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Beabadoobee has reached a dizzying new high in her career after securing her first-ever U.K. Official No. 1 album with This Is How Tomorrow Moves. The Filipino-British artist, known offstage as Beatrice Laus, saw her third studio album debut at the top of the U.K. Official Albums Chart, published Friday, Aug. 16, marking a major […]
Chase & Status have claimed their first-ever U.K. No. 1 single on the Official U.K. Charts with “BACKBONE,” a DnB-heavy collaboration featuring Stormzy.
For Stormzy, this track marks his fourth time topping the charts, following his previous hits “Vossi Bop” (2019), “Take Me Back to London” with Ed Sheeran (2019), and “Own It” with Ed Sheeran and Burna Boy (2020).
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Reacting to the major achievement, the British electronic duo told Official U.K Charts: “We knew that connecting with Stormzy was going to create something special, but we didn’t expect a KO reaction like this. To see him running out at our show at The Milton Keynes Bowl, in his best man’s suit—straight from a wedding and in front of 45,000 people—was insane! One of the greatest British MCs to ever do it, spitting over DnB & for it to go straight into No. 1? It couldn’t get any better for us.”
“BACKBONE” dominated the charts this week, racking up 6.4 million streams to secure the top spot.
Billie Eilish’s “BIRDS OF A FEATHER” also made waves, returning to its previous peak at No. 2. Her recent collaboration with Charli XCX, “Guess,” held strong in the Top 5 at No. 4, while another track, “WILDFLOWER,” continued its steady climb, now sitting at No. 36.
In the dance music scene, “Kisses” by Bl3ss, CamrinWatsin, and bbyclose moved up to No. 6, securing its place as a standout hit of the summer.
JADE re-entered the U.K. Top 10 with “Angel Of My Dreams,” which soared eight spots to No. 10, thanks to the release of its “S.A.D (sad. angelic. dramatic.) Version”‘. The achievement makes her the first Little Mix alum to have a solo single spend two weeks in the Top 10.
Just outside the Top 10, “Move” by Adam Port, Stryv, and KeineMusik climbed to a new peak at No. 11, while Chappell Roan’s “HOT TO GO” rose to No. 12, with another track, “Red Wine Supernova,” reaching No. 31.
In the U.K. Top 20, Sonny Fodera, Jazzy, and D.O.D’s “Somedays” made a significant jump to No. 19, and Indian rapper Hanumankind, along with producer Kalmi, saw their track “Big Dawgs” rise to No. 21.
Madonna’s classic hit “Like A Prayer” made a return to the U.K. Top 40 at No. 27, thanks to its feature in the new blockbuster Deadpool & Wolverine. Originally released in 1989, the song spent three weeks at No. 1 and now enjoys its 10th week inside the Top 40, just in time for Madonna’s 66th birthday.
Other notable movements include Calvin Harris & Ellie Goulding’s “Free,” which reached No. 35, and Gracie Abrams securing her third Top 40 single with “I love you, I’m sorry” at No. 38.
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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 […]
There’s a new boy band in town. Friday (Aug. 16) marks the official debut of the newly formed Japanese act ONE OR EIGHT. The eight-member group — composed of Mizuki, Neo, Reia, Ryota, Souma, Takeru, Tsubasa and Yuga – is sharing its second single with the energetic “Don’t Tell Nobody” and its accompanying music video. […]
&TEAM’s “Aoarashi” debuts atop the Billboard Japan Hot 100, dated Aug. 14, giving the nine-member boy band its first No. 1 on the tally.
The title track from the HYBE LABELS JAPAN group’s second single dropped Aug. 7 and sold 461,863 CDs during its first week, more than its first single, to hit No. 1 for sales. The track also comes in at No. 16 for downloads, No. 45 for video views, No. 71 for radio airplay, and No. 78 for streaming.
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Staying at No. 2 for the fourth straight week is Mrs. GREEN APPLE’s “Lilac,” with downloads down slightly at 90% week-over-week, streaming at 99%, and video at 94%, while radio is up 198% and karaoke up 102%.
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Creepy Nuts’ “Bling-Bang-Bang-Born” is back at No. 3, seeing increases in downloads, radio, and karaoke, while slowing down in streaming and video.
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Boku ga Mitakatta Aozora’s “Supea no nai koi” bows at No.4. The title track off the girl group’s third single launched with 68,355 copies after dropping Aug. 7, surpassing both its first and second singles and debuting at the highest position on the Japan Hot 100 for the group.
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Kocchinokento’s “Hai Yorokonde” continues to edge up the chart, this week moving 9-5 to break into the top 5. Debuting at No. 97 on the list released June 26, the viral hit has reached its current position after seven week on the tally. While views for the talked-about video is slowing down, downloads and streaming have increased 144% and 112%, respectively, from the previous week.
Perhaps due to the scorching summer heat in Japan, points for karaoke have increased across the board this week. The top 24 songs, including Vaundy’s long-running hit “Kaiju no Hanauta” at No. 1, held their respective positions while points increased for all.
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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 Aug. 5 to 11, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
With the newly released version of ATEEZ’s No. 1 single “Work” poised to make crossover impact for the K-pop group via the all-English remix featuring G-Eazy, the rapper’s verses have also sparked speculation among fans online that he used the track to take a jab at his ex-girlfriend, Halsey.
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Released Friday, Aug. 9, the “Part 4” remix of “Work,” which topped World Digital Song Sales in June for ATEEZ’s first chart-topper on the ranking, features G-Eazy delivering a verse that has fans talking: “Actin’ innocent, no, it’s not your first time/We’re far away if Libra is her sign/ Oof, danger, danger (Danger, danger)/Don’t be a stranger (Don’t be a stranger)/ She said no one can save her.”
This particular line has drawn attention due to Halsey’s Sept. 29 birthday, making her a Libra and leading to widespread speculation that the lyrics could be a thinly veiled reference to his experiences and their past relationship. The stars were in a highly publicized relationship from 2017 to 2018 before an abrupt breakup in July 2018. While neither has spoken up directly about what ended their time together, both artists have released music that fans believe alludes to their breakup. Halsey has also previously mentioned being in an “abusive relationship,” though she has never explicitly confirmed if G-Eazy was involved.
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After the collaboration’s release, one user on X (formerly known as Twitter) wrote that they “got weirded out when he sings that [because] I immediately remember Halsey…this is ATEEZ’s song why tf did u make it about u.” One X user added, “A collab of all things to make a little diss at your ex,” with another saying, “G-Eazy shading Halsey in a K-pop collab…this was not on my bingo list AT ALL.”
As some fans have noted, the particular lyrics in G-Eazy’s verse stand out against the backdrop of ATEEZ’s original message in “Work,” which is about focusing in on pushing toward your goals and achieving success. One fan on X wrote, “We’re talking about clocking in and he’s over here harassing his ex.”
Indeed, the K-pop group sings about the hustle in lines like, “I like to party when it’s a party/That’s payin’ me to pull up” and the addictive chorus of “Gotta work, gotta work / Gotta make that money, make purse.” G-Eazy later adds, “Work, flex, work, flex, always in the lab/ How I earn checks/ Hundred thousand dollars for a verse, yes/Wouldn’t lift a finger if it were less.”
The collaboration comes after ATEEZ’s established admiration for Halsey. The K-pop group’s fans, known as ANTINY, know the members frequently share music recommendations: Both Wooyoung and Jongho have shared their fondness for “Boy With Luv,” her hit collaboration with BTS, Yeosang has recommended Halsey’s chart-topping Billboard Hot 100 hit “Closer” with The Chainsmokers to fans. Mingi has also praised G-Eazy’s work, notably his Hot 100 hit “Me, Myself & I” featuring Bebe Rexha, and previously recommended Calvin Harris’ Funk Wav Bounces Vol. 2 album, where Halsey features on two tracks.
Representatives for G-Eazy nor ATEEZ did not return Billboard‘s request for comment at press time.
Even if the potential diss has dominated most of the conversation, it’s important to recognize the latest steps in ATEEZ’s barrier-breaking 2024 that includes multiple “Work” remixes, being named an “Up Next” star in Variety’s Young Hollywood Impact Report, and the ongoing [Towards the Light : Will to Power] in North America arena and stadium tour that just took over New York’s CitiField on Saturday, Aug. 2. This year has also been momentous for G-Eazy with the June 21 release of his seventh studio album, Freak Show, marking his first full-length project in nearly three years, which precedes a world tour hitting North America, Europe, Australia and New Zealand through this and next year.
Listen to Part 4 of ATEEZ’s “Work” with G-Eazy below:
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The highest new entry – the Hot Shot Debut – on the Aug. 10-dated Billboard Global Excl. U.S. chart and Billboard Global 200 is *NSYNC’s “Bye Bye Bye,” new at Nos. 16 and 18, respectively. The song with the biggest weekly increase in overall consumption – the Greatest Gainer – is the Goo Goo Dolls’ “Iris,” up more than 30 spots on each list, hitting new peaks of Nos. 55 and 58.
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Why are these songs, both chart-toppers upon their original releases a quarter-century ago, surging worldwide? Both tracks are featured in Disney’s Deadpool & Wolverine, the biggest movie in the world. The superhero flick has brought in $852.1 million since its July 26 release, according to Box Office Mojo, becoming the year’s second highest-grossing film in a matter of 11 days. The film and its soundtrack are drenched in catalog songs, employing classic hits from the 80s, 90s and 2000s to juice its nostalgic appeal.
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“Bye Bye Bye” debuts on the back of 35.8 million streams and 5,000 downloads sold worldwide in the week ending Aug. 1, according to Luminate. From the previous week, before the release of Deadpool & Wolverine, those numbers mark an 879% increase in global streams, and a more than 1,000% increase in sales.
While consumption is up across the board, “Bye Bye Bye” sees bigger gains internationally, up 1,083% in non-U.S. streams compared to its still-massive 494% bump stateside. The song pops up on four of Billboard’s Hits of the World charts. It’s particularly strong in Asia, at No. 7 on Malaysia Songs with appearances on rankings for Hong Kong and Singapore. Additionally, it debuts at No. 16 on Peru Songs.
This is *NSYNC’s third appearance on the Global 200, following their perennial holiday-season run for “Merry Christmas, Happy Holidays,” and last year’s reunion track, “Better Place.” Those have reached as high as Nos. 97 and 128, respectively, immediately outpaced by the group’s Total Request Live-era classic. “Bye Bye Bye” topped the Pop Airplay tally for 10 weeks in the spring of 2000. (Billboard’s global charts launched in 2020).
The Goo Goo Dolls’ “Iris” crowned the same list for four weeks in July and August of 1998. Originally written for the City of Angels soundtrack, it’s fitting that another summer blockbuster has sent the song surging 26 years later.
“Iris” has been a constant on the global charts, logging its 48th week on the Global 200 since debuting in May 2022. But while the track has enjoyed a consistent on-and-off-the-chart presence, its Deadpool & Wolverine sync sparks its highest rank yet. It’s up by 23% to 21.3 million streams worldwide in the latest tracking week.
One more song featured in the film debuts on this week’s global charts. Madonna arrives with “Like A Prayer,” starting at No. 181 on the Global 200 and No. 189 on Global Excl. U.S. Back in 1989, the track topped the U.S.-based Billboard Hot 100 for two weeks.
This isn’t Madonna’s first Deadpool-inspired bump. “Like A Prayer” was featured in the film’s official trailer, yielding a 49% blast in global streams (to 4.3 million) in the week of April 19-25. So while the song’s usage in the film may not have been a surprise to moviegoers, it still led to a 175% increase, nearly tripling its post-trailer count at 12.3 million.
“Like A Prayer” is Madonna’s second entry on the global charts. “Popular,” her collaboration with The Weekend and Playboi Carti for HBO’s The Idol, debuted last June, before reaching No. 13 on both lists in February of this year. That makes “Like A Prayer” the first of Madonna’s solo catalog to crack the lists. She has charted 58 songs on the Hot 100, including 38 top 10s and 12 No. 1s, but her storied career mostly pre-dates the 2020 launch of the global charts.
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
Snow Man’s “BREAKOUT” blasts in at No. 1 on the Billboard Japan Hot 100, dated Aug. 7.
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The new single is being featured as the theme song for Honeko Akabane’s Bodyguards, a new movie starring Snow Man member Raul. The track launched with 1,088,373 CDs to rule sales and also hit No. 1 for radio. This is the nine-member boy band’s ninth single to top the Japan Hot 100 and the first since “Dangerholic” released last September.
Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2. This track is still going strong after 17 weeks on the chart, with video views up 135% from the previous week and the consistently climbing karaoke metric up 10% this week. The popular three-man band has 14 songs charting this week including “Lilac.” In particular, “Blue Ambiance (feat. asmi),” released in July 2022, has returned to the top 100 for the first time in three weeks, powered by karaoke.
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At No. 3 is =LOVE’s “Zettai aidoru yamenaide” (meaning “don’t ever quit being an idol”). The single was fueled by physical sales alone; it sold 260,304 copies in its first week — a career-high for the ten-member girl group — to hit No. 2 for the metric, while not ranking in any of the others that count towards the chart’s measurement.
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LIL LEAGUE from EXILE TRIBE’s “Youth Spark” bows at No. 5, selling 62,680 copies to hit No. 3 for sales, while also coming in at No. 7 for radio.
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Notable chart moves outside the top 10 include YOASOBI’s “Butai ni tatte” (“standing on stage”), which jumps 43-16 on the Japan Hot 100 this week. After dropping July 26, streams for the track have increased by about 3 times and radio by about 2.5 times compared to the song’s debut week (though the track only had three days to count towards the chart week then).
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Meanwhile, J-pop summer favorites have returned to the chart this week. aiko’s “Hanabi” charted for the first time in 11 months since Sept. 6 of last year after streams went up 111% and karaoke 115% from the week before, and DAOKO x Kenshi Yonezu’s “Uchiage Hanabi” also charted for the first time in a year since Aug. 16, 2023.
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 July 29 to Aug. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Two all-women rock bands hailing from different countries — Japan’s BAND-MAID and Mexico’s The Warning — got together to record a collaborative single called “SHOW THEM,” due Wednesday (Aug. 7). The members of the two groups hit it off after first meeting at a U.S. music festival where both bands performed in 2022.
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In this rare chat with all the members of both bands — five from BAND-MAID and the three sisters from The Warning — in attendance, the women who continue to blast out hard rock for fans around the world spoke about their respect for each other’s music and the process of recording their new single together.
Your bands first met when you performed at the Aftershock Festival in California in 2022, right?
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Miku Kobato (Guitar/Vocals): Yes. We performed on the same day, and the members of The Warning found us and said hi while we were doing an interview there. They said, “Let’s do something together” and we were like, “We’d love to!” We hit it off and had a great time.
Daniela Villarreal Vélez (Guitar/Vocals/Piano): I’d wanted to meet BAND-MAID all day that day.
Paulina Villarreal Vélez (Drums/Vocals/Piano): BAND-MAID are great musicians and I’ve loved them for a long time.
AKANE (Drums/Percussion): That makes me so happy!
Kobato: We also became really curious about The Warning after our bands joined the lineup at the Aftershock Festival, po. I thought it was so cool how three sisters are in a band together, po.
MISA (Bass/Vocals): There’s a groove that can only come from sisters, isn’t there?
KANAMI (Guitar/Vocals): They’re so synchronized, on the same wavelength. It’s something we can’t imitate.
Daniela: We’re very close and share a sisterly bond.
Paulina: We try to be aware of clearly separating our time as sisters from our time as band members, so I think there’s a good balance there. But we did just have a fight this morning. [Laughs]
Alejandra Villarreal Vélez (Bass/Vocals/Piano): We often clash when we’re composing. We each come up with a lot of different ideas, so sometimes we get into big arguments. [Laughs] But we fundamentally have a good relationship and make up quickly.
What do the members of The Warning find compelling about BAND-MAID?
Daniela: Japanese rock and the rock you hear in the U.S. and Mexico are the same genre but they sound completely different. That’s the main reason why I was drawn to BAND-MAID’s music. I also like the fact that they put a very high level of technique into their music.
Paulina: AKANE and I have totally different playing styles, so there were some phrases that were hard for me but I really enjoyed practicing them. BAND-MAID helped us grow and I appreciated that.
AKANE: Wow… I want to return those exact same words to you! [Laughs]
Alejandra: MISA also has a different style from mine, and I think her performance is awesome. I find it really amazing how she can combine parts where she plays with a pick and parts where she slaps in a song, and it’s so fascinating. Tell me how you can play like that. [Laughs]
Daniela: And of course, I think SAIKI and Kobato’s voices are really great, too. It must be the difference in language, but Japanese is unique in that the melody changes one letter at a time, and it’s really amazing how they can sing that so well. I got a lot of inspiration from the vocal side as well.
By the way, do you know why Kobato ends her sentences with “po”? [Translator’s note: Kobato has a signature way of speaking in Japanese, ending sentences with “po,” an onomatopoeia expressing the call of a pigeon. The kanji for Kobato is “little pigeon.”]
SAIKI (Lead vocals): Tell them why you say “po.” Tell them who you really are.
Kobato: I’m Kobato, meaning I have a little bit of pigeon in me, po. That’s why I end sentences with “po,” which is the sound a pigeon makes, po.
Daniela: So it’s pigeonese. [Everyone laughs] I caught that just now. “Narimashita, po.”
Kobato: [Laughs] It feels like we’ve become a little closer again, po.
Let’s talk about your collaborative single, “SHOW THEM.” How did the production process go?
Kobato: KANAMI first came up with the foundation of the song. We started off by having the members of The Warning listen to it.
KANAMI: We wanted to venture out and make a song that would bring out new aspects of each band for this single, and that’s how “SHOW THEM” came about. Everyone in The Warning made changes to the demo I made. Then we made new suggestions in response to that, and repeated the process over and over again until the song was finished.
Daniela: When we heard the demo that KANAMI made, we were very surprised because it was completely different from the direction of our usual music. But we soon began to enjoy figuring out how to mix our own colors into it.
The lyrics are credited to Miku Kobato and The Warning.
Kobato: Yes, po. Since this was a collaboration between two all-women bands, we first discussed making the song about rising to the top together by depicting a strong female figure who can fight in the world.
Paulina: While we started off by sharing that lyrical concept, there were times we interpreted things differently because of the cultural differences between our countries. But when we came to Japan and worked on the lyrics together, it felt like we were on the same page. The nuances that Kobato was looking for became clear.
Kobato: By talking face to face, we were able to understand each other down to the smallest details, po.
Did you record the music together in Japan?
KANAMI: Yes. But we didn’t have much time, so BAND-MAID recorded beforehand and The Warning recorded later. I basically directed the performances, and the three of them were really great. We were done in no time.
Paulina: We didn’t actually play until after we arrived in Japan, but did a lot of mental rehearsals on the plane.
Alejandra: Yeah. We listened to the song over and over.
AKANE: My passion towards performing has really intensified through our collaboration with The Warning. I feel so pumped now and don’t know how to handle it. [Laughs]
Paulina: It was a great experience for us, too, and gave us tremendous motivation.
How did the vocal recording go?
SAIKI: It was my first time recording with another person, so everything was inspiring. I also discovered a lot of things by singing while listening to someone pronounce English really well up close.
Daniela: The melody and prosody are different from our usual songs, so everything was a challenge. But it was really fun to try something new!
SAIKI: The key was really high, too. We both did well!
KANAMI: I really like vocals that make an effort in a higher key, so I might have given them both a hard time. [Laughs] But the result was really satisfying so I’m happy about that.
Your bands became closer through this collaboration, so it’d be great if you could do something together again.
Kobato: Since The Warning came to Japan this time, we’d love to go to Mexico and do a show together next time, po!
Alejandra: Maybe next time we can work together on a song that we wrote the base for.
Daniela: I’ll lower the key a little bit then. [Laughs]
—This interview by Hideyuki Mori first appeared on Billboard Japan