which was unconsciously reflected in our staging and performance. But our dome tour was followed by our Asia tour, so it wasn’t like we suddenly downscaled to club-sized venues, because we also did halls during our Asian trek in between and there was also a bit of time after that as well, so it was a bit more of a gradual process.
Satoru Iguchi (Vocals/Keyboards): During the Asia tour, the show in Seoul had this really great vibe, so we thought it’d be nice to see that in Japan at a venue around the same scale. The Seoul crowd sang a lot and cheered really loud. It’s not like our fans in Japan aren’t energetic, but they are shy, it’s just how Japanese people tend to be. So regarding our domestic fan club tour, we did hope that we’d be able to perform with that kind of energy again.
You also seemed to actively hype up the audience on many occasions, Mr. Tsuneta.
Daiki Tsuneta (Guitar/Vocals): It’s no fun when people are just listening to you. There’s no point in performing live like that, is how I basically feel. Our energy level of the day changes depends on whether or not we get something like a response, to the point where we might seem like a different band.
Your new song “TWILIGHT!!!” is the theme song for the movie Detective Conan: One-Eyed Flashback. It’s tied into a work that’s been on the air since you were kids and has been loved for a long time.
Iguchi: Yes. I used to watch the anime at the time.
Tsuneta: I used to read the manga.
Yu Seki (Drums): Of the movie versions, I liked Detective Conan: Crossroad in the Ancient Capital.
What was the reaction like when you announced the tie-in?
Arai: I have friends who are fans and when I told them directly, they went crazy. They were like, “That’s so awesome!” A lot of people contacted me about it, so personally, there was a lot of response.
The movie is set in Nagano Prefecture, where Mr. Tsuneta and Mr. Iguchi are from.
Arai: Did you get a feel of home when you saw it?
Iguchi: Yeah, I did. Yatsugatake (mountains) and Zenkoji (temple) appear in the movie.
When you were tapped to write the movie theme song, what kind of song did you envision when you first started working on it?
Tsuneta: Personally, when I’ve been asked to write a song for an anime show, singing about that work itself doesn’t sit well with me. Because when we perform that song live, I’ll be like, “Who is this song about, anyway?” and won’t feel comfortable with it. I believe strongly that the song has to be ours that it has to be a King Gnu song. In that sense, I’m not writing about any of the characters in particular, but the inspiration from the world of Detective Conan that I felt after seeing the movie is there, so I suppose what’s most important is maintaining a good sense of distance. I’ve been conscious of that since “SPECIALZ” (opener for the Shibuya Incident story arc of the anime series Jujutsu Kaisen). Though of course I do want it to overlap with the anime as well.
Arai: I was thinking about something like that too. Like SLAM DUNK, anime songs from back then weren’t about the content of the work itself, you know?
Tsuneta: I’m aware of things like words that resonate with the audience, but try not to narrow it down too much. I really try to keep in mind that the music has to be believable when we play it as a band.
I think the sound is a new departure for King Gnu, with synths that have an ’80s feel, for example. Did you have a clear idea of what you wanted to do from the demo stage?
Tsuneta: Yes, I’ve really been into that ’80s feel recently. I used lean more into alternative music before and that kind of sparkly, disco vibe wasn’t something I liked. But now that I’m at this age, I’m starting to like that type of music because I think it’s refreshing in a different way.
Did you come across any particular works that sparked that interest?
Tsuneta: The Weeknd, Daft Punk, I’ve been wanting to try stuff like that recently.
What were your first impressions of the demo?
Seki: It had an Afro feel to it, but I sensed that he wanted to take it in a city (sophisticated) direction. I personally found it kind of difficult because it wasn’t in my deck of cards.
Tsuneta: The beats are definitely Afro-oriented. I imagine it’s super hard for our audience. They’ll probably have a hard time grooving to it.
Seki: But when I listened to the finished song, I think we settled on a really good place.
Tsuneta: It has a mixture feel to it, doesn’t it?
The chorus also references Jersey club.
Seki: Yes, it does. We did sneak in a little bit of that context of club music. But we hadn’t decided on anything until the four of us got together to play it. We just inserted the samples and were like, “Let’s figure it out during rehearsals.” That’s how King Gnu’s new songs are finished up these days. We have no idea where we’ll end up, so we just get the samples ready and sit down and figure it out. And it all seems to work out somehow.
Arai: It works out, doesn’t it? It was the same with “Asura”
Seki: Both “Asura and “IKAROS” worked out.
Speaking of which, “Asura is one of those songs that transformed during your live performances.
Arai: It feels like that this time, too.
Seki: I think I’m getting more comfortable with the instruments. I use electronic drums on this one.
I see. What about the bass?
Arai: The bass ended up copying the groove and nuances that Daiki had included in his demo. We tried various takes, but agreed that it’d be better if the bass could be heard together with the beat. We usually just put in what each of us wants to do, but this time, I think we were more conscious of putting (the bass and drums) together as a set than in other songs. The nuances (Tsuneta) wanted were already apparent in the demo stage, so in the end we went full circle and settled on that. Our approach was to make it work with a minimum of bass sounds.
Seki: Since we’re a band, doing things like that can be awkward or difficult, but I did want to try it out. I’ve noticed that some of the songs that are popular overseas feature the bass guitar and bass drum doing the same thing.
Tsuneta: I’ve been thinking that it’d be better if (the bass and drums) aren’t divided. They’re often separated when a band is producing the song, but in today’s mainstream music, they’re very much one and the same, so that was something I wanted to try. “Nekko” was the complete opposite, with each member playing their own part, very much like a band, and I was getting a bit tired of that. Both have their merits, of course, and we’ll separate them in our live performances, but I thought we could try something like that in the production.
It’s also a continuation of your production style after THE GREATEST UNKNOWN, isn’t it?
Tsuneta: Yes. I felt pretty confident about “SPECIALZ” and “Asura and realized there aren’t any bands that can create these kinds of sounds. My current mood is to pursue that further.
How was the vocal recording process?
Iguchi: My voice has a lot of overtones, so it doesn’t work too well with Auto-Tune, and it took me a while to find a good place to land. It also took me a while to get used to the rhythm patterns. So it was pretty fun in terms of it being a challenge, but we started rehearsing recently and I’m finally getting used to it and want to record it again. I feel like I could sing it better now.
Tsuneta: You mean you’re evolving?
Iguchi: Yeah, basically.
Arai: Daiki also said, “I should have recorded the guitar.”
Tsuneta: I added some guitar for the live performance, and thought it sounded great.
Seki: That happens a lot with this band. The songs change again after playing them live.
Iguchi: Yeah.
Tsuneta: Very few of the songs are done the same way as the original recordings.
You constantly update them.
Tsuneta: So next time, it’d be cool if we have the luxury of rehearsing, then recording. We could probably make them even better if we try to input them first, then record them based on that.
Seki: That would make them really King Gnu.
Arai: Yeah, make them purer.
We look forward to your upcoming music.
Tsuneta: I think the next one is another completely different type of song, so I can’t wait to release it. It’ll probably help people understand this one better.
I see. Is “TWILIGHT!!!” symbolic in some way in terms of where the band is at musically?
Tsuneta: It’s quite symbolic in one aspect, but only in one aspect. We’ll be releasing some more new songs, and only then will certain things become apparent.
Iguchi: I think all four of us are more grounded now.
So your personal development is showing in your music as well.
Tsuneta: I mean, Kazuki is raising a kid and we’re all at an age where such things are relevant.
You’re more deeply rooted in your daily lives in that sense.
Tsuneta: Yes. I want to face that kind of reality in the things we create and also in the way we work.
—This interview by Takuto Ueda and text by Maiko Murata first appeared on Billboard Japan
YOASOBI dropped its latest single “Watch me!” on digital platforms over the weekend (May 18) and shared the accompanying music video.
The “Idol” duo’s new number is being featured as the opening theme song for the anime series Witch Watch. The lyrics express the innocent and adorable charm of the main character Nico, with ikura’s voice adding playful touches to the song.
The accompanying animated visuals were produced entirely by the Witch Watch animation team. The video is filled with the comical and cute elements of the original story and music, using new drawings alongside selected scenes from the episodes in the show.
Ikimonogakari recently released their 11th full album, Asobi (“Play”). Following the release of their previous album, Maru, their first release since becoming a duo, Kiyoe Yoshioka and Yoshiki Mizuno have had a series of firsts: their first overseas show, their first acoustic show at the Budokan, and their first acoustic concert tour. In addition to previously released singles, the album also contains the new song “Irodori” and collaborations with artists such as Humbert Humbert, fox capture plan, Nao Matsushita, and “Yu Asobi.” Bonus tracks include “Koisuru Otome – From THE FIRST TAKE,” which generated a lot of buzz on social media. The songs on the album are the product of the duo allowing themselves to take on music with a sense of freedom, joy, and playfulness.
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Billboard JAPAN talked to the two about this new album, a second “debut” after they began a new chapter as a band.
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Let’s start by talking about what you’ve been doing overseas. In June of 2024 you performed at the 35th Golden Melody Awards in Taiwan, and then in July you performed at the Tencent Music Entertainment Awards in Macao. How was the response?
Mizuno: I was surprised at the cheering, this tremendous “Whoooooaaaaa!”
Yoshioka: The audience’s tone of voice and the volume of the cheering was totally different than with a Japanese audience. Sometimes my singing was swallowed up by the cheering.
Mizuno: When I’d start a guitar solo, there’d also be that “Whoooooaaaaa!” cheer.
Yoshioka: The audience really put their emotions and reactions into their voices.
What song got the biggest reaction?
Mizuno: “Blue Bird.” People overseas listen to it a lot, and it seems the audiences all knew it.
Yoshioka: When we performed ballads like “SAKURA,” the whole audience was swaying side to side, too. Even despite the language barrier, the emotion of the song came across, which made me really happy.
After your overseas performances, you finished your new album, Asobi. Since the last album, Maru, you’ve been busy with live shows, such as the shows in China, and also releasing new songs. You’ve had quite the packed schedule. Looking back, what do you remember about this period?
Mizuno: After releasing Maru, we did have a time when we were really focused on live shows. We put on a performance hall tour, played at a few festivals, and put on an acoustic show at the Budokan. We had a lot of opportunities to play in front of audiences, and every day was really stimulating for us. This had a positive influence on our song-writing, and I think we also changed a lot deep down inside. I also met all kinds of people through my HIROBA project and put out an album, which was a great experience. I was able to bring that experience back with me to Ikimonogakari. Sho Hasumi from Daw90000 wrote lyrics for me (on “Anohi No Koto meets Sho Hasumi”) and I got the courage to connect with people outside our circle. Yoshioka enjoyed that, too.
Yoshioka: Mizuno, who is Ikimonogakari’s leader, would actively propose new things we’d never tried before, like performing with just the two of us on stage. At first, I was really nervous, but gradually I came to enjoy doing new things. There was a lot of trial and error, of course, and it was really challenging, but the creation process also really stimulated my curiosity.
The album has songs with lyrics written by other creators (“Jigazou meets Yu Asobi” and “Anohi No Koto meets Sho Hasumi”). That was an ambitious choice.
Mizuno: I think it was about seven or eight years ago, we had a meeting with our staff and I said, “What about having someone else write some lyrics for us?” Our director at the time said “Don’t you think you should still keep writing the lyrics yourself?” At the time, that made sense, and I was like, “You’re right,” but years have passed since then and we’ve had all kinds of new experiences. We’ve come to see change as a positive thing, and we’re okay with people from outside the group getting involved. We feel secure now that even with outside involvement, the end result will be proper Ikimonogakari.
Yoshioka: I was really nervous at first, though (laughs). But when Mizuno said “I want to ask someone else to write the lyrics,” it felt really natural, so I took a positive outlook on it, like “I think it’ll work out fine.” Everyone on the team was like “Let’s give it a shot.”
If someone else writes the lyrics, the words will also match up with the music in a different way.
Yoshioka: Right. I’ve always sung Mizuno’s lyrics to Mizuno’s music, so I’ve developed what I guess you could call habits. After recording, I realized I’d had to get rid of those habits when I sang. It felt very natural putting the words to music, which I liked.
Mizuno: You develop habits, or perhaps color, and I hoped that by changing that color we’d produce something new. I’ve been working with Yoshioka since we were in our teens, and we’ve grown together. Yoshioka’s way of singing has become part of me, and my melodies, and the melodies of (Hotaka) Yamashita, have become a part of Yoshioka. So when you’re singing lyrics that aren’t part of that, you find that you can’t sing them the way you normally would (laughs). I was very curious about how my own melodies would sound. It was fun taking on that challenge with Hasumi’s lyrics and Yu Asobi’s lyrics.
What’s behind the title of the album, Asobi?
Mizuno: I feel like the process of creating our last album, Maru, was very stoic. On this album, fortunately, we had a lot of tie-in songs and a lot of variety. The context of each song was also totally different, so we were having a hard time coming up with a concept that would tie them all together. We were thinking about different possibilities when the conversation turned to maybe seeing the rich variety of the album in a positive light instead of trying to put everything in one box. The idea of “play” (in Japanese, “asobi”) came up through that conversation.
Yoshioka: Right.
Mizuno: Since the idea of that title, Asobi, came up, I suggested working with outside artists on the songs. A lot of different artists took part on IKIMONOGAKARI meets (a collaborative album in which 12 artists interpreted Ikimonogakari songs in new ways), and this time I wanted us to “meet” them.
Yoshioka: When the word “play” came up, everyone got really excited. The whole room lit up. It felt like if we went in that direction, we’d come up with something good. Like Mizuno said, the creation of Maru was a very stoic process, and it felt like with this album, we could go in a totally different direction. We had this fun concept in mind as we created the new album.
This has been called a second “debut” after you began your new chapter as a band, and it really is packed with songs that go in new artistic directions. Do you feel like the creation of Asobi will be influencing your future work?
Mizuno: Over the last four or five years, there have been a lot of big events in our lives. We separated from our talent agency, a member left, and Yoshioka had a baby. A lot of our songs were shaped by our story. In 2024, it felt like we really focused on the music itself, and we had a lot of fun both performing live and recording songs. We’ve walked a lot of roads, and I think now we’re really able to focus on “what I should sing as a singer,” “what I should write as a songwriter,” and “what kinds of artists we should work with as a group.” We’ve come full circle, back to where we started, and we can move forward from here. I hope a lot of people listen to our new album, and, personally, I’m really happy to be able to look forward to the future.
Yoshioka: As I mentioned earlier, we’ve taken on a lot of different challenges, like playing at the Budokan as just a duo or performing street shows. We’ve worked with a lot of artists on our album. We’ve kept trying new things, and that’s become normal for us now. I think we’ve created a great album, and I feel like we’ll keep diving into new things in the future. In the past, I’ve been the type that gets nervous about new things (laughs), but I’ve come to see how fun taking on new challenges can be. I’m glad we’ve been able to open this door that will lead us in new directions.
—This interview by Tomoyuki Mori first appeared on Billboard Japan
Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work, in the same spirit as Billboard’s annual Women in Music honors since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
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Rena Yamazaki chatted with writer Rio Hirai in the latest installment of the series. The former idol group member continues to express her thoughts on society and culture through her regular TOKYO FM radio show “Rena Yamazaki’s Things I Wanted to Talk to Someone About” and her writing. The 27-year-old shared her feelings about moving from being an idol performer to working in the world of journalism, the possibilities for women’s careers, and the importance of speaking out.
What changes have you felt compared to when you used to be an idol performer?
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The biggest change is that I’ve started to be involved in news programs. I appeared in a special program on the Upper House elections in the summer of 2022, just before I graduated from the group, and since then I’ve been invited to appear on shows like Sunday Japon, Wake Up, Mr. Sunday and ABEMA Prime. I was interested in politics and the economy since when I was an idol, but never had a chance to talk about them. Now I’m being asked for my opinion more and feel that’s a big change.
What’s the most rewarding aspect of being a radio personality?
It’s a place where I can take time to convey my thoughts in my own words. I also like how I can get close to my listeners and hear all sorts of stories through the messages I receive. Unlike TV, there’s the difficulty of trying to convey things using only your voice and words without relying on visuals, but that’s also part of the appeal.
Is there any difference in your stance towards work between your idol days and now?
When I was an idol, my stance was to do my best within the role I was given. But now, I think about the way I work and have more opportunities to express my own opinion, so I’ve become more proactive. That means I have more responsibility, but the pressure is a good stimulus.
It’s unusual for former idols to go into journalism. What do you think about the second careers of other idols?
Everyone has their own path to take after graduating from being an idol, but many of them go on to become actresses. Even when I was still in the group, I liked studying things of all genres and using words to communicate, and also had opportunities to appear on TV shows, so I wanted to continue doing work that made use of my intellectual curiosity. That’s why I chose to go into radio and writing.
How did you feel when you were first tapped to be a TV commentator?
I was surprised at first, because I never thought I’d be offered a role in a special program covering the results of the Upper House elections. My management team at the time asked me, “We’ve been offered this, what do you think?” and I thought, “It’d be a challenge worth taking on.” I asked them their decision and they said, “We think it’d be good for your career and a good learning experience,” so I was able to make up my mind to give it my best.
Were you always interested in politics and social issues?
I studied media theory and writing techniques at university, and was also interested in politics and economics. I had friends who went into journalism, and I also regularly read newspapers and online articles. But I never intended to make it my career. Once I started working in the field, though, I felt I needed to study more, so I started reading books and talking to experts.
Has anything surprised you while working in the media?
That what I say has more influence than I thought. Even casual comments can be spread on social media and misunderstood, or even lead to slander. I try to choose my words carefully more than ever before.
When celebrities speak out about politics, they’re often criticized. What do you think about that?
Well, it’s true that when I talk about politics, people sometimes say things like, “You’re a smart-aleck” or “You don’t know what you’re talking about.” But I also think that if I don’t say anything, nothing will change. In fact, it feels like when young women talk about politics, they’re met with stronger opposition than when men do so. For example, when a man in his sixties talks about the same thing, he’s seen as calm and logical, but when a woman in her twenties talks about it, she’s seen as arrogant or trying to act mature.
That’s why I think it’s important to keep speaking out. My views may not always agree with those of viewers and may say something wrong at times, but if I keep quiet, people will end up thinking that young people don’t care about politics. I want to show that there are people who do care and think about it.
In today’s age of social media, what are your thoughts on how information should be disseminated?
Anyone can freely express their opinions nowadays, but I feel that this also means people have a greater responsibility for what they say. In particular, in the world of journalism, what you say can be taken out of context and misinterpreted, so I’ve become more careful about the words I choose.
Extreme opinions tend to spread easily on social media, and it can be hard to have calm discussions. In this context, I think it’s important to make your position clear, but also to offer constructive opinions rather than fueling confrontation. That’s why I try to say “I don’t know” when I don’t understand something, and want to keep being open to listening carefully to what experts have to say.
What do you think is necessary for women’s opinions to be heard?
First of all, I think it’s important to have more opportunities to speak out. I also think that we need to create an environment where women don’t feel afraid to speak out, but rather feel that it’s natural to do so. My ideal is to have a society where people who believe women’s opinions should be equally respected become the majority.
What do you think is necessary for idols and female celebrities to have lasting careers?
I think it’s particularly true in the idol industry that it’s hard for women to have long-lasting careers. It’s easy for “youth” to become part of their value, and in some cases, the range of their activities narrows as they get older. That’s why, when I was still an idol, I wanted to find other work that I could do. That’s how I was able to take the first step into fields like radio and writing, which aren’t restricted by age. What would be ideal is an environment where it’d be easy to return after leaving once, and where women could build up their careers more freely.
What do you think is necessary to make it easier for women to play a more active role in the entertainment industry?
I think it’s important to create a better environment for mental health care. More entertainment agencies are providing access to mental health counselors now, but I feel that there’s still a lack of awareness of the importance of mental health care.
When did you first become aware of the importance of mental health care?
When I was in university. At the time, I found it hard to balance my idol activities with my studies, so I sometimes went to a mental health clinic. Many people feel uncomfortable about seeking this kind of support, but from my own experience, I think it’s necessary to protect yourself.
What would you like to try in the future? And is there anything you want to share with our readers?
I’m planning on publishing two books this year, and currently preparing for that. I also want to continue doing what I’ve been doing as long as possible. I want to tell all my listeners to take care of their bodies and minds. Ultimately, only you can protect yourself. I hope that you’ll remember to take care of yourself, with support from the people around you.
This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Mrs. GREEN APPLE’s “Tengoku” hits No. 1 on the Billboard Japan Hot 100, dated May 14, becoming one of the three songs by the band taking up the top three slots on this week’s chart.
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“Tengoku” (“Heaven”) was written as the theme song for the movie Shinso wo ohanashi shimasu (“Let me tell you the truth”) starring the band’s frontman Motoki Omori alongside timelesz member Fuma Kikuchi and debuted at No. 11 last week. On this week’s tally, it rules streaming with 9,383,288 weekly streams while coming in at No. 3 for downloads, No. 2 for radio airplay, and No. 4 for video views.
The popular three-man band dominates the top three positions on this week’s Japan Hot 100 with “Lilac” following “Heaven” at No. 2 and “KUSUSHIKI” at No. 3, becoming the second act to do so. The first artist who accomplished this feat was Ado, on the chart released Aug. 17, 2022. (“New Genesis,” “Backlght,” and “I’m Invincible” at Nos. 1, 2, 3, respectively. Fun fact: Motoki Omori wrote “I’m Invincible.”)
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WEST.’s “WEST SIDE SOUL!” debuts at No. 4. The theme song for the movie URASYAIN starring all seven members of the boy band sold 236,601 copies in its first week to rule physical sales and comes in at No. 24 for radio.
DXTEEN’s “Tick-Tack” bows at No. 5. The opening theme song for the drama series Yabusaka dewa gozaimasen launches at No. 2 for sales with 90,311 copies sold and comes in at No. 8 for radio.
Other notable chart moves include Shota Shimizu’s “PUZZLE,” which rises 18-11. Released last October as the theme song for his alma mater, the song started gaining traction on TikTok and social media around April, leading to an increase in video views and streams. Streams are up to 112% and downloads to 162% from the week before.
Also, several songs by KinKi Kids have charted after the duo released its extensive catalog on streaming platforms on May 5. “Ai no katamari” comes in at No. 14, “Garasu no shonen” at No. 42, “Aisareruyori aishitai” at No. 81, “Flower” at No. 92, and “Boku no senaka niwa hane ga aru” at No. 99.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 5 to 11, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
back number’s “Blue Amber” debuts at No. 1 on this week’s Billboard Japan Hot 100, released May 7, becoming the popular band’s sixth leader on the chart.
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The track is being featured as the theme song for the ongoing drama series starring Keiko Kitagawa called Anata wo ubatta sonohi kara. After being released digitally on April 28, the track came in at No. 2 for downloads (14,750 units), No. 7 for streaming (6,154,747 weekly streams), No. 8 for video views, and topped radio airplay. The song gives the three-man J-pop band its sixth No. 1 (nine weeks in all) on the Japan Hot 100.
Four other songs by back number are currently charting, with “Takaneno Hanakosan” rising 38-35, “Suiheisen” 46-44, “Hanataba” 65-56, and “Happy End” 78-75 this week.
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List of back number’s No. 1 Hits:
“Omoidasenakunaru sonohimade” (“Until the day I can’t remember”) “Christmas Song” [Three weeks]“Boku no Namae wo” (“(You called) my name”) “Old Fashion”“to new lovers” (Japanese title: “Atarashii Koibitotachi ni”) [Two weeks]“Blue Amber”
Mrs. GREEN APPLE’s “KUSUSHIKI” follows at No. 2. Compared to the week before, streaming and video for the The Apothecary Diaries Season 2 Part 2 opener decreased to 93%, while downloads and karaoke increased to 108% and 136%, respectively. At No. 3 is the three-man band’s “Lilac,” moving 5-3. Streaming and video for the Oblivion Battery opener gained slightly, while downloads and karaoke showed significant growth of 121% and 135%, respectively.
≠ME’s “Mobunoderella” bows at No. 4. The title track of the group’s 10th double A-side single released April 30 topped sales with 232,441 copies sold in its first week.
King Gnu’s “TWILIGHT!!!” falls a notch to No. 5. The theme song for the animated blockbuster Detective Conan: One-Eyed Flashback scores its third week on the tally, coming in at No. 5 for downloads (6,333 units), No. 4 for streaming (7,639,298 streams), No. 6 for radio and No. 4 for video.
Cho Tokimeki Sendenbu’s “Sekai de ichiban idol” debuts at No. 7. The title track of the group’s double A-side single was released April 30 and came in at No. 2 for sales (85,438 copies) and No. 45 for radio.
Also debuting at No. 9 is Travis Japan’s “Would You Like One?” The theme song for the animated movie Tabekko Doubutsu The Movie launched at No. 1 for downloads, No. 67 for streaming, and No. 55 for radio.
Outside the top 10, Mrs. GREEN APPLE’s new song “Tengoku” debuts at No. 11. It’s the theme song for the movie Shinso wo ohanashi shimasu starring the band’s frontman Motoki Omori (alongside timelesz member Fuma Kikuchi) in a feature film for the first time. The track comes in at No. 3 for downloads and No. 12 for streaming.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from April 28 to May 4, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
HANA‘s “ROSE” returns to No. 1 on the Billboard Japan Hot 100, logging its second week atop the tally released April 30.
The major-label debut single by the septet born from the No No Girls audition show dropped digitally on April 2 and debuted at No. 1 on the chart dated April 9. The CD version launched with 46,866 copies after being released April 23 and hit No. 3 for sales. The single ruled video views this week while coming in at No. 13 for downloads (2,741 units), No. 3 for streaming (8,369,460 streams), and No. 9 for radio airplay. The track has been dominating the video metric for four straight weeks.
&TEAM’s “Go in Blind” soars 66-2 this week, selling 620,541 CDs in its first week, marking the group’s biggest sales week to date. The track also ranks at No. 15 for downloads, No. 58 for streaming, No. 45 for radio, and No. 28 for video.
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Mrs. GREEN APPLE’s “KUSUSHIKI” follows at No. 3, down two notches from the week before. But the track continues to rule streaming for the third week in a row with 10,607,816 weekly streams.
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King Gnu’s “TWILIGHT!!!” rises 7-4. Streams for the Detective Conan: One-Eyed Flashback theme song are up to 227% (No. 4 for the metric), radio airplay to 280% and video views to 188% compared to last week. Mrs. GREEN APPLE’s “Lilac” follows at No. 5 on the Japan Hot 100, showing strength in karaoke, streaming and video, with karaoke holding the top spot for 16 consecutive weeks since the chart released Jan. 15.
The two debuts in the top 10 this week were CANDY TUNE’s second single, “Oshi Suki Shindoi” at No. 7 and RADWIMPS’ “Tamamono” at No. 9. The latter is the theme song for the ongoing NHK morning drama series Anpan.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from April 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
