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Twenty-five years have passed since anime song singer Hiroshi Kitadani released “We Are!,” the first opening song of the ONE PIECE TV anime series and the first of many opening songs he would go on to sing for the show. “UUUUUS!” the opening theme for the Egghead Arc, with its rapid shifts and changes, is the creation of Kitadani, composer Kohei Tanaka, and lyricist Shoko Fujibayashi — the golden trio known as the “‘We Are!’ Pirates.” “UUUUUS!” means not only “us” but sounds similar to the Japanese pronunciation of “earth” and the Japanese word for “tomorrow” (Asu), pointing to the future of the series. Hiroshi Kitadani talked with Billboard Japan about what went into the creation of this stunningly densely-packed song and what lies beyond.
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You debuted “UUUUUS!” on-stage at the BANDAI CARD GAMES Fest 23-24 World Tour in Los Angeles, held in late January. What was the atmosphere like?
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Hiroshi Kitadani: I sang “We Are!” “OVER THE TOP,” and ” UUUUUS!” With “UUUUUS!” I was a bit worried about debuting it in L.A. I felt like it might be safer to start the song off with a bang in Japan first… But now, because of video streaming sites, overseas viewers can watch the latest episodes at the same time as in Japan, so the crowd went wild. On stage, we were playing the opening animation to ONE PIECE, and the lyrics were also shown on-screen, written phonetically in the English alphabet, so the audience sang along.
When we were kids, we’d learn old anime songs from reruns on TV, but now, with subscription-based streaming services and streaming sites, it’s easy to hear “We Are!” which was released 25 years ago. So not only do people who were kids back then know it, but even modern kids know it. I think that’s why people around the world love “We Are!” even 25 years later.
Why do you think ONE PIECE is so popular worldwide?
Hiroshi Kitadani: Talking with people overseas, I often hear that “In Japanese anime and manga, the main characters and their friends always get completely thrashed by their enemies, but they usually come back stronger, which really gets you in the feels.” That’s true of Luffy, and also of Goku from Dragon Ball. Overseas heroes like Batman or Superman are incredibly strong right from the start, so I think Japanese anime and comics resonate with audiences because of how the characters turn their frustration into power.
You’ve performed five of ONE PIECE‘s theme songs. Could you reflect on what each of those songs meant to you? Let’s start with “We Are!” the first opening theme song for ONE PIECE, which came out in 1999.
Hiroshi Kitadani: “We Are!” was my debut song as Hiroshi Kitadani. The director I worked with when I first debuted under a previous stage name, later joined an agency called Imagine, who Kohei Tanaka was with. Because of that connection, one day I was approached and told, “They’re going to make an anime version of the most popular manga in Weekly Shonen Jump. Kohei Tanaka is going to submit a song for the opening song competition, and we’d like you to do a temporary vocal track for it.” Then they made the decision to go with “We Are!” for the theme song, but they still hadn’t yet decided who would sing it. Due in part to Kohei’s prompting, the staff began saying “Why not just have it sung by the singer who did the temporary vocal track?” My record company had just told me that they didn’t really see a future for me with them, so I was wondering what to do, career-wise. So this “We Are!” offer came out of the blue. That was the start of my rags-to-riches story.
In 2011, 12 years after releasing “We Are!” you sang “We Go!” which was used in the Fish-Man Island arc, when the crew reaches the New World.
Hiroshi Kitadani: Kohei wrote “We Go!” as a response song to “We Are!” At the time, I was really concerned with what people thought about me, so I was reading a lot of 2channel (laughs). I was worried I’d go on there and see people saying “Hiroshi Kitadani is back, but this song is terrible.” But, instead, when “We Go!” was broadcast, there were a lot of comments like “Dani’s back!” and “Cool!” and “That’s the One Piece sound!” I was so happy I cried.
Then in 2016 you sang “We Can!” with Kishidan.
Hiroshi Kitadani: The offer from Kishidan was totally unexpected. It was the first time I’d sung with someone else as solo artist Hiroshi Kitadani, but we had great chemistry. Kishidan wrote the song, instead of the same trio that had started with “We Are!” but even now there are fans who say they love “We Can!” which makes me really happy.
Then at the start of the Wano Country arc, in 2019, you sang “OVER THE TOP.”
Hiroshi Kitadani: “We Are!” began without anyone knowing who would even sing the song. “We Go!” was a response song to “We Are!” So “OVER THE TOP” was the first song that Kohei wrote to-order, just for me. We’ve worked together a long time, so he was able to write a song with the vocal range where I do my best singing, where I could give the song a distinctive appeal and bring out its flavor. The pandemic started after I released the song, so I haven’t had many opportunities to perform it on stage, but it’s a song that I wish even more people would have chances to hear.
How did you feel when you first heard “UUUUUS!” the current opening song?
Hiroshi Kitadani: To be honest, my first response was “Huh?” Like “It’s not bad…but I prefer music more like ‘OVER THE TOP.’” But Kohei said “It grows on you,” and, sure enough, the more I heard it the better and better it sounded. The show opening is on YouTube now, and it has over 10 million views. One of the comments on the video said “It’s the best song so far.” I know Kohei must always be under a lot of pressure, so I’m amazed that he suggested this song, which is so ambitious but risky.
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I feel like “UUUUUS!” must have been harder to sing than any of the past songs. Do you have any basic advice for anyone trying to sing it?
Hiroshi Kitadani: It’s hard to come up with any kind of succinct advice (laughs). However, for all five of the ONE PIECE songs, not just “UUUUUS!” I’d say it’s important to sing it with a smile on your face. When you sing while smiling, that smile comes out in your voice, making the song brighter and more exciting. When I was recording “We Are!” there were a lot of important people in suits at the recording. It was my first time recording in that kind of atmosphere, and I got really tense. On top of that, every time I’d finish recording a take, they’d be whispering to each other. I was in the recording booth, so I had no idea what they were saying. I was starting to get into a negative mindset, thinking “Was that a bad take?” when Kohei said “This is a song that’s going to give hope and inspiration to people around the country, so smile when you sing it. When you sing with a smile, your voice will have a smile.” That snapped me out of it. I sang while smiling, and they said it was a good take. I’m really glad for the advice Kohei gave me, and it’s something I cherish in my heart even now.
—This interview by Harunoto first appeared on Billboard Japan
Annalisa arrives at the appointment in high boots and a black tracksuit with the hood pulled over her head. She enters the headquarters of her record company, Warner Music Italy, trying not to be recognized by anyone. She comes out in a D&G sporty tracksuit and heeled boots, with perfectly combed red hair and impeccable makeup. She has a bit of fever but one couldn’t tell.
This is Annalisa. Confident, professional, a perfectionist. In Italy she achieved exceptional results: 36 platinum records, in 2023 she stayed ten consecutive weeks in the top 10 of the singles chart and was the only female solo artist in the annual top 10. At Sanremo 2024 she finished third with her song “Sincerely,” which followed a particularly successful period of her career that began in September 2022 with the single “Bellissima.” This period was characterized by a more electronic sound, accompanied by freer and sexier image and lyrics.
After the Global Force Award she received at Billboard Women in Music 2024, honored by Billboard Italy, it’s time to fully understand Annalisa (born in 1985 in Carcare, Liguria), going back to her beginnings. She has a degree in physics, but did she ever think about a career in that field? “Never. I’ve always wanted to pursue a career in music, ever since I was a little child,” she says. “I grew up in a small town and my parents are two very rigorous people, both teachers. They pushed me to look for a plan B. They always supported me, but with realism.”
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Is physics close to music somehow?
I liked it a lot, although I could have chosen to study something more related to music. But I needed an alternative. There are connections with music, of course, otherwise I wouldn’t have liked it so much: first of all, the fact that it leads you to analyse what’s in front of you. I do it a lot, starting from myself and my sensations. This is how my creative process was born. I always asked myself a lot of questions.
When did you realize you had an innate sense for music?
Since I was two or three years old, because I always sang and was always the first to throw myself into all the school plays. I think it’s also genetic. My mom teaches English but also plays music and sings beautifully. Among her relatives there are many musicians, but no one has ever made it a profession.
You said that all your songs, even the happy ones, are born from doubts and questions. Can you give us an example? It’s definitely not the case of “Sincerely,” because those lyrics aren’t particularly cheerful.
No… [laughs] That’s a song full of shadows but dressed up to seem shiny – a bit like me. An example is “Mon Amour,” because it was born from many questions: why can’t we be as free as we want, in love and in the rest our lives? Why should people judge the others if this freedom doesn’t even concern them? I believe that the goal of music, especially pop, is to instill doubts and convey messages with simplicity and lightness.
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Has that happened to you or is it something you feel like doing for what you see around you?
It’s more about seeing what happens to others, although each of us has felt limited and judged for something at some point.
Has the theme of freedom always been fundamental for you, or has it acquired more importance in the last period, from “Mon Amour” onwards?
I’ve always held it dear, but it emerged more from that song onwards. With the work in the studio in recent years I have learned to bring it out at its fullest.
Is it the cause you feel like fighting for the most?
Yes, I prefer to talk about a broad topic like freedom because everything comes from there – even wars and oppression. From the freedom to experience sexuality as one wants, one arrives at the freedom to live in a country without being oppressed.
It is known that you are never satisfied with the results you obtain. What would you have done differently in this last period?
I always think I could have handled situations better and I could have done more on stage, in general. I think I could have rested an hour more, so I would have been more effective, like for interviews. At the Sanremo Festival, for example, things are always exaggerated. Those are tiring days. Almost a month has passed and I’m still trying to recover, but I already have to focus on my future plans.
Annalisa
Nicholas Foals/Billboard Italy
Do you already have ideas for the tour?
Of course. I will soon start the rehearsals with the dancers. Then I’ll return to the recording studio as soon as possible. I always take note of my ideas because I want to be ready.
Do you want to involve some new producers or songwriters?
No, I have a team I have always worked with, namely Paolo Antonacci and Davide Simonetta. With them I created some magic, it is a rare and precious gift. The main point of the songs is that they have to be true. Sometimes, if there isn’t a relationship as strong as ours, they are not. They can be beautiful but perhaps won’t last over time.
What songs from the past are light and deep at the same time?
Nada’s “Amore Disperato”: light but eternal. Loretta Goggi’s “Maledetta Primavera”: we all sing it when we hear it. All Raffaella Carrà’s songs, which always have a message. This is the history of Italian music.
How much do the places where you live – Milan, Genoa and Carcare – influence you?
Milan is the city of music: it is essential to be there. Even though many people today say it can be dangerous, I like living in a buzzy neighborhood where things happen. Genoa is also a city of lights and shadows, even more than Milan. It has incredible places of tradition and history, but also unsafe alleys. And then there is the sea. For me it is a poetic place, of great inspiration. Most of my musical ideas are born there. I must also mention Savona. It is a seaside city, smaller, but it lacks nothing. It’s not rough like Genoa, it’s simpler. There I had my first musical experiences, I participated in the first music contests with my band. And then there is my hometown, Carcare.
You were the only female solo artist included in the top 10 of the most successful singles in 2023 in Italy. The female presence is always small and is a symptom of a much broader problem within the music industry: that of violence, which is not only physical but it is also psychological, economic, of exclusion and abuse. Has this ever happened to you?
I have never suffered harassment of any kind, fortunately. What I can denounce is the immense effort to gain credibility. There continue to be preconceptions about what is considered suitable for a woman or for a man. However, with a bit of pride I can say that I have seen some things change since I started.
Is there more awareness?
I believe that the effort that I and my generation made is useful to the next one – the effort to make others accept the fact that I write songs myself or that I judge things from a technical point of view. Little by little these prejudices will be overcome.
Are there any younger artists you particularly like?
Madame. I appreciate her credibility and the technical aspects of his work. I hope she passes the baton to those who will come after her.
Annalisa
Nicholas Foals/Billboard Italy
hololive English VTuber Hakos Baelz has released her first full album, ZODIAC. On the album, whose theme is the Chinese zodiac, she has taken on a wide range of musical styles, from rock and ballads to reggaeton and EDM. It provides a glimpse into various facets of this artist, hololive’s self-proclaimed “agent of chaos.” There are also guest appearances by veteran VTubers like Inugami Korone, Usada Pekora, and Tsunomaki Watame, and the entire album is full of little touches that keep listeners engaged to the very end. Billboard Japan talked with Hakos Baelz about the new album, ZODIAC, which represents the culmination of her musical activities.
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To start off with, could you tell us a little about how you got started as a VTuber?
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Baelz: At first, I didn’t really know that much about VTubers, but I had a few friends who were doing it, and one day, when I happened to be looking into hololive online, I saw that they were holding auditions. I decided to apply on a whim. That’s how it all started.
Were you already interested in performing music?
Baelz: I’ve been listening to music since I was little, and I was always extra fond of music that expressed my own emotions. I’ve always loved J-pop and K-pop, and I listened to Ayumi Hamasaki thanks to the influence of my family. I didn’t understand Japanese at the time, but the emotions came through in the music, which I really liked. But I didn’t have the confidence to write my own music or sing myself. I’ve never liked my own voice. So, to be honest, I didn’t really have my sights set on music back when I debuted. But I just decided, “why not, I’ll give it a shot” and released my first original song, “PLAY DICE!” I got a lot of support from the people around me, so I started thinking that I could make even more music, which turned into discussions about an EP and then an album.
You released “Play Dice!” in February 2022. What did you want to express through this song?
Baelz: It was my very first song, so I wanted to let listeners know what kind of VTuber I was. I met Camellia, who wrote the lyrics and the music, through a friend. He makes really fun music, and I thought he’d be able to create the kind of music I’d like, so I asked him to write the song for me. He’s been involved on all the EP and album work I’ve done since then, and he always creates exactly the kind of song I’m looking for, so I’m super thankful to him.
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You’re also credited as a co-writer for the lyrics on “Play Dice!” How did the writing process go?
Baelz: First, I wanted a story. I wanted it to feel like my story. I told Camellia about this, and he wrote the starting lyrics. Then I put out some of my own ideas, and we bounced ideas off each other until we’d written the lyrics for the entire song. The song’s theme is “freedom.” Each time I write music, I pick a one-word theme. I share it with the producer and have them write a song that reflects that theme.
You were a member of the special, exclusive unit of hololive members that performed at the Riot Games ONE 2023 e-sports event held in December. You put on a performance of “K/DA,” a virtual pop group made up of League of Legends characters, right?
Baelz: Last April, I covered K/DA’s “POP/STARS.” The reaction from fans was great, which may have been why I was selected to be part of the Riot Games ONE unit. I had never expected to perform at Riot Games ONE, so I was overjoyed. I’ve always been a big fan of K/DA, and I watched their choreography a lot, so I was happy to be able to practice and learn the choreography myself for the event.
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So, moving on to your album, what was your initial idea for how it would be structured?
Baelz: I’m a rat VTuber, so my first thought was that it would be fun to make an album whose theme was the Chinese zodiac. Personally, I find it easier to create an album when there’s a strong theme. When you have a theme to work with, if you ever get stuck while writing music, you can always return to that theme, you know? So that makes writing easier.
The album has all kinds of sounds and aesthetics. Which song do you think is the closest fit for you?
Baelz: The rat song, I’d say. It’s the first song, “RxRxR.” I decided to lead the album with the rat song. On my Pandæmonium EP, which I released last July, I expressed different sides of my personality. With “RxRxR,” I wanted to go with a genre and a message that wasn’t on the EP, so I wrote a pop rock song. It has the powerful spirit that I started out with.
I feel like there’s a chaotic freedom in “RxRxR” and “Play Dice!” and all of Pandæmonium, partly because you’re a rat.
Baelz: I guess so. Most of my songs have something to do with freedom. However, the kind of freedom varies from song to song. In the case of “RxRxR,” the image I had was one of a rebellious high schooler. When I was first talking to ZAQ, that was the story we were using, and the song came out just as I’d envisioned it.
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There are also a lot of collaborations on the album. “HIDE & SEEK ~Nakayoku Kenkashina~” features Usada Pekora.
Baelz: Pekora is rodent family, like me. We’ve collaborated many times, and every time it ends up with us playing fun pranks on each other and friendly competition. I thought it would be fun to have a song like that on the album. I also wanted to collaborate on a song that really fit her. A song that didn’t just match her image, but also her voice and the way she sings. In “COLOUR,” I collaborated with Tsunomaki Watame. I love Watame’s voice, because it’s soft but powerful. I wanted to do a song together with her in that style. On “BITE! KAMU! BITE!” I teamed up with Inugami Korone. I wanted to make an electro swing song. I figured it would be a good match for her voice. She has just ungodly strength. I always crack up when I watch her streams. They’re my favorite streams.
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Which songs were the hardest to record?
Baelz: Probably “GEKIRIN” and “Ohayo-EST Gozai-MASTER ♡.” The rap part in “GEKIRIN” was hard, both because the lyrics are complex and because it’s so fast. But when I heard the final product, I was happy to have created that a song that I also personally find cool. For “Ohayo-EST Gozai-MASTER ♡,” the lyrics were hard. I wanted to make a song that would fill you full of energy, like a “good morning!” to start your day. While the song was still a work-in-progress, it made a weaker impression than the other songs, but Kris helped out a lot and we made changes during the recording process, so it was a lot of fun to record.
I’m sure writing the album was a big challenge. Do you feel like you yourself grew in any way through the process?
Baelz: It gave me the confidence of knowing I can create good songs. Initially, I didn’t have any interest in making music. Whenever I was making covers, I was always really nervous, so I’d consult with my friends on what to do whether it be singing or mixing. But through the process of completing this album, I feel like I’ve learned to identify what makes a good song, what goes into making a good song, what instruments would work best and other knowledge like that.
In closing, do you have any message you’d like to share with listeners looking forward to hearing the album?
Baelz: Thanks for always listening to my music! I still have a lot to learn, but I hope you enjoy my album!
Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Billboard Japan Hot 100 again this week on the chart dated March 20.
Now in its eighth straight week atop the Japan song chart, the MASHLE season 2 opener has surpassed Gen Hoshino’s “Koi” and is tied with Official HIGE DANdism’s “Subtitle” for consecutive weeks at No. 1. (The current record for the longest consecutive stay atop the Japan Hot 100 is 21 weeks, held by YOASOBI’s “Idol.”)
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On the chart tallying the week ending March 17, “BBBB” returns to No. 1 for downloads with 21,307 units (though down by about 4.4%) and continues to rule streaming with 24,945,758 weekly streams (up 17%). The rap banger also rises to No. 1 for video views by a margin of more than 6.4 times over the song at No. 2 (12,089,850 views) and moves 2-1 for karaoke, dominating four metrics of the chart’s methodology this week. Creepy Nuts dropped the CD version of the song on Wednesday (March 20) and is set to kick off its nationwide tour on Friday (March 22), and it doesn’t look like the duo’s biggest hit to date will be slowing down anytime soon.
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AKB48’s “Karakon Wink” debuts at No. 2 this week. The 63rd single by the long-running girl group is off to a great start, launching with 463,564 copies to top sales. The song celebrates the “graduation” of member Yuki Kashiwagi, who will be leaving after 17 years of being one of the most beloved and well known members of the group in its 19th year.
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Number_i’s “GOAT” stays in the top 10 at No. 5 this week, selling 19,459 copies in its second week of CD release to surpass 500k copies total. The track is at No. 2 for sales, No. 11 for downloads (3,926 units), No. 36 for streaming (3,109,214 streams), No. 8 for video views (1,151,338 views) and holds at No. 1 for radio airplay.
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Fujii Kaze’s “Michi Teyu Ku (Overflowing)” debuts at No. 8 after dropping March 15. The 26-year-old singer-songwriter performed his latest single, written for the Japanese movie April Come She Will, on the premiere episode of NHK’s tiny desk concerts JAPAN series broadcast on March 16. In its first week, the track reached No. 3 for downloads (11,394 units), No. 20 for streaming (4,067,422 streams), No. 7 for video (1,208,331 views), and No. 12 for radio.
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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 March 11 to 17, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
In 2023, the Italian market of recorded music grew by 18.8% YoY, reaching a total of 440 million euros of revenues, according to FIMI (Federazione Industria Musicale Italiana), the organization that represents the Italian recorded music industry. It is the best result ever in the country in the streaming era. Italy is the third biggest market of the European Union, after France and Germany.
It is also one of the most significant growths on a global level, where IFPI reports an increase of 10.2% YoY, reaching 28.6 billion dollars and marking the ninth consecutive year of growth, as per their Global Music Report published today (Mar. 21).
In Italy, like elsewhere in the world, the sector was driven by streaming: it now covers a market share of 65% and its revenues grew by 16.2%, reaching 287 million euros. Premium subscribers reached 6.5 million users (+9% compared to the previous year). The premium segment led the streaming sector, with a growth of 18.4% and 190 million euros in revenues. Overall, the digital segment saw a growth of 15.7%. Only downloads decreased in the segment (-11.8% YoY).
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The physical segment also recorded a growth, positioning Italy as the eighth market worldwide. With revenues of 62 million euros (+14.4% YoY), it covers a market share of 14%. Vinyl sales lead the sector, growing by 24.3%, but even CDs saw an increase (+3.8%).
Performance rights grew significantly (+42.6%, reaching 73 million euros, which positions Italy as the seventh market globally) and synchronization rights saw an increase of 3.5%, reaching 13 million euros.
The flourishing Italian music scene also opened new opportunities on a global level. In 2023, revenues from outside the country grew by 20% (+130% if compared to 2020, the year before Måneskin’s success), for a total royalty income of more than 26 million euros. This was also driven by the digital sector, with revenues growing by 11% to almost 21 million euros.
aespa is the latest superstar music fans can experience on the big screen.
Today (March 20), the K-pop girl group unveil plans to bring aespa: WORLD TOUR in cinemas to audiences worldwide for two nights only next month.
The quartet’s debut concert film transports viewers inside aespa’s U.K. live debut at London’s O2 Arena as part of their 2023 Synk: Hyper Line world tour.
aespa: WORLD TOUR in cinemas promises to bring the group’s signature futuristic stage visuals and fierce performances of Billboard Global 200 hits like “Next Level,” “Savage,” “Girls,” “Spicy,” and “Black Mamba,” as well as the individual performances by members KARINA, WINTER, GISELLE and NINGNING. Beyond the stage, the 125-minute production includes behind-the-scenes interviews with the group and glimpses into their inner workings.
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Directed by Yoon Dong Oh (who helmed recent K-pop concert films like NCT Nation: To the World and BTS: Yet to Come in Cinemas) and Hamin Kim, aespa’s movie comes courtesy of Trafalgar Releasing (the global event-cinema distributor that’s teamed with the likes of Taylor Swift, Beyoncé, BTS and Coldplay) with select theaters hosting immersive ScreenX, 4DX and ULTRA 4DX formats.
“Since this is our first world tour, it will always hold a special place in our hearts as it gave us the opportunity to see MYs from all over the world,” aespa said in a statement, shouting out their beloved fanbase, MYs. “We hope you enjoy our first concert movie and keep an eye out for the exclusive content behind the scenes.”
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CEO of Trafalgar Releasing Marc Allenby adds, “Dedicated MYs, as well as those curious to discover the global phenomenon, will appreciate the opportunity to witness the full artistry and energy of aespa’s captivating live show on the big screen.”
“We are pleased to release a live concert of global artist aespa’s first world tour as a movie in special formats,” says Jongryul Kim, CEO of CJ 4DPLEX. “ScreenX and 4DX will recreate the thrilling performance of aespa and fans in the theatre with immersion.”
aespa: WORLD TOUR in cinemas hits theaters worldwide on April 24 and 27. Tickets go on sale on March 27. Fans can find screening details and participating countries at aespaworldtourincinemas.com.
Seven months after THE BOYZ initially introduced their three-part Phantasy album series with Christmas in August, the K-pop group completed the 15-track project with the final chapter Love Letter.
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Led by the sentimental single “Nectar,” THE BOYZ member Kevin says the final chapter in their trilogy delivers an “emotional-but-hopeful kind of vibe” for Love Letter that contrasts the summery, shimmering pop single “Lip Gloss” for Christmas in August, and their dark and experimental “Watch It” single for Pt. 2 Sixth Sense. “At this point in our career, we want to tackle what we haven’t done before.”
“I really hope through this trilogy that we got to really emphasize Phantasy and our fans were able to see a lot of different sides of THE BOYZ,” Jacob told Billboard News‘ Tetris Kelly during a visit to Los Angeles with his members Kevin, Juyeon, Hyunjae and Eric. “As we are ending it off with ‘Nectar,’ saying goodbye to our bittersweet memories and going for our happier new future, I hope you guys just come along with us and we’ll be able to show you what we have in store.”
Now that their Phantasy releases are complete, THE BOYZ say it’s time to perform these new songs live for fans.
“Our fans have been dying for us to go on a tour and I think it’s about time,” Eric says. “We are going to make it happen this year,” with Kevin making sure to add, “We may or may not be seeing you in your own city/country.”
Before they do make their way back to the States, fans can stay on top of their additional musical activities by following them on TikTok where Kevin delivers Beyoncé covers, Jacob plays guitar in his pajamas, and all 11 of THE BOYZ sing, dance, and share their lives.
We don’t really get to do a lot of musical production in our group for our own music, so I like to experiment and do things on TikTok,” Kevin says. It’s my musical outlet, and I like to do a lot of covers there.”
Jacob agrees with that sentiment, adding, “Since we’re in a group, I don’t really get to play the guitar and sing for the fans, so I use TikTok for my pajama karaoke covers.”
While Juyeon, Hyunjae, and Kevin have all attended events and linked up with different fashion brands, like Dior, Gucci, and Jeremy Scott, the guys also shared some surprising insight into their personal style during the sitdown.
“Whenever we have events where our stylist can potentially dress us in casual clothing, we opt for our own clothes instead of our stylists’ clothes,” Kevin shares. “We like to dress ourselves as much as we can.”
Watch the full Billboard News interview above for more from Kevin, Juyeon, Jacob, Hyunjae and Eric on THE BOYZ’s Phantasy album, plus find out who among them is most likely to snack at midnight, run late getting ready, know another K-pop group’s choreography and more.
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XG announced the details of its highly anticipated first world tour kicking off in May, entitled XG 1st WORLD TOUR “The first HOWL.” The seven-member girl group that recently celebrated its second anniversary on Mar. 18 is set to launch its global trek in Japan two months later on May 18 and 19 at the […]
Fujii Kaze digitally released his highly anticipated new single called “Michi Teyu Ku (Overflowing)” on Mar. 15, a song written for the upcoming Japanese feature film April Come She Will. The 26-year-old artist also shared the accompanying music video for the new track helmed by the director of the movie, Tomokazu Yamada. “When I was […]
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its reign atop the Billboard Japan Hot 100 to seven weeks on the chart dated March 13.
Boosted by news of the MASHLE season 2 opener’s global hit, the track gained significant exposure during the tallying week, including an appearance on the long-running live TV program Music Station on March 8 and a performance on The First Take YouTube channel released the same day. The hip-hop banger holds at No. 2 for downloads (22,288 units, up about 39%) and No. 1 for streaming (21,313,095 streams, up 0.2%), while coming in at No. 2 for karaoke, No. 15 for radio airplay, and No. 34 for video views. Overall points are up by about 6.2% from the previous week.
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Returning to the top 10 after seven weeks, Number_i’s “GOAT” shoots 32-2 following its physical release on March 6. The CD sold 481,475 copies in its first week, hitting No. 1 for the metric, and the ambitious rap anthem also ruled downloads (24,601 units) and radio. In other metrics, the former No. 1 hit comes in at No. 4 for video with 1,439,615 views and No. 27 for streaming with 3,389,427 streams. While it missed the top spot on the Japan Hot 100 by a narrow margin, it racked up more than twice as many points as the track at No. 3.
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Debuting at No. 3 is Sexy Zone’s 26th single “puzzle,” the four-man boy band’s final release under its current name. The theme song for a new drama series starring member Kento Nakajima launched with 296,056 CDs, about 45% more than its predecessor, “Jinsei Yuugi.” The track hits No. 2 for sales, No. 20 for radio and No. 83 for video.
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Other first-time entries in the top 10 this week are =LOVE’s 16th single “Norotte Norotte” at No. 6, selling 233,478 copies to come in at No. 3 for sales, and SUPER★DRAGON’s major label debut called “New Rise” following at No. 7, selling 77,221 copies to come in at No. 4 for the metric.
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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 March 4 to March 10, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
