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Ball Park Music are getting another boost from their career-defining support slot on Oasis’ blockbuster Australian reunion tour, with the Brisbane five-piece featured in the latest instalment of Live Nation’s Soundcheck series.
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The behind-the-scenes episode documents the band stepping onto the biggest stages of their career, performing to arena-sized crowds across the country as Oasis returned to Australian venues for the first time in more than a decade.
The new video follows Ball Park Music from soundcheck through to showtime, capturing the emotional and technical build-up before the house lights drop. The band — who have long cited Oasis as formative influences — are shown tuning up backstage, taking in the scale of the arena, and reflecting on the surreal nature of opening for one of the most culturally dominant bands of the ’90s and 2000s.
“It’s hard to even describe what it feels like to open for Oasis,” the band say in the episode. “We’ve all grown up with their music and to suddenly be standing there, playing before them, it’s surreal. You can feel the crowd buzzing from the moment you walk out. It’s a mix of nerves and pure joy. Nights like that remind you why you started playing music in the first place.”
The Oasis tour itself has been one of the major Australian live music stories of 2025, prompting rapid sellouts across multiple cities and adding extra dates to meet demand. For Ball Park Music, the run marks a significant step up following a strong year that already included major touring and chart success.
Earlier in 2025, the group scored their first ARIA No. 1 album with Weirder & Weirder, extending their streak of consecutive top-10 entries on the ARIA Albums Chart. Until then, three of the band’s releases had stalled at No. 2: Puddinghead (2014), Ball Park Music (2020), and Weirder & Weirder (2022).
The Soundcheck episode portrays this shift in real time. Cameras capture the band navigating the fast pace of arena production, walking onstage to tens of thousands of fans, and later watching Oasis’ performance from the side of the stage. There are quieter moments too: the group describing their pre-show nerves, laughing about technical mishaps, and taking in the “full-circle” nature of the moment.
Live Nation’s Soundcheck series has previously highlighted artists across the Australian touring landscape, including Anna Lunoe, Teen Jesus and the Jean Teasers, Coterie and Dallas Frasca. The Ball Park Music instalment continues the focus on documenting live performance culture from the inside — showing the realities and emotions artists experience at key turning points in their touring career.
Watch the extended episode of Live Nation’s Soundcheck with Ball Park Music and Daphne Berry here.
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Lenny Kravitz says an enthusiastic fan accidentally pulled four of his dreadlocks out during his show in Brisbane on Fri., Nov. 21.
The rock icon is currently touring Australia in support of his 2024 album Blue Electric Light. In a video posted to Instagram shortly after his performance at Brisbane Entertainment Centre, Kravitz told fans the incident happened while he moved through the crowd during “Let Love Rule.”
“Brisbane, that was wild,” he said in a video shared on his Instagram Stories. “A very excited young lady pulled four dreadlocks out of the back of my head. You know how hard you’ve got to pull to rip those out of my head? Damn, baby.”
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Kravitz clarified that the moment won’t change his commitment to interacting with audiences during the track, which traditionally sees him step off the stage and into the crowd.
“I’m not going to stop coming out there for ‘Let Love Rule’ because that’s our moment together,” he added. “Brisbane, you’re wild. I love you.”
Kravitz is midway through his Australian run, which continues Tues., Nov. 25 at Melbourne’s John Cain Arena before heading to Mildura on Nov. 28 and Adelaide on Nov. 29.
The singer’s current Australian dates mark his first shows in the country since 2012. That visit was itself many years in the making, with his only other visits to the country taking place in 1993 and 1994.
“Coming to New Zealand for the first time and returning to Australia after so many years is giving my soul the most beautiful energy,” Kravitz wrote in an Instagram post on Nov. 21.
“You all are amazing. Thank you for sharing this with me. Let’s keep going!” he added.
Since his last visit, Kravitz has released three further albums, including 2014’s Strut, 2018’s Raise Vibration, and 2024’s Blue Electric Light. Additionally, in 2024, he was honored with a star on the Hollywood Walk of Fame, and also received his first nomination for the Rock and Roll Hall of Fame, though he was not inducted.
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Rolling Loud has unveiled the full lineup for its 2026 Australia edition, confirming a heavyweight bill of U.S. rap acts alongside some of the country’s most prominent homegrown names.
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Rolling Loud Australia is set to take place across two cities in March: Sydney’s Centennial Park on March 7, and Melbourne’s Flemington Racecourse on March 8. The twin one-day events mark Rolling Loud’s first shows in Australia since 2019, and the first time the global hip-hop festival brand has expanded to a two-city format in the country.
Gunna will headline the two-city run, following Rolling Loud’s earlier confirmation that the rapper would anchor the event. Ken Carson joins him at top billing, extending the Opium-affiliated artist’s growing presence across the festival’s global footprint. Sexyy Red — previously announced — leads the second tier of performers.
The 2026 bill includes several major U.S. rap acts across its main stages. Sexyy Red, Tyga, Swae Lee, Lil Tjay, Ski Mask the Slump God, NLE Choppa, Quavo, Ian and rising rapper Osamason are among the international performers scheduled across the weekend. The lineup spans established touring names, TikTok-driven breakout acts and core Rolling Loud regulars who have been fixtures across the festival’s global editions.
In addition to the international programming, Rolling Loud Australia will feature a dedicated stage focusing on local artists from Australia and New Zealand. Acts announced for the regional platform include Hooligan Hefs, Youngn Lipz, Amarni, Day1, Lil Golo & Cult Shotta, 4ourttune and Jonny Chopps. While each city will include select local-only performers, the core lineup remains consistent across both dates.
Rolling Loud first debuted in Australia in 2019 with a one-day event at Sydney Olympic Park headlined by Future, Playboi Carti and Rae Sremmurd. That edition sold out quickly and became a key marker of the festival’s global expansion cycle. Its return in 2026 marks the brand’s first Australian event in seven years and the first time Rolling Loud has staged back-to-back shows in two Australian cities.
The announcement follows a period of continued international growth for the Miami-born festival, which recently added new editions across Europe, Asia and India. Rolling Loud India will take place later this month with a lineup headlined by Central Cee, Wiz Khalifa, Don Toliver and Karan Aujla.
Rolling Loud Australia 2026 will run in partnership with Primuse Entertainment as the local production partner. Further scheduling and site details are expected in the lead-up to the March events.
Trending on Billboard Everything is ready for the 2025 edition of Billboard Italia Women in Music. After its debut in 2024, the event that honors the most influential women in the Italian music industry returns with a whole new format. The second edition will take place at UFO, Milan’s new cultural hub that houses Billboard […]
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Released Nov. 7, YEONJUN’s debut solo album NO LABELS: PART 01 is one of the most compelling K-pop releases of 2025.
When his first mixtape GGUM dropped in fall 2024, it initially felt like a slightly puzzling choice. Its electronic-tinged hip-hop sound — filled with mechanical textures, indistinct vocals, and a repetitive hook — seemed to lean more toward concept than toward showcasing YEONJUN’s strengths: vocal ability, dynamic tonal shifts, and live power that had long been overshadowed by his reputation as a dancer. Yet as reactions remained divided, the view began to shift as I watched YEONJUN continue stepping onto stages alone — including year-end award music shows — driven purely by love for performance. I began to understand why he had chosen the song and, eventually, to cheer for that choice. During the group’s subsequent tour, TOMORROW X TOGETHER members appeared in various ways during YEONJUN’s “GGUM” stage, making it clear that they were proud of the performance as well. And when YEONJUN chose the reggae rock genre track “Ghost Girl” for TXT’s fourth studio album The Name Chapter: TOGETHER released in July this year, the question naturally arose: Where would he go next? The answer arrived in the form of NO LABELS: PART 01.
The album cover — an instantly viral image capturing YEONJUN dancing shirtless in his most unfiltered form — was shot by photographer Hye.W.Kang (@hyeawonkang). Although she had previously worked with him for magazine covers and TXT group shoots, this was the first time they spent three full days together on a project. To her, YEONJUN was unmistakably an artist with strong self-assurance.
YEONJUN, “NO LABELS: PART 01”
Courtesy of BIGHIT MUSIC
“YEONJUN knows exactly what he wants to express; he moves with a clear artistic direction in both performance and music,” Kang told Billboard Korea. “The album title NO LABELS had already been finalized, and because I naturally gravitate toward work that focuses on the person rather than any devices or concepts, I was grateful to be offered this project.” Understanding the music was also essential. “From the morning of the first day, I kept listening to his tracks so I could fully absorb the mood he wanted to convey. I listened to them over and over — quite a lot.” In both the early-released images and the album cover, YEONJUN exists not as a static figure but as a presence defined through movement. The slight distortions, shadows, and irregular poses are not “safe A-cuts,” but closer to the aesthetic of a deliberately chosen B-cut — images that capture an artist’s energy most vividly. “The shirtless shoot took place on the second day. YEONJUN felt a bit unfamiliar at first, but quickly found his rhythm. We did very minimal retouching. We all agreed that rather than crafting a smooth, refined image, we wanted to preserve his natural expressions and movements.” While design considerations likely influenced the final cover choice, YEONJUN’s own presence — and the strength of his decisions — undoubtedly played the biggest role.
The first day’s shots, using props like a bed and chairs, were featured prominently in the album’s ‘SET-UP B’ version. Kang felt that if the focus remained solely on movement, YEONJUN’s iconic face and energy might not fully come through. The result: images that balanced his power as a performer with his presence as an individual.
YEONJUN
Hye.W. Kang / Courtesy of BigHit Music
The third day of shooting took place alongside the music video schedule in Thailand. “The movement-based scenes and video shots wrapped surprisingly quickly,” Hyewon Kang recalls. “YEONJUN was already fully prepared for his performance. He wasn’t someone who ‘showed’ something in front of the camera — he was an artist who stepped in with conviction and completion already within him.”
“NO LABELS, JUST ME” — a phrase anyone could throw around rhetorically — is something YEONJUN proves thoroughly through both the music and visuals of his first solo album. Aside from the final track “Coma,” all six songs were produced entirely by producer-songwriter MISHA (@thatboymishaa), giving the album remarkable cohesion. MISHA, who previously worked with TXT’s “Upside Down Kiss,” shared via social media, “This project is a lot of firsts for me and means the world. Thank you for believing in these songs and allowing me to be completely myself as a writer and producer throughout this project.”
YEONJUN
Courtesy of BigHitMusic
The opening track “Talk to You” begins with crisp drum beats and YEONJUN’s confident attitude, pairing his rap with rhythmically controlled vocals that cut through the intense electric guitar in the chorus. Its rock energy flows naturally into the relaxed electronic sound, synth textures, and minimal rhythm of “Forever.” The third track, “Let Me Tell You (feat. Daniela of KATSEYE),” featuring KATSEYE’s Daniela, continues the synth-driven warmth and sensual tone, deepening the album’s cohesive mood. “Do It,” an old-school hip-hop number built on drums, bass, and a standout keyboard in the latter half, lets YEONJUN’s laid-back voice take the lead — before shifting into the hard-hitting hip-hop sound of the fifth track, “Nothin’ Bout Me.” With lines like ‘Define me if you can,’ ‘Say what you want, no cares,’ and the explosive ‘All that talkin’ Shut up,’ punctuated by scratching and shouting, the track delivers the album’s message most directly. The heightened energy flows seamlessly into “Coma,” whose tape-stop effects allow the intensity to slowly ease as the album nears its end — leaving behind the line, “You’re in my zone, come and follow.”
Given its cohesive sound and concept, the music video for this project was created as a six-minute omnibus combining three tracks — “Coma,” “Let Me Tell You (feat. Daniela of KATSEYE),” and “Talk to You” — under the banner of NO LABELS: PART 01. Director Song Taejong(@songtaejong) recalls, “The idea of making a 6-minute omnibus video came from the label(BigHit Music). Honestly, I was worried at first. Since videos are getting shorter these days, we added fun moments and unexpected elements throughout the 6-minute video to keep viewers attention. I always try to capture the full charm of my subjects, but during the wire scenes, I looked at the monitor and thought, ‘This might be the coolest shot I’ve ever filmed,’” he said with a laugh.
Conversations around K-pop are endless. Whether it’s “music to watch or music to listen to,” what elements it borrows from past legacies, or whether its intricate vocabulary and overbuilt imagery allow the core — the music — to truly shine. Amid constant doubt, criticism, pressure, and anxiety — YEONJUN has openly shared that he cried from fear and burden before his “GGUM” promotions, and his behind-the-scenes videos show the emotional strain of songwriting, choreography, performance, and tight deadlines — he still brought forward something entirely his own. And for that reason, YEONJUN’s latest album carries no labels and no references. Perhaps it’s because he doesn’t need them. He already knows — with his whole body, through every lesson learned — exactly how he is meant to move.
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Kenshi Yonezu’s “IRIS OUT” extends its domination over the Billboard Japan Hot 100 to nine weeks, on the chart released Nov. 19.
Downloads and streams for the Chainsaw Man – The Movie: Reze Arc theme declined this week, but karaoke jumped to 109% of the previous frame. It leads streaming and video views for a ninth consecutive week, and holds at No. 1 on karaoke for the sixth week in a row.
Debuting at No. 2 is timelesz’s “Steal The Show.” The title track of the group’s first single under its new lineup, released Nov. 12, sold 520,300 copies in its opening week to launch at No. 1 for sales, and enters at No. 17 for radio airplay. At No. 3, also new this week, is NMB48’s “Seishun no Deadline,” which sold 197,490 copies to bow at No. 2 for sales.
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Kenshi Yonezu and Hikaru Utada’s “JANE DOE” slips two spots to No. 4. The ending theme of the Reze Arc movie holds at No. 2 for streaming for the eighth straight week while remaining inside the top 10 for both video and downloads. At No. 5 is HANA’s “Blue Jeans,” which enters its 18th chart week with gains in video — up 105% from last week — and a slight uptick in karaoke.
Elsewhere on the Japan Hot 100, Gen Hoshino’s “Ikidomari” debuts at No. 22. The theme song for the film Hiraba no Tsuki opens at No. 1 for downloads, No. 22 for radio, No. 48 for streaming, and No. 83 for video.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Uketsu’s horror-mystery novel Strange Pictures has been shortlisted for Waterstones’ 2025 Book of the Year.
Originally published by Futabasha in 2022, Strange Pictures is an interactive horror-mystery in which readers unravel the story through clues scattered across “nine bizarre paintings” that feel subtly off. Since its release, the novel has garnered a broad following, selling over 1.2 million copies in Japan and surpassing 2 million copies worldwide.
Waterstones, the U.K.’s largest bookstore chain with nearly 300 locations across the U.K. and Ireland, selects its annual Book of the Year based on titles that booksellers most want to recommend to readers. The award draws significant attention in the U.K. publishing scene and is also widely followed by general readers. The chain described Uketsu’s work as “a horror novel by a Japanese author originating on social media, gaining attention even in the English-speaking world — an unconventional pick.”
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The novel has also been recognized internationally: In France, it was named FNAC’s Book of the Month, while in Germany it topped the May 2025 Krimibestenliste — Deutschlandfunk and Deutschlandfunk Kultur’s mystery list — as the best crime novel of the month. In Thailand, it debuted at number one in a major book event shortly after its release, and translation rights have now been secured in 36 countries and regions across five continents, including the U.S., South Korea, China, Brazil, and Morocco.
The enigmatic, masked writer and YouTuber’s latest installment in the “Strange” series called Strange Maps is currently available in Japan, and recently claimed the top spot on Billboard Japan’s new book chart, the Japan Book Hot 100. See Uketsu’s reaction to being nominated in the U.K. in full below.
I’m deeply honored and truly grateful. I lived in Surrey, England, as a child. The overcast skies, the scent of rain, and the serene yet slightly uncanny culture were formative experiences for my writing. I’m thrilled to reconnect with readers in the U.K. in this way.
Trending on Billboard Yungblud’s 2026 Australian tour dates will move ahead as scheduled, even as the U.K. singer halts all remaining performances for the rest of 2025 due to medical advice. Explore See latest videos, charts and news The Doncaster-born artist revealed over the weekend that recent vocal and blood test results prompted doctors to […]
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Being part of HYBE’s conglomerate naturally puts artists in a position of visibility from day one. The company’s financial and structural size is undeniable, but in K-pop, where competition is fierce, money doesn’t buy talent or guarantee a lasting impact. With only two months in their career, CORTIS is attracting attention on its own merit.
With a sharp stage presence and charisma that breaks the rigid molds of the industry, the quintet formed by James, Juhoon, Keonho, Martin and Seonghyeon secured a prominent position among the year’s rookies with a lot of personality. Aged between 16 and 20, the young men form the first group launched by BIGHIT MUSIC in six years – after TXT in 2019 and BTS in 2013 – with the motto of being a creative team and self-producing.
The group’s first EP, Color Outside the Lines, was released on Sept. 8 and debuted at No. 15 on the Billboard 200 – the weekly ranking of the most popular albums in the United States. The project has been on the World Albums chart for 10 weeks. “It still seems surreal to think that we’re actually on the charts. We hadn’t even noticed. One day, our manager told us, ‘You’re on the Billboard chart!’ I was like… ‘Wait, really?’ And when I checked, we were at No. 15,” Martin tells Billboard Brasil in a video call for the new digital cover story. “It’s a matter of gratitude to our fans and listeners. I’m very grateful for all of this, and we want to continue growing and be remembered for a long time.”
For James, entering the charts has a positive impact on the group. “It represents a great milestone. And it’s just the beginning. We can only improve from here on out, and we’re working hard, as always, to make even better music.”
The success of their first EP raises expectations for CORTIS’ next steps. And they themselves acknowledge this. Martin describes the pressure as a responsibility that guides what they will do next. Seonghyeon admits that the pressure exists (“Without a doubt!” he says).
“The goal of the first project was to express our emotions, and that resonated with many people. Over these months, we’ve changed. With the second album, we’re thinking: ‘What do we have to say now?’ What story will we tell the fans, and how will we remain as authentic as possible? That’s the goal,” says James.
Even though they’ve only recently debuted, they already have thousands of fans in Brazil. On social media, they went viral for their passion for açaí and for reading the Brazilian nickname of their fandom, “Cortinas” (curtains in Portuguese), during a recent livestream. When asked about their interactions with the Brazilian audience, the question generates a slight commotion, and they speak at the same time.
“It’s incredible [to receive messages from Brazil],” says Keonho. “I can’t wait to visit Brazil,” says Juhoon. “We are big fans of Brazilian culture, especially the festivals [like Carnival]. We want to go to Brazil to do a show,” adds Martin. “We know you guys are fun,” adds James. “We know about açaí, we need to try it [in Brazil],” completes Seonghyeon.
The contrast between who CORTIS was before their debut and who they are today is discussed during the chat. For Martin, the biggest change is emotional. “It’s difficult because we’ve changed a lot since last year,” says the rapper. “When we were working on the album, nobody knew us. Now, we have fans and when we go out, people recognize us at the convenience store and everywhere. I’m enjoying the moment and very happy to see the reactions to my music.” For Keonho, the main difference is part of maturing. His biggest change? “My voice [laughs], the range of my voice.”
They seem to handle the group’s rapid rise well. James explains that, as cliché as it may sound, what keeps them grounded is remembering why they started. “I think we’ll never forget that. Although we have many different things happening along the way, ultimately, the reason we do this work is that we love music, and we love expressing ourselves in our unique way.”
Daily rituals like riding bikes, strolling in a park, listening to music, and playing basketball help the members deal with personal doubts and growing up in the public eye. They often talk about “embracing their awkward sides,” laughing at their own embarrassment to evolve, and using creativity as a way to discover who they are. “Over time, I’m starting to understand who I am. Now I know what I really love to do, what my musical taste is, what my taste is. This is making my personality more vivid and distinct,” says Juhoon.
“I think that accepting yourself in every way is also an important point, even your weird sides,” James says. “There’s a saying that goes ‘to be cringe is to be free’. It’s a great phrase. If you want to improve at something, you need to feel uncomfortable. You need to be ashamed of yourself to gain confidence. And I think that’s the mentality we bring to the music.”
“We’re still teenagers, and we’re growing up,” Martin adds. “Finding our style in music or visuals is like finding ourselves, investigating ourselves.”
CORTIS
Courtesy Billboard Brasil
Puzzle Pieces
Their individual stories reinforce the discourse of self-worth. Keonho uses the competitive mind-set from swimming to evolve as an artist, always focusing on surpassing himself. Seonghyeon moved to Seoul at a young age to be a trainee, and the process never intimidated him – it only motivated him more. Juhoon, on the other hand, sees his diverse background in sports, studies and fashion as a foundation that helped him better understand his abilities.
The quintet’s leader Martin is Korean-Canadian and spent six years working toward their debut in September. In addition to producing CORTIS’ music, he composed singles for other HYBE groups – such as “Magnetic” (ILLIT), “Deja Vu” (TXT), “Pierrot” (LE SSERAFIM) and “Outside” (ENHYPEN).
“To be honest, when I start to lose confidence or doubt myself, I try to focus on small things. I play basketball, ride my bike, do something fun, go for a walk, and listen to music,” says Martin. “It’s a goal I want to have. To remember that [music] is something I really want to do for the rest of my life, that I really love, and that I do it for fun. That’s why I chose this path. I never doubted myself, I never wanted to be anything else. So, trusting myself and finding small hobbies helps me distance myself from those insecure thoughts.”
James is Thai-Chinese. He was born in Hong Kong but grew up in Taiwan. He was a trainee for about five years before debuting with CORTIS. Besides choreographing and composing for his group, he was a backup dancer for Jung Kook (BTS) and also wrote for other groups like ILLIT and TXT.
“In general, my tastes and preferences are quite broad… To be honest, even food. Growing up in different countries, going back and forth between them, always encouraged me to try new things. It opened me up to new experiences and I think that really helped me discover new music, movies, and see things I had never seen before,” says James. “Was it difficult moving around so much?” I ask the singer. “No, but it’s difficult when part of the family speaks one language and the other half speaks another… You’re in the middle and become the link that speaks all the languages and has to adapt every second.”
Juhoon was born in South Korea. A sports prodigy, he excelled in basketball and soccer. He was a child model and learned English at an international school. As a trainee preparing to debut with CORTIS, he underwent got classes and training for less than two years.
“Every moment influenced me in some way, and all these experiences made me who I am,” says the singer. “Playing sports taught me to be competitive, and at school I learned to communicate. Fortunately, I had the opportunity to explore various things and always focused on how much I enjoyed each one. I tried to discover what interested me, and that’s how I got into music.”
South Korean Seonghyeon was recruited on his birthday in 2018 while strolling through an amusement park. He is credited as a composer on all tracks of CORTIS’ EP: “What You Want,” “GO!”, “Joyride,” “Fashion” and “Lullaby.”
“When I moved to Seoul to be a trainee, it wasn’t very difficult. I really enjoyed the process, and my mother encouraged me by telling me to try,” recalls Seonghyeon. “The more I trained, the more interested I became. I want to be someone cool. Someone who is laid-back inside and out, and good at what they do, with confidence. I’m still figuring out what ‘cool’ means, but I hope to keep learning as I grow.”
Keonho spent three years as a trainee. The South Korean singer was a swimmer and participated in championships in the country before deciding to pursue a career in music. He also composed tracks for CORTIS’ first release.
“I learned that the real competition isn’t with others, but with yourself. And I think I always want to maintain that mindset and keep striving,” says Keonho, who smiles a lot. “I thought about it a lot because I wanted to be a swimmer and be part of the group. But my parents advised me: ‘It’s good to try new things, so why don’t you give it a try?’ I followed their advice and fulfilled my dream of becoming an artist. I’m really enjoying it.”
CORTIS’ members share the stage and also the dorm. They live together in Seoul and receive support from a dedicated team. The backstage routine also becomes content on their YouTube channel. “We grew closer naturally while preparing for our debut and also composing music. We live together 24/7,” says Seonghyeon. “Is it difficult living together?” I ask. “Yes, sometimes, but it’s fun. We usually resolve things by talking. For example, when it comes to washing dishes, we have a rule that each person washes their own after using them. This keeps things simple and fair.”
The advice they received from other artists also helps shape the group’s work. James keeps the phrase “one step at a time” as a mantra, a phrase he got from Teezo Touchdown’s autograph on a pair of sneakers.
“That’s my phone’s background. It always reminds me not to rush, and that sometimes you really don’t know what to do and end up rushing everything. You need to go slowly, one step at a time, and focus on what’s coming next,” says James.
“The most important thing for me is the passion and intensity I have on stage. I want every performance to have the same passion and intensity as the first time. It’s on stage where I feel most free. I want to remember that in the future, even if some days I’m not feeling well.”
Martin cites his meeting with the BTS members: remaining humble, caring for the team, keeping the passion alive even in the face of difficulties.
“They said, ‘Always be grateful and humble.’ And they also told us to take good care of the people around us, especially the team and those we will be working with for a long time. ‘Take good care of them, treat them with kindness, and keep the passion and energy alive. Even if big challenges arise, just keep persevering and enjoy the process.’ That’s what they said, and that’s how we’re living, day after day,” says Martin. CORTIS hasn’t gone on tour yet, but the “cortinas” in Brazil are already waiting for them with plenty of açaí.
—This article was written by Isabela Pacilio for Billboard Brasil
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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. 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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This edition features Kanata Okajima, a songwriter and music producer whose extensive body of work spans numerous artists and genres. Balancing motherhood and a thriving career, she’s arrived at a place where she can truly “create music with joy.” Writer Rio Hirai spoke with the 41-year-old creative about what it means to be a woman working in Japan’s music industry today — and the hopes she carries for the next generation.
Looking back on your career so far, what has changed, and what remains most important to you?
In the beginning, I was creating music with this fierce determination, driven by the dream of becoming a musician, of making it as a successful songwriter. I pushed myself relentlessly, determined to achieve results no matter what. These days, though, I feel so much more joy simply getting to collaborate with wonderful people and incredibly talented artists. That sense of happiness has become much stronger.
What hasn’t changed is my commitment to giving 200 percent to every project I take on. For the artists, each song becomes a lasting part of their legacy and being trusted to contribute to that is something I take very seriously. Once I agree to do a project, I want to approach it with everything I have — no regrets, no holding back. That back-and-forth exchange of energy is something I always want to give my all to.
Was there a particular moment that made creating music start to feel more enjoyable or freeing for you?
A major turning point was the first songwriting camp I attended in Sweden. It’s like a creative retreat where songwriters, composers, and artists from around the world gather in one studio, form groups, and create songs together.
Up until then, I’d been making music in a very solitary, almost ascetic way — constantly questioning myself and driving forward on my own. I’d worked with band members in the studio before, but I’d never experienced the kind of collaborative writing where multiple songwriters sit in the same room, bounce ideas off one another, and challenge each other creatively.
That experience was electrifying, like being struck by lightning. Until then, I’d been balancing both performing as an artist and writing songs for others, but that camp made me realize, “If I can do something this fun every day, I’d be completely happy focusing on songwriting and production.” The whole process of connecting with people from different countries and cultures, writing songs together for the first time, and bonding through the shared language of music was truly eye-opening.
In Japan, there seem to be far fewer female music producers compared to men. What was the gender balance like at those international writing camps?
Even on a global scale, there are still relatively few women in those spaces. I’ve gotten so used to that imbalance that when there are a lot of women, it actually surprises me. There tend to be more female artists and topliners, but when it comes to producers, the numbers are still quite low.
Why do you think there are so few female music producers?
I think there are a few reasons. One is that being a music producer actually requires a lot of physical stamina. You’re often racing against the clock — producing backing tracks, editing vocals, mixing. There’s constant deadline pressure, and long hours in the studio are just part of the job. It definitely requires a certain level of endurance.
Another factor might be the level of interest in the technical side of production. There are quite a few female topliners, but when it comes to producing, there’s this image that you have to be hands-on with all the equipment, and that can feel like a barrier for some.
I’m often called a music producer myself, but in many cases my role is closer to that of an executive producer — overseeing the bigger picture of a project or song, deciding who to work with and how to bring everything together. Even so, women in that kind of position are still rare, so I’d love to see that number grow from now on.
That makes sense. Limited opportunities to handle equipment might also lead to fewer chances to take on production roles. What’s something you’ve consistently valued throughout your work?
What I value most is listening — understanding where the artist’s mind is at, what kind of world they want to convey through this song, and what the label or management hopes to express as well. I try to approach that process as carefully as possible, because that’s where individuality and artistry truly come through. If that understanding is off, even if we make something great, we can’t genuinely share in the joy of it.
Is there anything you’re mindful of when it comes to self-care in sustaining such a long career?
When I get home and see my family and kids, it’s like I snap back to reality and it grounds me. In the studio, I almost feel like I’m inside a bubble. I lose track of time, forget to eat, and get completely absorbed in listening and creating. That kind of deep immersion is exhilarating, but it can also be draining. By the time I’m done, I often realize how much energy I’ve spent.
But when I come home and see my family’s faces, it’s like something inside me suddenly releases. I try to let go of whatever I’ve been holding onto and unwind before going to sleep.
It sounds like having a family has had a really positive impact on the way you work.
I’ve been able to keep going thanks to my family. Before I had one, I worked nonstop, with no real distinction between weekdays and weekends or even holidays. Now that my kids’ daycare is closed on weekends, I make sure to take those days off too. Having that limit forces me to pause, which has been good for me. It’s helped me create a healthy rhythm, knowing when to focus completely and when to step away from work.
When you became pregnant, did you have any fears or anxieties about how your life might change?
Yes, very much so. At first, I actually kept my pregnancy a secret. I was worried that people might start to treat me differently or stop offering me work out of concern, so I decided not to tell anyone until I was about eight months along.
When it finally became impossible to hide, someone said to me, “So you’re finally going to slow down, huh?” That really hit me hard. I remember thinking, Do I have to slow down? At the time, I was even more driven than I am now, so I took it as a kind of mission, to prove that I could keep going without slowing down.
In a way, I was lucky that I gave birth during the pandemic, because everything shifted online. I could nurse off-camera, or rock the cradle with my foot during meetings. With so much moving to virtual work, I was able to come back after only about a week and a half.
That’s incredible! Has becoming a mother influenced your creative work or artistic expression in any way?
After having my children, I’ve felt a much stronger sense of love and affection for all living things. Before, I think my focus was mostly on myself and the people close to me or those I cared about deeply. Now, my curiosity and concern extend more broadly. Even other people’s children feel adorable to me, and I find myself thinking, “I hope they grow up healthy.” Small things move me emotionally in ways they didn’t before, and I think that sense of being emotionally stirred has naturally flowed into my expression and creative work.
As a songwriter and composer, do you have any personal guiding principles or things you hold dear when creating music?
Music has saved me many times in my life. When I was a child, there were periods when I felt very strongly that I didn’t want to live anymore. In those moments, listening to music somehow gave me the strength to think, “Maybe I’ll try living tomorrow, too.”
So when I make music, I want it to be something that helps someone think, “Maybe I can keep going tomorrow,” or “Maybe the future isn’t so bad.” Sometimes that takes the form of an obvious, uplifting song, and sometimes it might be something much darker — but I don’t want to write anything that shuts down the idea of a future. I hope my songs can offer a bit of comfort, or support someone in their moment of need.
Have you ever felt the effects of gender discrepancies, or experienced moments of discomfort related to gender in your work and creative life?
I think I’ve been relatively free to work in my own way, but there are still times when I feel left out, like not being invited to late-night gatherings that are mostly male-led. And when I hear stories like, “I landed this project because I got close to the director at one of those events,” I just kind of have to take it in. I used to think, “What would my life have been like if I were a man?” a lot when I was younger.
I also hear a lot from younger colleagues about their struggles. Many talk about the pressures and burdens they feel because they’re women, and how tough that can be. I hope we can gradually work toward making the industry a better space.
What message would you like to share with young people aiming to become musicians or simply wanting to live life on their own terms?
You only live once, so I hope everyone can live true to themselves. Of course, daily life comes with all sorts of responsibilities, so the time you have to be fully yourself may be limited, but even that struggle has its own beauty.
There will be times when you have to fight, clash, or speak up for what you believe. Those moments may feel difficult, but beyond them lies a world that’s easier to live in. Step by step, you’re shaping a life and a world that works better for you.
Self-expression is a right we all share, and the more each person expresses themselves, the more colorful the world becomes. I hope everyone keeps expressing themselves boldly and freely.
–This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
