Billboard Japan

Kenshi Yonezu dropped his highly anticipated new album LOST CORNER this month. The J-pop hitmaker’s latest project is a tour de force arriving four years after his previous album STRAY SHEEP, packed with 20 tracks including ten high-profile tie-ins such as “Chikyugi – Spinning Globe,” the theme song of Hayao Miyazaki’s animated movie The Boy and the Heron.
Writer Ryutaro Kuroda spoke with the 33-year-old singer-songwriter on behalf of Billboard Japan about his new release, who shared the concept and intent behind the title of “Garakuta” (“Junk”), one of the keywords of this project, and its connection to the title track and more. The “KICK BACK” artist described his current headspace after releasing the epic set as being “bright,” and this outlook seems to symbolize the style of the album in its entirety. 

You’ve completed your first album in four years. Tell us frankly how you feel about it now.

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I’m feeling brighter than usual, I guess. There are things I wish I could have worked on a bit more, but I don’t spend my days being tormented by them. It feels healthy and I like that.

With so many songs that were tie-ins, I was wondering how you were going to put them together as an album. How did you come up with the overall image of the set?

As you say, the number of existing songs had grown quite a bit over the past four years, and the album could have ended up consisting mostly of existing singles. That was my initial concern. Some musicians, after a long time in the business, gradually include fewer new songs in their albums and I feel really sad about that. When I was a kid, my idea of an album was something full of songs that I’d never heard before and there was a joy in listening to them collectively, and I still clearly remember that. So when my album turned out to have 11 existing songs on it, the only way I could think of to resolve my main concern was to simply increase the number of tracks, an idea even a fool could come up with. I actually wanted to write more — ideally, I wanted more than half of the songs to be new, but fell short of that goal. I have some regrets about that, but I guess I did OK.

When did you start working on the new songs on the album?

I wrote most of them this year. There are about three tracks I wrote last year — in fact, I was actually planning to release this album last year, but really wasn’t in the mood for it. My motivation for music had dropped so low and there was a long period where I didn’t want to make any more music.

Can you tell us why?

The Boy and the Heron was a huge factor. I grew up on Ghibli films and Hayao Miyazaki was a huge presence in my life. Working on the theme song for one of his movies felt like the greatest honor ever that would probably never come my way again. And when something like that happened, it felt like I’d lived my whole life for that moment. During the last year, especially during the period leading up to the release of the film, I had this strong feeling that there’d be nothing left after this was over. I just couldn’t get into the mindset of making new songs, so I had to postpone [the album] for a year.

What made you turn to music again?

It’s hard to say succinctly, but I stopped thinking about the minutiae — I stopped facing things beyond my control. I felt that I’d just become exhausted unless I started to focus on how strongly I could secure the areas that were within my control and that others couldn’t take away from me.

From an objective standpoint, my music career probably appears full of happiness. I mean, I’ve had opportunities to be involved in various works like the Ghibli tie-in, Shin Ultraman, Final Fantasy XVI, and Chainsaw Man, so it probably looks like smooth sailing. And while I think that’s correct even from my point of view, I also had this sense of urgency. I felt that somewhere along the line, I’d snap and never be able to recover. So, I focused only on what I could control, and to a certain extent, ignored or gave up on what I couldn’t. I had to switch to this way of thinking.

You arranged all of the new songs on the album except “Garakuta – JUNK.” Is this in line with what you just said about securing what you can control?

It really is. Once I decided to do it all myself and began doing it, it was just so much fun.

What you just said sort of reminded me of your works from your diorama era.

Yes, I guess you could say I went back to my roots in that sense.

While the new songs on this album lean towards electronic music, “Garakuta – JUNK” is the only song with a band sound. What image did you have in mind when you started on it?

I wrote it as the theme song for the movie LAST MILE, but the process was full of twists and turns. The first demo I submitted was a completely different song. It was a rather subdued number, sung effortlessly in a low key. I had an urban image in mind and was writing a track that had sort of an icy feel to it, but the producers of the movie said, “Maybe this isn’t the one.” They preferred a gentler, warmer, yet ballad-like song, and I was like, “I have to admit, you do have a point.” When I first met with Ms. Ayuko Tsukahara, the director [of LAST MILE], she mentioned wanting to make this film a popcorn movie. She wanted to make a roller-coaster movie that was emotional and thrilling and could be watched with popcorn in hand. In light of that, I realized my first demo wasn’t the right image. So the current song was born in the process of writing it over again.

My understanding is that the lyrics include your own experiences.

The first one I wrote felt perfect the way it was, so when they told me it wasn’t what they were looking for, I wasn’t sure where to go from there. Around the same time, as a really personal experience, a friend of mine was in a bad spot. They were mentally overwhelmed — the word “overwhelmed” is too mild to express what they were going through. So I went to see them with another group of friends and spoke with them. That conversation and the expression on their face turned out to be a major experience for me. One of the things I remember in particular was that they kept saying, “I’m not broken.” They repeatedly said, “People might look at me that way, but I’m not broken at all. I’m perfectly fine,” and, “I’m just a little more honest than I used to be.”

After I got home and was alone, I wondered if being “broken” was such a bad thing. I thought, even if you’re broken or not, you’re still you, and I intend to accept you either way, so maybe I should have said, “It’s all right if you’re broken.” That experience had a huge influence on the creation of “Garakuta – JUNK” and as I wrote the lyrics in that direction while drawing on parts of the film that link to the emotions of the characters, I ended up with those lyrics.

The light tone of “LOST CORNER” is also notable. How did you go about creating the melody and sound?

I’m not sure, but I wanted this song to be the last track on the album when I started writing it. So I thought it’d be nice and tight if I ended it with something ceremonial or euphoric, or simply put, a ballad, but it didn’t sit very well. As I worked on it, it turned out really bright and light. But I wanted to start the album with a song that tells someone to “disappear” and end it with “not disappearing.”

Could you elaborate on what sort of mental state that reflects?

I sometimes read books about people suffering from depression. Some people can’t help but feel that their lives aren’t worth living, you know? It’s a very serious problem for them, and it’s probably hard for such people to make proper decisions in such a state, and it’s also something that feels familiar to me. It’s really a grave situation and I’m not saying I object to it or anything like that, but I felt that this is vaguely an inverted form of eugenic thinking. Being convinced that you’re not worth living is the reverse of “so long as I have value, I can live,” so you’re in a state of somehow being convinced that you shouldn’t be alive if you’re not productive. I don’t want to sound so harsh to those who are struggling now. But the truth is, it’s OK to be alive even if you aren’t productive, and it’s OK to be alive even if you’re a good-for-nothing or a dunce. While the major premise is that it’s not so simple, I still think there’s an element of not having been able to gain sight of such a basic point.

It’s OK to be “junk” you mean.

I have this feeling as well — there’s a part of me that can’t help but think that I have to be making music and that it’s the meaning of my life. I felt compelled to think about how I should confront that. Some obvious barometers are the number of likes on X (formerly Twitter) or the number of streams for songs, which are things we have to deal with, and in today’s world where social media is so ingrained in society, this isn’t limited to a profession like mine. When you think about how to deal with such visualized standards of value, I think it’s important to create an environment where we can avoid associating with them.

I might have mentioned this at the beginning, but it’s about having things that can’t be taken away from you no matter how much malice you’re exposed to — I sing about turning a curve slowly in “LOST CORNER” and in “Chikyugi – Spinning Globe” I say “I’ll turn the corner.” Maybe it’s important to keep moving at a speed that will allow you to actually feel that the road goes on. I have a feeling I was thinking about things like that a lot.

The phrase “all the dreams, hopes, misfortunes, and anguish/well, that’s that,” from “LOST CORNER” seems to symbolize this work.

Yes. Being nonchalant like that and not getting too uptight about things. Things can be really fierce in a society revolving around social media, you know? A small image of a person is cut out of context and spread out and it becomes more and more disconnected from that person’s real character. This isn’t limited to celebrities and could happen to anyone — a snapshot can be mocked to pieces and damage a person’s dignity, and the way we should live our lives under such circumstances is by separating the real from the imaginary and securing what can’t be taken away from us. I think the world has become a place where it’s really important to have an area that can’t be taken away from you.

You announced a major world tour, making two stops each in Asia, Europe, and the U.S. starting in March next year.

I’ve been to China and Taiwan before, and clearly remember the excitement from those shows. I’m looking forward to going there again.

What about Europe and the U.S.?

I can’t say because I really don’t know what to expect. I have no idea what it’ll be like. A shy Japanese person will be coming from the East, so please be gentle, is maybe how I’m feeling.

—This interview by Ryutaro Kuroda first appeared on Billboard Japan

Billboard Japan launched its Women in Music initiative in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The WIM interview series highlighting female players in the Japanese entertainment industry is one of the main features of this project, and the first 30 sessions were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai last year. 
For the latest installment of this series, Billboard Japan spoke with YUKKYUN, a self-designated DIVA celebrating his 10th anniversary in entertainment. The 29-year-old multi-hyphenate began his career in 2014 as an idol singer and went on to become a finalist in the coveted miss iD audition in 2017. While active as the member of the duo Cinema and Boy CQ, YUKKYUN began self-producing his solo career called the DIVA Project in 2021 and has branched into various media including songwriting, writing, and podcasting. The “Logout Bonus” singer — who has been vocal about being a fan of female artists — shared his thoughts on the state of gender in the music industry in Japan.

Tell us about your life before you launched your career as YUKKYUN.

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My friends were always more girls than boys since I was little and my parents never stopped me from being who I am, so I’ve managed to avoid being forced into some form of masculinity in life. None of my classmates were like me, so I guess I did stand out.

I first encountered feminism and gender theory in my third year of high school when I started reading books like Chizuko Ueno’s Misogyny after finding out about it in a magazine. Around the same time, I read (Shuichi Kato’s) Introduction to Gender and Sexuality Studies and it was like I understood the true nature of the discomfort I’d been feeling. I realized that I wasn’t wrong after all and that I could do whatever I wanted. I’d always firmly believed that I wasn’t doing anything wrong even before then, but it was a relief to learn that there were people doing proper research on the subject and that it’d been clearly laid out. Until high school, it was a matter of how I felt and acted, but at about age 20 I reaffirmed that everyone including me had many options — there were so many people in Tokyo wearing cute clothes, so I began to dress myself freely in skirts and dresses. 

You believed in your potential and decided to present yourself to the outside world as YUKKYUN. Did you feel it was your mission to do so?

It was hard for me to live my life pretending to be something I’m not. I can’t say what I don’t think and I can’t go outside as myself if I’m wearing clothes I don’t want to wear. Forcing what’s become the norm for me to conform to existing values is more taxing. It’s how I’ve always lived, so being different from others wasn’t that much of a problem for me.

I also thought there’d definitely be some people out there who’d get something out of seeing someone like me being gorgeous in public. I think it would have been a relief for me as a teenager in junior high or high school if someone like me had existed. I do feel it’s my mission to shine right in the middle.

And it’s been exactly ten years since you started performing as YUKKYUN.

Yes. I’ve always loved singing and dancing. I started doing what I could within a few months of moving to Tokyo. I’ve been a member of a duo called Cinema and Boy CQ since 2016 and performing in this group is already fun in itself, but the year I graduated from grad school I started the DIVA Project as a solo artist, writing my own lyrics and singing them. I began receiving responses at a rate and depth that I couldn’t have obtained from just my previous activities. Hearing feedback from people who’ve actually listened to my music is such a rich experience, and I’ve discovered lots of things other than what I’d consciously wrote into my lyrics. The way my music reaches each person is slightly different and I find that invaluable.

Many shy people who want to take that first step but haven’t been able to do so listen to my songs, so I want to sing songs that will lift their spirits and inspire them, even if it’s only while they’re listening to a three-minute song. When the things that I’ve said on social media or in interviews are written into a song, the recording can be heard many times and the song sung many times at concerts, and I get a sense that the message really hits home that way. So I think making works of art is wonderful and that everything should be handed down as works of art.

That’s true. As a listener myself, I also have a strong sense of the magnitude of the things we receive from works of art. Like you just said about hearing from people who want to take that first step but can’t, there seem to be many people in Japan today who are intensely afraid of stepping outside of the existing framework. I’m sure this is something you express in your lyrics, but how do you think they can overcome that fear?

I don’t live free of fear or care either, and I want art to always be by my side as something that gives me the courage to take a step forward and to question existing frameworks. And I’d like (my art) to be like that, too.

Try not to overlook any feelings of discomfort that arise within you. I think it’s important to keep being aware of the things that bother you or things you feel you can’t handle, no matter how minor, and to know what you really want to do, what you value, and what you want to change even if you can’t do so right away. I mean, life isn’t just about overcoming things. I hope my music can exist as a way to present possibilities and options to such people. I want to make people feel at ease.

Do you think that by coming across music or idols that you like, for example, and finding things you truly value and don’t want to compromise, people could gradually become less concerned about existing frameworks?

Yes, I do. And when you find that something you like or don’t want to compromise, you don’t have to declare it or be vocal about it. Even if you don’t go out of your way to say, “I like such-and-such” to others, if you can be true to yourself in your heart and be like,  “This is how I really feel,” you can live without breaking down.

In my case, I think I needed to listen to music by divas singing about loneliness to validate how I felt. Changing things quickly or being able to do things suddenly isn’t easy, you know? You can’t just be reborn. For example, even if you want to wear only cute clothes from now on, it takes money and time, at least about two years, to completely change your wardrobe. So during that time when I was longing to change, my favorite music protected my heart. 

When you think about it that way, it kind of feels like society isn’t designed to allow individuals to value the things they hold dear inside. You were a finalist in the miss iD audition in 2017, a competition that uses the honorific for women in its name [Japanese Wikipedia defines it as “an audition to find diverse female role models who survive in the new era, regardless of appearance, genre, or gender roles”]. Could you share your thoughts on the current social structure?

That was seven years ago now, but I entered the miss iD contest because the judges were all creators that I liked and it wasn’t my intention to challenge the social structure. The current social structure is so exhausting, but I’m trying to broaden the existing framework by expressing with my body that it’s OK to do what I want as a “boy who’s a bit unfettered.” Sometimes it’s like people see whatever I do as social commentary, but I still feel like I’m thinking more about individual people than society as a whole.

You released “DIVA ME” in May 2021 and launched your solo endeavor called the DIVA Project. Could you tell us why you chose the word “diva”?

When I thought about what I’ve received from whom in life and about what I should do in my upcoming solo career, calling myself DIVA made the most sense to me. My definition of DIVA is the will and spirit to be proud regardless of gender or occupation, so I made my solo debut with a song called “DIVA ME.”

Who inspired you to shape your definition of DIVA?

The first DIVA I fell in love with was (J-pop star) Ayumi Hamasaki. I’ve loved her since I was 5 years old and went on to enjoy listening to solo female artists in general, especially those who write their own lyrics and create their own world. I still listen to Hikaru Utada, Ringo Shiina, aiko, Yuko Ando, YUKI, Tomoko Kawase, and others. After moving to Tokyo, I also discovered the music of Seiko Oomori and felt that the music reached my heart more directly. When I think about it, DIVAs have accompanied me throughout my life.

It sounds like calling yourself DIVA is a solution that satisfies you. What changes do you think are necessary to allow for more diversity in the workplace in Japan’s music and entertainment industries in the future?

Something I’ve noticed in the industry is that the producers are mostly men. It’d be better if there were more women in those creative roles. I’m sure there are capable women out there but maybe society isn’t accustomed to giving full authority to women. I don’t compose music, so I’d like to appoint more women to do that for me. I also think there aren’t enough women organizing festivals. I guess I have to become really popular. Then it’ll make it easier for people who want to do what I do to come out. I hope that by taking the lead, I can lower the obstacles for people to start something. Otherwise, it won’t be interesting for me either.

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

Fujii Kaze announced a new Asia tour set for later this year, following his first-ever trek around the region last year. This time, the Japanese singer-songwriter will scale up his shows to arena-sized venues for his upcoming Best of Fujii Kaze 2020-2024 ASIA TOUR. The “Shinunoga E-Wa” artist released the key visuals and special website […]

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

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

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

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

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

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

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

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

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

When did you start working on “NG”?

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

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

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

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

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

Maybe it’s part of getting ready for motherhood.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thank you. I’ll do my best!

—This interview by Sotaro Yamada first appeared on Billboard Japan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This article by Mio Komachi first appeared on Billboard Japan.

Full setlist:

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

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