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Japanese singer-songwriter Fujii Kaze released a concert Blu-ray & CD called Fujii Kaze Stadium Live “Feelin’ Good” featuring his biggest solo headlining shows so far by the same name that took place at Nissan Stadium in Kanagawa, Japan on Aug. 24 and 25. 

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About 140,000 fans flocked to see the shows over the two days that vividly conveyed Fujii’s magnetism as an artist — exceptional musicianship, outstanding entertainer’s spirit, a laid-back, natural presence that makes you forget you’re seeing him in a stadium setting, and a loving mind that looks out for each person in the audience. This writer also attended one of the shows and the two-hour set was an experience that left a lingering sense of euphoria.

The package delves deeply into the concert experience from various angles. Those who went to the shows will be able to relive the excitement, and for those not familiar with Fujii Kaze will be able to understand why he is loved by so many.

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The Blu-ray is a two-disc set, with Disc 1 containing live footage compiled mainly from the show on Aug. 25. Kento Yamada, a filmmaker who also directed the show itself, helmed the visuals for the concert film as well. Disc 2 contains the approx. 70-minute Feelin’ Good (Documentary) film, which shows fans the behind-the-scenes of the shows. This doc directed by filmmaker Elizabeth Miyaji contains a new interview of the 27-year-old musician, who speaks candidly about the concept of the shows and his thoughts on the project. The CD contains 16 tracks personally selected by the singer himself. The following are some highlights from the visual and audio discs.

The concerts were full of various gimmicks and stage effects, and by capturing them on video, they become easier to understand and enjoy. The show kicks off with Fujii suddenly appearing in the stands. As cheers break out, he slowly walks down the stairs near the audience and heads for the grand piano placed on the grass in the center of the arena. The camera also highlights the genuine expressions of surprise and joy on the audience members’ faces.

The impressive stage set was like a theme park with a stairway, bridge, and garage covered with vegetation. Based on Fujii’s desire to create something that evokes a sense of nature, Yamada meticulously crafted the set down to the smallest details, including the texture of the soil and the small objects inside the garage. The huge LED screen behind the stage displayed images like city and sky, designed to help create the impression of a single world when fused with the layout onstage.

The dancers’ performances were also notable. In particular, the multi-talented artist and his dancers performed choreography that was perfectly in sync for “Kirari” and “Kiri Ga Naikara” in the middle of the show. While Fujii is well-known for singing along to his own virtuoso accompaniment on the piano, his dance performances also showcase his star power.

The “Nan-Nan” hitmaker says in the documentary that the keyword for this show is “youth” (seishun). Sharing the fresh energy of youth with the 70,000 people in the stadium, with live renditions of “Seishun Sick,” sung while swaying with his dancers arm-around-shoulder, and an 8-beat punk rock version of “Tabiji,” was also one of the highlights of the concert.

While the respective visual projects on the Blu-ray discs are quite close to perfection, the recording on the CD allows fans to enjoy the you-are-there vibe of the show. The band members consist of Yaffle on keyboards, who also serves as band master, TAIKING from Suchmos on guitar, Naoki Kobayashi on bass, Norihide Saji on drums, Takashi Fukuoka on percussion, and ARIWA from ASOUND and Emoh Les on backing vocals. The funky, danceable beat of “MO-EH-YO (Ignite)” and the rich harmonies of “Shinunoga E-Wa” are just some of the highlights of the live arrangements.

Looking back over this past year, Fujii took on many challenges and overcame them all. From May to June, he traveled to North America for his first solo headlining trek in the region called Fujii Kaze and the Piano U.S. Tour, selling out both shows in Los Angeles and New York. From October to December, he visited 10 cities in Asia and performed in arenas for his Best of Fujii Kaze 2020-2024 ASIA TOUR, which also ended on a high note.

Fujii released only two new songs in 2024 — “Michi Teyu Ku (Overflowing),” the theme song for Tomokazu Yamada’s first feature film April Come She Will that became his fifth track to rack up 100 million streams in Japan, and the A. G. Cook-produced “Feelin’ Go(o)d,” released in July — but appears to be actively working on other tracks. The stadium concerts and arena tour were like a culmination of Fujii’s career to date, and fans are looking forward to experiencing his new mode of expression in the coming year.

This article by Tomonori Shiba first appeared on Billboard Japan. Fujii Kaze is stylized in Japanese order, surname first.

Yoshida Yasei’s “Override” easily took the top position in the Niconico VOCALOID SONGS TOP20 of 2024, announced by Billboard Japan on December 6. The song, which came out in November 2023, generated buzz thanks to its MAD or remix videos. Billboard Japan talked to Yoshida Yasei about how he felt about the success of the song.

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What led to “Override” racking up the views it did and becoming such a massive hit? 

Yoshida Yasei: Of all the songs I’ve released so far, “Override” had the fastest growth immediately after release. I thought that it had the potential to surpass “Laughin’,” which was my most famous song at the time. Then the number of plays started rising even faster at the start of this year, from around January 7. I was looking at the analytics info on Niconico and YouTube, and thinking, “Huh? Something’s going on here.”

So you started to notice the memes.

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Yoshida Yasei: From around December, people started to create “Override” music remix videos, so I had this feeling that a derivative work boom might be coming on. The sudden increase in the number of remix videos at the start of the year caused the number of plays to rocket upward, and the buzz became a reality.

After that, “Override” took the top position in the Niconico VOCALOID SONGS TOP20 for the first half of 2024, announced on June 7, and then in the Niconico VOCALOID SONGS TOP20 for 2024. Honestly, how did that make you feel?

Yoshida Yasei: I was very happy. It felt like my song had become part of the culture. I thought that, given the amount of growth, this was a song that would live on in Vocaloid history. You know how on X (formerly Twitter), there are those posts that are like “Do you know this song?” and they have images of famous songs from each year? I was excited by the idea that “Override” would be used on one of those posts. It would be an honor to have one of my own songs included among all the distinguished famous songs on those lists.

Looking at the lyrics, there’s a line that goes “It seems that a life of struggle, taking it to your very limits, is even crazier than what I’d imagined.” This feels, to me, like a very direct expression of frantic frustration.

Yoshida Yasei: I made “Override” last October, over a year after leaving my previous work. At the time, I was truly desperate. “Override” was a song created by the physical embodiment of desperation. But, after the release, the song became a hit and I experienced being able to make a living from music. That gave me this tremendous sense of stability. The creation process was impulsive, so I didn’t really struggle with the melody that much. On the other hand, I did have to think deeply when I was writing the lyrics. Because of that, I have a lot of emotional investment in the song.

So you worked through the difficult progress of writing the lyrics, but than people focused on the catchy melody and the distinctive choreography of the animated music video. They started meme-ing off them, which generated buzz. How does that make you feel?

Yoshida Yasei: When I first started out as a Vocaloid producer, I wanted to make songs that led to the creation of a lot of derivative works and music video remixes. So, setting aside the issue of whether or not people’s creations matched the lyrics, I was happy about the whole phenomenon. I was watching like, “Huh, so this is another way things become popular. That’s pretty interesting.”

The title “Override” is an IT term that refers to disregarding settings, properties, and the like and using different ones instead, right?

Yoshida Yasei: Right. Once I’d decided on the title “Override,” I wrote lyrics that matched that aesthetic. Back when I was writing programs, I had this vague feeling that “life is all functions.”

A function?

Yoshida Yasei: Yes. A function is a system where you input something and the system outputs something else. In our lives, it’s like our birth supplies the input conditions and our death is the output of the function. Everything that happens in our lives—every event and every outcome—are a series of causes and effects. There are a countless number of these functions, chained together, so each person is like a program. I think some of those functions work against us. For example, your cultural capital differs depending on whether or not you were born in Tokyo. There are also functions that block access to things because of your bad luck. That’s where the concept of “Override” comes from. Overriding is like using a function with the same name to perform completely different operations. I think you can override these programs if you make enough of an effort, though.

I see.

Yoshida Yasei: I moved to Tokyo from Hokkaido last June. “Override” has the frantic frustration that I felt before I came to Tokyo and before “Override” became a hit. Living out in countryside, you face this downward spiral of “I don’t have access to this and I don’t have access to that.” By coming to Tokyo, I wanted to break this cycle. In other words, I wanted to overwrite the function that said “Input: You live in the countryside → Output: You have no access” with one that said “Input: You live in Tokyo → Output: You have access.” But, to be honest, when I had just moved, I was still in the same desperate situation I had been in before moving.

You uploaded “Override” last November, and then the number of plays started skyrocketing. Although it did take a little time after coming Tokyo, it feels like you really did “override” your life.

Yoshida Yasei: Indeed. Perhaps I overrode my fate.

The chorus to “Override” has a very distinctive choreography that has quite a visual impact, so there are tons of people copying it. Where did that choreography come from?

Yoshida Yasei: From the start, I had this mental image of meme-like movement, so I talked with illustrator Sisia, going into a lot of detail about what I wanted, like “I want an illustration like this” or “I want to keep this material separate from that material.” Sisia worked on the illustrations without knowing what the completed video would be like. I provided a lot of detail about the little jokes to be included and the way the art should look, and I’m really thankful about what wonderful illustrations they created.

It sounds like you had a perfect balance of lyrical urgency and humor, which is what led to “Override” becoming the hit it’s become.

Yoshida Yasei: Tongue-in-cheek memes were just right for balancing out the barbed lyrics, making it more joke-like. The music itself also has a light feel, but the sharp lyrics fit in smoothly. I feel like there was just this miraculous balance of different elements. I don’t think “Override” would have had the same feel if it were missing the memes or if the melody were different.

Another thing that stood out is that after you uploaded the song, both in the comments on your own video and on X (formerly Twitter), you were actively encouraging people to make derivative works.

Yoshida Yasei: I simply wanted there to be more derivative works, so I provided materials people could use and I shared works they made. It also felt a little like an experiment: “What would happen if a creator were actively involved in derivative works?” Ultimately, that generated buzz, and, like when the song broke the record for consecutive weeks in the charts, I was like “Oh, so this is how the story turns out.” As always, I looked at the whole thing from a third person perspective (laughs).

2024 was a year of overriding for you yourself, and it’s also the year in which “Override” carved its name in the Vocaloid charts. How do you feel looking back on this past year, in which “Override” led to so much creation?

Yoshida Yasei: I experienced a lot of things this year that I’d never even imagined before. It was a year of major change for me. I was even surprised about how making new connections and meeting new people changed. So I really haven’t fully gotten my head around this year of tremendous change. In 2025, I hope to look back on my social media and photographs and gradually make some order out of all of it.

—This interview by Mio Komachi first appeared on Billboard Japan