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Once upon a time, Rene Liu was accustomed to being an “aviator” who was constantly on the move. She used to embark on numerous flights annually, accumulating countless miles, traversing the globe to record music, film movies, attend film festivals, promote albums, and embark on concert expeditions. However, after experiencing several years of grounded days and profound moments of “off-duty,” Rene Liu finally realized that many things are not inevitable.

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The theme of Rene Liu’s “Final Call” concert tour was actually determined as early as 2019. However, due to various circumstances, it wasn’t until 2023 that the concert finally had the opportunity to meet the audience in mainland China. As the “Captain of Ying Airlines,” Rene Liu cherishes the reunion with fans she hasn’t seen in a long time or met for the first time: “Each concert bestows upon me the sensation of reuniting with old acquaintances, and anticipation is abundant in the interim.”

Flight days, akin to life itself, are replete with uncertainties. Perhaps it is these “uncertainties” that render the journey intriguing. Rene Liu has learned to embrace change: “Every time, I peruse the weather forecast several days in advance. Be it rain or shine, there are peaks and valleys. Once, there was torrential rain, and even the staff couldn’t take off, so I lodged overnight at the airport hotel. I pondered what I should do. However, on the second day, amidst the midnight hour, the staff arrived to pick me up at 5:50 am, and I embarked on an early morning flight, advancing a day ahead through a transfer.”

Hence, even when encountering extreme weather conditions such as hailstones at Nanjing Station, she opts to remain composed: “Nowadays, I exhibit greater composure in the face of uncertainties. It appears that I am not as apprehensive as before. My mood has transformed, and I seem to be more leisurely, enabling me to confront matters with equanimity.” This confidence stems from Rene Liu’s boundless trust in her longstanding team. Regardless of any unforeseen circumstances that arise on the journey, everyone collaborates to devise solutions and ensure seamless performances.

Throughout the way to present “Final Call” in various locales, Rene Liu has even experienced dashing frantically at airports with her team to catch connecting flights. “Every cog in our team is tightly fastened. The entire team operates at a velocity akin to flight when it comes to changing dozens of plane tickets overnight, makeup artists preparing in advance, and musicians readying themselves ahead of time. They will find every possible avenue for me, be it driving, sailing, or taking a high-speed train, ensuring my safe arrival at the concert venue.”

Rene Liu describes that to be part of the “Final Call” team, one must possess robust adaptability and a strong heart. On the morning of the Kaohsiung concert, Rene Liu made a spontaneous decision to include the song “Epitome” (the theme song of the TV drama “Women in Taipei”). After deliberating with colleagues from Bin-music, everything promptly sprang into action: arrangement, performance, lighting, stage design… The entire “Final Call” team operated at a velocity akin to flight.

To ensure that each “Final Call” takes off as scheduled, Rene Liu has persisted in exercising and enhancing her physical fitness. She even studies methods for skin whitening with netizens. All these unwavering efforts are undertaken to deliver an enhanced concert experience. Naturally, embarking on a world tour is an arduous undertaking: “Four-sided stages necessitate greater physical stamina since walking on stage entails more steps than three-sided stages. I must jog offstage after changing costumes.”

“An individual’s energy and focus are intertwined with their physical fitness. After all, my age has changed; one can no longer rely solely on resilience. Now, occasionally after singing ‘Love You So Much,’ I feel a slight dizziness. Perhaps it is because I haven’t eaten enough and have become suitably hungry in order to ensure a better fit for the costumes. I aspire for an improvement in my condition. This constitutes a professional performer’s duty; I must honor my work and give my utmost.”

In addition to adjusting her schedule to ensure she retires before 9:00 pm, Rene Liu also prepares her luggage in advance to swiftly transition into work mode. Apart from the “Final Call” concert tour, Rene Liu has numerous other work engagements as a singer, actress, and director. Various new projects are primed for action. Rene Liu also yearns for more opportunities for audiences to witness her diverse works.

Rene Liu

Mingsheng Chen/Billboard China

Fly to Somewhere Further Away and Meet Old Friends

“Final Call,” this year’s mainland tour, has taken flight to cities where Rene Liu rarely has the opportunity to perform. In fact, many years ago, Rene Liu personally arrived at these places. “During that time, as long as I could reach a place, no matter how far, I was willing to grace everyone with a performance. I often spent over ten hours in a car, from daytime until midnight, journeying from one province to another, witnessing even the abbreviations of the province on the license plate change to different characters…”

In the bygone era when there was no mobile network or power bank, the high-speed rail network was yet incomplete, and flight schedules were not as frequent as they are now, Rene Liu embarked on car journeys across provinces just to meet local fans: “To be honest, I often ponder… as long as I can still work and sing, I will treasure the opportunity to meet everyone in this manner. Regardless of where I go, I am filled with immense joy.”

“Some concert organizers would inform me that the equipment in smaller cities is not as impeccable, but I believe it doesn’t matter. It is not easy for fans to travel to larger cities, so I prefer to visit their cities and sing for them. I believe this also lays the groundwork for the connections I speak about on the ‘Final Call’ stage. Many small cities from the past have now blossomed into major metropolises. It seems that wherever I go, I am reuniting with old friends, and the sensation is unparalleled.”

In addition to long-awaited fans, Rene Liu’s old friends also include acquaintances who occasionally make surprise appearances at different stops and become guests of “Final Call”: “My guests and I are not the type of people who need frequent contact or appointments with each other. However, when the need arises, we will all be present. The same goes for my relationship with my fans. From guests to staff to audience members, as long as you attend our show, we will shower you with boundless love.”

When performing for old friends, it is only fitting to sing some long-forgotten songs. The B-side track “Her Gentleness” from 2002 has now become a highly sought-after staple in “Final Call.” “Life is about reaching a stage where we look back and realize that there was a song dedicated to our future friends. I express my gratitude to Jonathan Lee for preserving a song like ‘Her Gentleness’ for future Rene Liu.”

“‘Her gentleness’ is a fire that cannot be casually acquired by any young girl…” Rene Liu shared that when she was young and recording in the studio, she had only a vague understanding. It is only now, singing “Her Gentleness” once again at this moment, that Rene Liu truly comprehends: it was a letter from Jonathan Lee to her. “In this era of fast food consumption, I still hold firm in my belief that there are certain things that withstand the test of time. I am also immensely grateful to the audience at the venue for granting me five minutes to listen to this song.”

Similar success has been achieved with “Heard?” from 2004: “After the release of ‘Heard?,’ it was included in the official setlist of a concert. However, when performed live, the audience response was lukewarm. Consequently, in subsequent concerts, this song was largely excluded from the setlist. Perhaps live performances cannot capture the same atmosphere and effect as recordings, and I am uncertain where this song fits within a concert. My concerts are more fluid in nature, not confined to a single song but rather stories intertwined.”

Perhaps every song has its own destiny. Nearly twenty years later, “Heard?” finally encountered its springtime. After the audience in Shenzhen sang it together, Rene Liu ultimately transformed it into a surprise inclusion at the Hangzhou stop: “I always believed ‘Heard?’ wasn’t popular, but since Wuzhen, why have more and more audience members been shouting ‘Heard?’ at my shows? Some songs are truly shouted out by everyone; even less popular songs like ‘Immortal’ have received their share of shouts.”

Behind every less popular song lies a group of individuals who deeply cherish it. The phrase “I deeply love you” in Guangzhou became the limited edition “Light up Orange Trees” at the Chongqing stop. Rene Liu genuinely felt an overwhelming sense of being loved by everyone while singing: “Some less popular songs are not sung as frequently, so when performing them, I am unsure of where my focal point lies. I never expected everyone to sing so loudly, and it moved me deeply.”

Time Flies, but Live Performance is Improvisational

On the poster of the “Final Call” concert, there is a phrase that reads, “Time flies, are you still waiting?” After experiencing stagnant days, we realize the value of opportunities that enable us to fly. It is because of this that Rene Liu has decided to seize the moment and not wait any longer. She hopes to do everything she hasn’t had the chance to do and perform in cities she hasn’t yet visited, using “flight” as a way to race against time.

Rene Liu mentioned that she has gradually adapted to the rhythm of touring: “I actually quite like the current pace. From Monday to Friday, I take care of my family, which seems more tiring than holidays. The concert, for me, is like a comfortable respite. The moment I’m picked up by a car to go to the airport, I automatically switch to the ‘female star’ status taken care of by many staff members. I also bask in the love from fans, and then I return to my daily life.”

“Final Call,” ultimately, is about not being content with no change. “When we were young, we were often taught to be content. But as human beings, we still need a bit of restlessness. Can’t we be less reality? A concert is a small act that allows you to indulge in your emotions, bringing everyone together, reaching different atmospheres and spaces through music: we go back to the past together, imagine the future together, and sing together in the present…”

In the “Final Call” tour, the most daring thing Rene Liu did was to challenge the four-sided stage for the first time in her concert career. A four-sided stage requires considering the audience sitting in different directions and involves handling many performance details with different considerations than before. “In the past, the record company asked me to do a four-sided stage, but I never agreed because I felt insecure with an audience looking at my back.”

“But later on, I slowly realized that I have toured many times, and the three-sided stage has already showcased all possible angles to the fullest. I’m not a singer-dancer, I don’t have dance music, fancy costumes, or too many sensory stimulations.” Finally, it was CEO Zhou Youyang from B’IN Live Co., Ltd. who convinced Rene Liu to try the four-sided stage. “He said that a four-sided stage would bring more audience members closer to me, from only the first ten rows being able to see clearly to more rows being able to see.”

With multiple instances of tacit cooperation, this “Final Call” tour, under the collective wisdom of B’IN Live, has also given rise to many concert elements that have amazed the audience. “My legs are not good, so B’IN Live designed a 360-degree rotating accessible stage for me. Because this stage is rich enough, I can boldly talk about some cold things on stage without fear, even without backup dancers. I’m very grateful to B’IN Live for allowing me to make the concert exactly how I want it.”

Singers may unfortunately catch a cold before a performance, and computers may suddenly crash for no reason. Live performances, like taking a flight, can encounter various unexpected situations. Learning to face and accept them is also part of Rene Liu’s daily routine. During the “Final Call” performance process, Rene Liu is also practicing how to coexist with these anxieties in peace: “The most interesting thing about live performances is that every minute is different, very present. Some things may only happen in this particular show.”

“During each concert, I aim to connect with my audience on a deeper level and resonate with them. The process of touring can easily become monotonous; therefore, I strive to provide a unique experience for fans who attend shows many times. How can we transform the same raw materials into distinct ‘dishes’ for each performance? The live experience is never the same and every city inspires a new mood that I aim to convey through my music. Each city evokes a different set of emotions and stimulates diverse imaginations.”

Regarding the overseas performances of “Final Call,” Rene Liu expressed her intention to present more renowned songs for the overseas Chinese audience: “Some spectators may have been away from their hometowns for an extended period. On the stage, I noticed that they sang even more passionately than me, including my driver. When I step onto the stage, I want to convey to them that I know everyone is well. I am gonna take the place of your families and like to greet you.”

Each destination unveils a distinct panorama. Next on the itinerary, in 2023, “Final Call” will fly to Xi’an, and in the future, it will venture to more locations. Once “Final Call” commences, it will not stop easily. During the interview, Rene Liu disclosed: This tour will undoubtedly extend into the following year, unveiling new cities. Moreover, the “Final Call” setlist will feature additional surprises with never-before-performed songs.

Fly to The Bravest Self, Fly to Seek a Better Self

The live VCR for the concert tour was meticulously directed by Kevin Ko, the talented director who helmed the film “Incantation.” Shing-Ming Ho, the screenwriter who has collaborated closely with Rene Liu for an extended period, also contributed to the creative concept of the story. This short film, which portrays the theme of “the bravest appearance in love,” became an emotional highlight for the audience. During an interview, Rene Liu acknowledged that she is always moved when she hears these courageous lines in the short film while waiting backstage for a costume change, even if she has heard them before.

“Recently, I read some articles stating that constantly looking back implies aging. However, I realized it was not true. After I stopped being a child, I often reminisce. Therefore, I believe that by looking back at the past, we can only move forward to the future. Without those experiences, how could I have become who I am today? Our audience comprises individuals at various stages of life, and I hope they can see themselves at different points in the VCR.”

In my perspective, singers like Rene Liu not only perform popular love songs but also endeavor to sing more songs about life, which exemplifies true bravery. In Rene Liu’s recent new songs, “Each Well” is a song about entering the next stage of life and learning to let go, while “Golden Age” endeavors to explore the topic of life and death. These songs, included in the “Final Call” concert playlist, imbue the entire concert with a profound depth of life.

Rene Liu’s national hits like “Later” and “Step Aside” are songs that always lead to a collective sing-along in the audience. These songs have resonated with many people’s emotional experiences. Even after singing these songs for an extended period, Rene Liu finds it remarkable that she never tires of them. This time, after accumulating countless moments in the past, it seems that everyone wants to sing along with her even more.

Regarding “Later,” a song that cannot be overlooked, as well as those songs that belong to Milk Tea and everyone together, and the love movie “Us and Them” that moved the entire nation to tears, Rene Liu couldn’t help but feel deeply touched. “Our ‘later,’ my ‘later,’ and my ‘later’ with the present are all collective memories formed by each individual. Many scenes from the past often come to my mind, and these are given to me by the audience and fans.”

The song “We Are Not Together” from 2010 is also a great song that touched many listeners during the “Final Call” concert. The slow-burning hit from back then has become a highlight of the current “Breakup Quintet.” Rene Liu jokingly calls it the “power of heartbreak.” “A friend brought her daughter to listen to my concert. Although her daughter’s idol is not me, she still listens to my songs when she’s heartbroken. Perhaps you need some experience to understand my songs, but I don’t want everyone to always be heartbroken.”

During the Quanzhou stop of the “Final Call” tour on May 20th, Rene Liu sang the theme song “Let’s Fall in Love” from the TV series “Pink Ladies.” It was the first time in over 20 years that she performed a live version of this song and it was one of the classic moments of the concert tour. In fact, Rene Liu’s role as a “marriage maniac” in “Pink Ladies,” including the single hit “A Lifetime of Loneliness,” has brought immense comfort to many people through these works.

“What are we constantly searching for?” Rene Liu endeavors to find the answer to this question together with the audience through the “Final Call” tour. Since her debut, Rene Liu has always been in sync with her fans, and in her concert, she expresses the concept of “growing up for the third time,” which means truly fearless and brave growth. On our “Final Call” in life, let’s embark on a journey with Rene Liu to find a better version of ourselves.

–This story was written by Jifan Wang for Billboard China

Rene Liu

Mingsheng Chen/Billboard China

One afternoon, Yoga Lin went to a small eatery hidden in an alley in Taipei to have a meal. “It was around 3 or 4 in the afternoon, and many shops had already closed for rest. The boss was taking a nap, and the lights in the store were turned off.” While Yoga Lin was eating his noodles, another customer suddenly came into the store. There was only one small table left, and the man with a crewcut sat down across from Yoga Lin. Because they were sitting very close to each other, Yoga Lin saw some unforgettable moments.

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Yoga Lin couldn’t be sure whether the man was a homeless person or not, but during his meal, the man took out a plastic transparent spoon from his shabby belongings. “It was a spoon with many scratches from previous use, but the man still used it carefully.” Was he afraid of being reprimanded by the owner, or did he cherish his belongings? Yoga Lin had no idea.

At that time, Yoga Lin had just released “Wordless Groans” and was promoting his new song online. But when Yoga Lin looked at the man sitting across from him, using his own spoon, he suddenly had a new idea: Could people who don’t usually use phones, like this man, have a chance to listen to his music? The radio broadcast playing in the eatery inspired Yoga Lin to make a “more direct song.”

“At that time, the radio in the store was playing popular songs, which made me suddenly realize that even a man who seemed so different from my life scene could have a chance to listen to my songs. Perhaps, when this man comes back to this store another day, he will hear ‘Garbage Baby’ while eating.” Therefore, Yoga Lin hoped to turn “Garbage Baby” into a more straightforward song that could have a positive impact on all listeners who heard it.

Many young people have already become accustomed to the convenience of the Internet era, but when we look away from the Internet, there are still many ordinary people who are busy with their daily lives offline. Yoga Lin hopes that his work can not only influence online listeners, but also provide direct comfort to those offline people who rarely have the opportunity to hear popular music. “I think that the impact of a song like ‘Garbage Baby’ may far exceed my imagination.”

“Garbage Baby” also reunited the behind-the-scenes team of “Wake Up” in 2011, 12 years later. The composer, Subyub Lee, and the lyricist, Wyman Wong, are both musicians from Hong Kong, China. Yoga Lin, who sang “Bad and Worse,” has always had a deep affection for Cantonese songs. Therefore, the Cantonese narration “Remember,” spoken by Wyman Wong himself, conveys the key message of “Remember that you are a baby, not garbage,” regardless of where you are.

“The most important message that ‘Garbage Baby’ wants to share with everyone is love. Love is sometimes like two people exchanging garbage and tolerating each other’s shortcomings. Through ‘Garbage Baby,’ I hope to let everyone know that everyone is a beloved baby, and your flaws are adorable. Therefore, in the last verse of the song, we even deliberately designed it to emphasize this point: ‘You are a baby, not garbage,’ which is not sung but spoken.”

Yoga Lin encountered a chance to share a table with a stranger while eating noodles, which led to the creation of “Garbage Baby”. Subyub Lee, a Hong Konger living in Taiwan, also gained wonderful inspiration for creation in a foreign land. In Taiwan, garbage trucks collect household garbage from every household on the street. While Subyub Lee was rushing to deliver garbage to the garbage truck, he heard the piano pieces “Für Elise” and “A Maiden’s Prayer” playing on a loop from the garbage truck, and the melody of this song immediately came to his mind.

Wyman Wong, a legendary lyricist who has created many wonderful works for Yoga Lin, such as “China Town,” “You Are What You Eat,” “Spoiled Innocence” and “Otomen,” contributed his Yoga-style whimsical idea again in “Garbage Baby,” saying that “love is exchanging black plastic bags and opening gifts while holding your nose.” Yoga Lin, who rarely sat so close to strangers, said eating noodles with a stranger was a novel experience for him. When creators get closer to a wider audience, they can create more good songs that resonate with the times.

Yoga Lin wants to convey the most direct positive message to everyone who listens to “Garbage Baby”: “I imagine that one day, no matter who you are or what your status is, you may lack confidence at this moment, you may have suffered some setbacks, or you may have just experienced a low point in your life. … I hope that after listening to ‘Garbage Baby,’ you will remember that ‘you are a baby, not garbage.’”

At the end of the “Garbage Baby” music video, a group of white-clad men and women sing “You’re My Precious” in unison like a choir above the rainbow-painted sky. Subyub Lee is also one of them. They provide a faint light for ordinary people in their bleak daily lives, tearing open a small gap for Yoga Lin, who is dressed in a bear suit and sitting helplessly in the garbage dump, as well as for quarreling couples, tense lovers, single mothers troubled by life, and men mourning their deceased loved ones.

Encountering Obstacles in the Album, Triumphing in Life’s Trials

Because he had been caught in heavy rain, Yoga Lin wanted to help others with his umbrellas when he had the chance. This is perhaps the fundamental intention behind his song “Garbage Baby” and the production of his sixth album: to encourage fans to move forward. Since the release of his fifth album Sell Like Hot Cakes in 2016, Yoga Lin, who has been absent from the Chinese music scene for seven years, has been in a state of struggling to make progress in his music career and personal life.

During the years of preparing for his sixth album, Yoga Lin seems to have become more and more understanding of one thing: “If a person relies solely on their abilities and resources, they cannot accomplish everything.” Especially in the past three or four years, Yoga Lin has spent a lot of time that should have been used for making music to accompany “important people in his life.” When others wondered if Yoga Lin, who had not released new songs for a long time, had intentionally withdrawn from the music scene, he was actually trying to support his family and get through the most difficult period of cancer treatment.

The experience and feelings of accompanying his family to various hospitals for treatment have deeply influenced Yoga Lin’s creative attitude. He witnessed many patients in the ward who “wanted to live,” but everything seemed to be left to fate. “When my family’s cancer was diagnosed, it was already stage 3 pancreatic cancer, which was almost impossible to remove surgically. I searched for information online and found that the chance of completely recovering was very low. At that time, it was like a bolt from the blue.”

Yoga Lin described it as “a very intense challenge for me.” But at this moment, he was fortunate enough to meet a senior from his high school band. The senior was originally the lead singer of the band, but he willingly stepped aside to become the second guitarist so that Yoga Lin could join the band. This was the first time that young Yoga Lin realized the principle of “doing things that are beneficial to others.” Fortunately, this senior has now become a medical expert.

“I am very lucky to have met this senior who is both a doctor and a musician in my life. Later, my dad’s tumor shrank enough to be removed, and the senior said it was truly a miracle. This made me deeply understand that sometimes you may have money and power, but you cannot exchange them for the health of a patient with stage 3 pancreatic cancer. In the past few years, it has been a very shocking life experience for me. There is a lot of love and luck in it.”

During the time he was supporting his family in their fight against cancer, Yoga Lin also became a father for the second time. He saw this long period of “paternity leave plus cancer leave” as a chance to challenge himself and improve himself. The stress of the situation led to his developing a severe gastrointestinal illness. During a checkup, he discovered that his colon was inflamed in multiple places, and he had to limit his diet. The doctor even suggested that he try writing gratitude journals to manage his stress.

Over the past three to four years, Lin has learned the importance of maintaining a grateful attitude in life. Despite facing setbacks, he believes that gratitude has led to a series of miracles, including his father’s pancreatic cancer and his own gastrointestinal illness being cured. For him, creating this new album with a fresh perspective and new ideas is the best way to move forward.

Lin is increasingly grateful for the many beautiful songs he has had in the past and the influence he has now. He hopes to use his influence to encourage his listeners to be more gentle and brave and to make the world a better place. Looking back, Lin sees his illness as a “gift” for him and his family.

In the comments section of his new song on QQ Music, a fan named “Stars Hidden in the Night” shared that listening to Lin’s music during difficult times gave her hope. In response, Lin expressed his hope that his future music could accompany her through tough times and that they could work together to overcome them.

Lin’s experience of fighting cancer with his family has given him a new perspective. When he has the inspiration to do something, he increasingly chooses to do things that benefit others rather than just himself, like when he stepped down as lead singer to make the band better. This is a significant shift in mind-set, as people tend to be selfish when making choices and may even feel a little difficult at the time. But Lin has achieved this.

Doing Good Deeds, Doing Things That Benefit Others

After experiencing profound changes in his life, when asked about his long-awaited sixth album, Yoga Lin used the plain and simple words “keep your expectations” and hoped that everyone would continue to do so. This is also the most honest answer from Lin when facing an unpredictable future. After years without releasing an album, the rules of the game have changed, and since everything cannot be foreseen, it is better to learn to accept change. “Yoga Lin is back! But what will tomorrow bring? Let’s keep our expectations high!”

“Just like when I released an album before, I did more than 100 endorsements in a month, but besides my fans, not many people knew that I released an album. But one time, I sang a song on a variety show that I don’t usually go on, and then everyone knew that I had released an album. These are all things that cannot be predicted.” Lin was talking about his story of singing “Step Aside” on a variety show; even the original singer Rene Liu encouraged him through their mutual friend, HIM International Music executive Derek Shih.

As he has been fortunate enough to receive help from his seniors on his journey, Lin hopes to pass on the spirit of “doing good for others.” He would go to university campuses to listen to Elephant Gym’s performances before they became famous and even invite them to collaborate on “The Shape of Mouth.” Before Terence Lam became popular, Yoga Lin had already recognized the demo of “Worse comes to Worst.” When Hong Kong junior Jer Lau (a member of Mirror) invited Yoga Lin as a guest performer at his concert, Lin agreed immediately.

The polishing time for the sixth album was too long, spanning seven years from 2016 to 2023, far beyond the normal production cycle for an album. Although Yoga Lin is also anxious about when the sixth album will be completed, he believes that good things will come to fruition at the right time and hopes to complete the sixth album by the end of this year. “I think the sixth album is quite incredible, and there have been some new changes slowly happening now.”

Currently, the number of songs accumulated in Yoga Lin’s sixth album has become more than originally planned, possibly exceeding the 10 songs of a regular album. During the preparation period of the album, Yoga Lin visited people who love playing the piano everywhere to gain inspiration for creation, including an antique piano owned by a piano collector in Shilin, Taiwan, and a piano from Soda Green’s Gong Yuqi’s private collection. One of the new songs, “White,” which focuses on piano elements, was also sung by Yoga Lin in this round of concerts. What’s even more special is that the piano in “White” is played automatically by a machine.

“White” is about a serious theme of life: when loved ones pass away, which is a situation that everyone may encounter. “The reason why I chose a mechanical piano is that we always face the fact that people we love will leave this world and cannot continue to live, but I believe that there is a kind of love that will always exist. Therefore, I also want to convey this feeling to everyone. In order to convey this message, I used an unmanned mechanical piano. I hope that this message can bring some comfort to some people as well.”

Another new song, “Wordless Groans,” was written by Yoga Lin himself, and the lyrics were co-created by Yoga Lin and teacher Yao Qian. Being able to come up with the concept of “ordinary yet stubborn” really impressed Yoga Lin, who admired Yao Qian’s unique creativity: “The word ‘stubborn’ is rarely seen in Chinese songs. I think it is a very special choice. I admire Yao Qian for being able to think of such a description. Every detail we established through lyric creation together is unforgettable.”

Regarding the song title “The Song of Stubbornness,” Yoga Lin hopes that he can continue to be stubborn in the right place: “For example, only doing things that are good for others is also a kind of stubbornness. We often face choices where we have several inspirations at the same time, but time is limited. Which one should I do first? Now, I will only do things that are good for others. This value also helps me execute things more easily.”

“In the past, when I made every decision, I hoped that what I produced would be perfect and only cared about whether I looked handsome in the camera. If I carefully checked every angle after taking a photo, it might make the people around me very tired. For example, if we work until very late today, as long as the meaning conveyed by the work is positive, we should let the work team rest first—this is a decision that helps others.”

Yoga Lin used to be a perfectionist, so he inevitably became trapped in his self-set “emotional black hole” and faced negative emotions and obstacles in life. The “stone” he moved in the music video for “Wordless Groans” actually symbolizes these negative emotions and obstacles in life. Now, Yoga Lin has finally learned not to dwell on small flaws anymore. After using emotions in the right way, the pressure on his performing career has also been reduced significantly.

Applying the concept of “doing things that are good for others” to the actual operation of every specific thing has allowed Yoga Lin to receive unexpected positive feedback in real life: “In order to express yourself better when conveying messages to others, you need to become the person who can face the kind of person you are talking to. For example, when accompanying family members to fight cancer, in order to save their bodies, you need to use methods that suit them to tell them some things. This is ‘doing things that are good for others.’”

“I had an inspiration at that time, which was to find a doctor about the same age as my family member to help them. My family member is older and has some deep-rooted ideas. The effect of persuading them with a doctor in their 60s is better than that of persuading them with a young doctor. They listened carefully and absorbed what was said by doctors their age, and then made some changes.” Later, Yoga Lin also applied this “successful experience of persuading family members” to the production and promotion process of his sixth album.

“Although the progress of album production is slow, I will express good ideas more accurately each time. Like the most critical sentence in ‘Garbage Baby’ — ‘Everyone is a loved baby’ — we said it instead of singing it.” In this ever-changing era, we must speak more directly in our works to better convey what creators think and feel. This is also a learning process for Yoga Lin to live in the present.

Love Can Overflow and Help People Escape the Black Hole

After a long period of dormancy, Yoga Lin was once confused about why these experiences happened in his life, feeling like a thunderbolt on a sunny day, and decided to restart the “idol” concert and upgrade it to the “idol 2023” world tour. This is a concept about how to “escape from a black hole,” and the key core of this upgraded concert is that only love can overflow from a black hole.

In fact, as early as when they started the “idol” concert in 2018, Derek Shih, the senior executive at HIM International Music, who worked closely with Yoga Lin, gave the concert a Chinese name called “Love More” (it was just not publicly announced at the time). Looking back now, Yoga Lin suddenly realized that “Love More” was actually the best interpretation of the “idol” concert. When Love More overflows, we who are trapped in the black hole can have a chance to be truly saved by love.

Regarding “escaping from a black hole,” Yoga Lin understands it this way: “Sometimes we encounter great difficulties, but it is also possible that we will receive more abundant blessings in the future. However, people usually cannot see things in the future. In my past difficult experiences, I learned a very important thing: We must always maintain hope, which is very important and what I want to share with my fans. What makes you feel desperate now may be a blessing in disguise.”

Being able to invite Ryuichi Sakamoto before he passed away to authorize cooperation, combined with various wonderful stage visual effects, made “idol” described by the industry as Yoga Lin’s career masterpiece. But in Yoga Lin’s eyes, the 1.0 version of “idol” was just a process of seeking answers without reaching a conclusion. Yoga Lin tried to use his current understanding of life and his own life experience to add new colors to the 2.0 version of the “idol 2023” concert.

“After three years of precipitation, the whole earth stopped. When I hadn’t worked on the ‘idol’ concert for a long time and had the opportunity to restart it again, I went back to look at this performance three years later and discovered that the first part of the concert was so shocking, like a ‘black hole.’ I seem to feel how I was at that time: he was always pursuing a big goal and achievement, but at the same time, he may also be looking for direction.”

At that time, although Yoga Lin had done the critically acclaimed “idol” concert, he still seemed to be trapped in a “black hole” and couldn’t get out: “At that time, I didn’t know which kind of life was right. What a person thinks will be reflected in every action he takes. All behaviors are closely related to your inner-motivation. In this concert, I also saw my most true inner-world at that time, confused and still looking for who I am.”

Yoga Lin’s thoughts at the time were infinitely magnified by the “idol” concert stage: “At that time, I wanted to have greater achievements. In other words, I put ambition first. This is endless, just like an insatiable desire black hole.” Life has countless black holes, and only overflowing love can fill these voids. The past three or four years have made the overall concept of the “idol 2023” concert more complete and allowed Yoga Lin to hear his own voice from the bottom of his heart.

Yoga Lin incorporated all the life setbacks he had experienced over the years, the life answers he had been seeking, and the taste of life he perceived in the “black hole” into every detail of the concert: “The ‘idol’ concert is a very good structure, combined with the cooperation of a work team that may be one of the top Chinese concerts, allowing me to put what I now understand into the concert again through this ‘idol 2023’ concert and go deeper into explaining some things.”

When singing “The Tightrope Walker” in the “idol 2023” concert, Yoga Lin had such a talk: “I believe that like me, everyone has many wonderful things worth cherishing in their daily lives, and there will also be some terrible challenges that happen in our lives. Every person will have moments of despair. I hope my songs can give you some encouragement and let you know that when every blow comes, besides feeling despair, we still need to maintain hope.”

Yoga Lin gradually realized that no one in this world knows what will happen in the next second, nor can anyone predict how their life will go next. Faced with various sudden “black holes,” the only thing Yoga Lin can do is give each listener a gentle hug with music. He hopes to always maintain this gentle and brave state to convey the warmth and love he wants to convey to fans, flowing into the ears of every audience member on-site and even into everyone’s hearts.

In the Cantonese-speaking region, Yoga Lin will sing his Cantonese song “Bad and Worse.” “Everything is bad, but we can still be happy.” This is Yoga Lin’s blessing to fans and himself: “There will always be some sudden challenges in life that we cannot know. But we still need to be grateful for having five fingers, heartbeats, breathing… For many things, we can still maintain hope. I also hope that fans can maintain a good attitude when facing different challenges.”

Becoming a Person Who Loves Others as Much as Oneself

Through the “idol 2023” concert, Yoga Lin upgraded his value of “doing only things that benefit others” in recent years to “always choose the decision that benefits others, which is the right decision to escape the black hole.” Yoga Lin almost tirelessly repeated this sentence at every stop of the tour, hoping to remind more audiences to understand and accept this reminder and thus be able to break free from the “black holes” in their lives.

“The ‘idol 2023’ concert is about how to escape from the black hole. This value actually affects my way of doing things in life and creation. Every day we have all kinds of inspirations, but now when I have to make decisions, I will choose the inspirations that are worth my time and energy and can mobilize the whole team to execute things. Any decision and inspiration that has a positive impact on others is worth my full effort to do.”

Regarding “loving others as oneself,” Yoga Lin also gave a very vivid description of a realistic scenario. “Suppose one day I am in a bad mood and have already had a big fight with my family before going out. When driving, I encounter another hot-tempered driver next door. I may be stimulated and get angry, roll down the window, and argue with him… There are many similar explosive ‘black hole’ moments in life. When you embrace the mentality of ‘loving others as oneself’ and think it over, the result will be completely different.”

The person who can avoid being swallowed by the “black hole” is the person who can share the burden with others. Yoga Lin, who has walked out of the “black hole,” now hopes to work with fans and friends throughout his life to become a person who loves others as much as he loves himself. Then, when the audience leaves the concert venue, they can remember Yoga Lin’s words at the concert: “Love others as you love yourself.” When more and more people become like this, this imperfect world will quietly undergo new changes.

“Love is mutual. Whether you have loved others or others have loved you, whether there is love flowing between on and off stage, that state of love can be fully felt. Fans sincerely support a singer they like, and I hope to give back to them through music, including the positive messages and values that I want to convey in music. This is what I think is the best feedback.”

One Great Show Can Change The World

Can a perfect concert make the world a better place? After going through many difficulties and finally returning to the stage, Yoga Lin has a very firm answer to this: One Great Show Can Change the World! “We can’t really change the world, and many things can’t be controlled by individuals. But that doesn’t mean that, as human beings, we can’t make an effort. We still need to love others more, just like we love ourselves.”

In his early years, Yoga Lin was also lost in the constant comparison with others. Later, he slowly learned that “it is natural and healthy to see the better qualities in others.” As in “Garbage Baby,” when you realize that everyone is a unique treasure, it will give you more courage. “In the past, when I saw that others were excellent, I wanted to become even better. This idea is not a problem. The key may be whether you can know that everyone is a treasure, including yourself.”

“My heart reflects in my music, written works, and interactions with colleagues. This is an important factor that has influenced my behavior in the past. Because I want to become stronger, I expect myself not to lose balance or create invisible pressure on the work team. If the motive is not good, it may lead to bad results in the end and may also bring heavy burdens to oneself and others – these burdens will eventually become a ‘black hole.’ I hope I can stay away from such ‘black holes.’”

Another way Yoga Lin wants to change the world is by using only black support flags that are given away for free at his concerts instead of all the glowing support items. This black concert, like a “black hole scene,” with its deep black reflection, is distinct from other concerts that sparkle with various fluorescent sticks. The line on the support flag, “Only Love Can Overflow Black Holes,” is also what Yoga Lin wants to say to his fans: only love can overflow black holes.

Yoga Lin, who loves environmental protection, admits that he has even considered whether to recycle the black support flags and flagpoles separately: “I care about environmental protection very much. Not only do I want to protect the earth, but we also need to manage and maintain this earth well. Everyone shoulders responsibility.”

Every decision Yoga Lin makes receives maximum support from his fans and friends. At the “idol 2023” concert, you will hardly see any audience members bringing fluorescent sticks into the venue in order to present the best performance effect. This reminds me of Yoga Lin’s famous saying at his concerts: “To convey positive ideas, face whoever you want to be!” When idols practice what they preach by doing things that benefit others, fans also follow suit. This is what it truly means to “impact lives with your life.”

At this stage of his life, Yoga Lin hopes that he has no negative thoughts about work. He is practicing a new attitude to face his future career in the performing arts. “I deeply understand the motivation for change. My entire state of mind is completely different. After doing this, I have a new understanding of working hard. What I do is no longer for better results or higher status but only to do things that benefit others. I hope to maintain this positive motivation first before achieving any additional success.”

In the era of short videos and hit singles, Yoga Lin has to consider how not to blindly follow trends but instead make healthy judgments about whether he should do something or not. “I hope to adjust myself in this way, only choosing things that benefit and help others. I don’t know if there will be any additional bonuses in my career during this process. If there are, it’s great; if not, I will still do things with this motivation.”

Yoga Lin hopes that his music can help listeners solve their life problems when they encounter an unbearable “black hole.” When they hear the values conveyed in works like “Garbage Baby,” they may have a chance to save their lives. “So now my motivation for work has changed. As long as it’s a city where I haven’t performed before, my life can bear it, and I can still sing, I will go there. No matter where it is, I can go.”

In order for the philosophy of “Garbage Baby” to influence more people, Yoga Lin has copied and pasted the sentence “Please remember that love is exchanging garbage with each other and tolerating each other’s shortcomings; also remember that you are a beloved treasure, not garbage” on different social media platforms countless times just to deepen everyone’s memory effect. As long as it’s something that benefits others, he will try his best to do it. The eight words “Do good deeds without asking about future prospects” are very suitable to describe Yoga Lin, who is overflowing with love at this moment.

–This story was written for Billboard China by Jifan Wang

Yoga Lin

Mr.triangle/Billboard China

While NewJeans‘ brand of easy-listening K-pop minimalism has earned the girl group both a No. 1 album on the Billboard 200 as well as a Billboard Music Award, the quintet shook up their formula when it came to recording League of Legends‘ annual world-championship anthem “Gods.”
For the musical collaboration alongside Riot Games set to one of the world’s most popular video games (League of Legends reports 80 million average monthly players), NewJeans bring a booming, maximalist electronic-pop epic fully in English where an ominous full choir accompanies members Minji, Hanni, Danielle, Haerin and Hyein.

According to NewJeans, bringing “Gods” to life meant delivering their most elaborate live performance to date when the quintet took the stage at LoL‘s World Championship Finals on Nov. 19. Along with dancers and actors joining NewJeans, the performance included virtual-reality, computer-generated imagery and guest appearances from the top competing teams in eventual 2023 champs T1 from South Korea as well as Weibo Gaming from China.

Talking to Billboard exclusively after a big weekend where they not only performed and won at the 2023 BBMAs but helped open League‘s 2023 Worlds, NewJeans discuss recording and preparing “Gods” for the big stage, meeting T1 and Weibo Gaming, favorite Riot Games’ musical collaborations and more.

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Congratulations on a huge weekend. Not only did you perform and win at the 2023 Billboard Music Awards, but you also performed “Gods” for the first time live at Worlds. How are you all feeling?

DANIELLE: The whole experience felt surreal to me! Performing for the Worlds Finals as well as the Billboard Music Awards alongside artists we deeply respect and admire was incredibly surreal! Even looking back now the scale was unbelievable and we are so grateful and honored for the experience. 

The Worlds performance looked and felt very massive. How do you prepare for such a big performance with different elements like dancers, actors, VR and more?

MINJI: It felt like the stage with the most diverse range of creative elements we had so far. It was truly enjoyable going through the process of coordinating with the dancers and actors through numerous rehearsals, aligning the timing and virtual reality aspects! [Laughs]

Those VR and CGI elements are very cool to watch on YouTube. As performers, do you need to imagine the effects while you’re singing?

MINJI: I was aware that there were numerous stage setups, but when we actually rehearsed on stage, everyone was quite mesmerized. In particular, seeing the part where the video effects seamlessly transitioned into reality left everyone in awe. It was truly an honor to be able to participate in a performance of the scale!

How was making the live premiere of “Gods,” your first song in English, at Worlds? Take us through how this song was conceptualized and eventually came to life on stage.

MINJI: “GODS” was a new challenge for us as NewJeans. It has a different vocal and choreographic style from what we usually do, so we invested a lot of time and effort into it! I recall rehearsing it over and over again for a flawless and dynamic live performance on the grand stage.

HAERIN: Since it’s the anthem for a game and a tournament that is so widely loved on a global level, we thought the lyrics in English would help fans around the world immerse themselves better in the surge of emotions associated with the song.

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Are any of you League of Legends fans or players yourselves? Was anyone excited to see parts of the game like Leona and Mordekaiser’s character represented during the performance?

HANNI: I enjoy playing League of Legends every now and then, and because there are so many champions, I’ve become curious about all their different abilities. It was amazing to see the performance we practiced being brought to life on stage alongside such amazing dancers, actors, and all the special effects and CGI. I remember being in awe while we watched the playback of our performance backstage. Also, our outfits and styling were inspired by the champion Leona! Looking back, having Leona appear on stage with us was definitely cool to watch.

So, even your fashion had connections to LoL too?

DANIELLE: Yes!! In fact, our whole outfits were based around Leona, who is a holy warrior in League. Our accessories were specifically designed to resemble her armors of gold and shimmer!

HAERIN: Our wardrobe had a chic feel to it and was put together based on a palette of neutral tones. We wanted an attire suitable for portraying the song effectively! 

Finalist teams T1 and Weibo Gaming (WBG) also joined on stage. T1 members have shared that they’re NewJeans fans. Are any of you fans of the teams or players? Did you meet at the event?

HANNI: We had the pleasure of meeting both T1 and WBG backstage on the media conference day! It was a few days before the Finals, and I can’t imagine how nervous they would’ve been, but they greeted us all very warmly. It was nice to have time to meet them! Up until then, we had seen all the small references they made about us and our music, so I really wanted to mention it to them and thank them. But, out of the excitement of meeting them, I forgot to mention it!

HYEIN: We had a lot of rehearsals to perfect our performance for the Finals. During one of the rehearsals, I turned around briefly and was surprised but also fascinated to see the players there! Also, before the stage, we had a moment to greet the players, and it was so gratifying to be able to tell the players from both teams that we’ll be cheering for them.

One of my favorite parts was the montage with people from the LoL community’s photos, like players, casters, announcers, owners and more. How does it feel to be part of this diverse community?

HANNI: The fact that we were able to take part in such a globally loved occasion and engage with such a big community still feels surreal. We were so honored to be a part of it, and we were also grateful to everyone who made it possible. Being there in person and witnessing how such a wide community shares the same love and passion, including all the staff and fans there alike, was an amazing experience. It really was the icing on the cake for this whole process.

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You’re now joining LoL and Riot Games’ history of musical collaborations. Imagine Dragons, Becky G, Marshmello, Kim Petras and more have participated, while Riot Games has created virtual bands like K/DA, HEARTSTEEL and True Damage. Have you listened to these collabs? 

HANNI: I’ve listened to nearly all of the musical collaborations with Riot Games Music and watched all the amazing accompanying performances. I think K/DA’s “POP/STARS” was just so iconic and massive. I remember it blew up in popularity back when I still lived in Australia! Personally, “Warriors” by Imagine Dragons, the first-ever Worlds Anthem, possesses a very deep emotional sound that is captivating, and I loved immersing myself in the emotion it conveys and the expression of it itself. While we were rehearsing and preparing for the opening ceremony performance, we got to watch the other performances, and HEARTSTEEL was such a blast to watch! The song is not only fun to listen to, but the artists’ individual characteristics and personality were showcased really well on stage, while effortlessly complimenting each other!

As artists, in what ways do you see music and gaming connecting?

DANIELLE: From my perspective, I think music can enhance the storytelling aspect, enriching the whole experience of the game. I think it helps to heighten the overall immersive quality of the experience, which leads to a stronger connection between the player and the visual elements within League! 

NewJeans had a massive 2023. Is anything significant still planned for the end of this year? Or any spoilers about what to expect for 2024?

HYEIN: Certainly there were many exciting events in 2023, including our music releases. I want to deliver many fulfilling and amazing performances for the remainder of 2023! I hope our fans, Bunnies, will enjoy our upcoming performances too!

NewJeans performs at League of Legends World Championship 2023 Finals Opening Ceremony at Gocheok Sky Dome on November 19, 2023 in Seoul, South Korea.

Colin Young-Wolff/Riot Games

MOONCHILD is a brand-new girl group co-produced by ØMI (CDL entertainment) and HYBE LABELS JAPAN aspiring to capture the hearts of global audiences. The group consisting of winners of an audition show hosted by LDH JAPAN has been performing in concerts and events both domestically and internationally since its debut in May.

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MOONCHILD released its second EP called Friends Are For Nov. 29. UWA, HANA, MIRANO, and ANRI sat down with Billboard Japan for the first time to chat about themselves and their music, including the title track from their latest release featured as the ending theme of the anime series The Seven Deadly Sins: Four Knights of the Apocalypse.

This is your first interview with Billboard Japan, so could you begin by introducing yourselves?

UWA: I’m UWA, 19 years old. I rap and dance. I’m the oldest member of the group so I’m like everyone’s older sister, but they tease me sometimes, too. [Laughs]

HANA: I’m HANA, 16 years old. I’m the singer. I’m from Osaka, so I’m in charge of the jokes around here!

MIRANO: I’m MIRANO, also 16 but the youngest member. I sing, rap, and dance, so people call me an all-rounder. I’m not sure why, but I’m often told that I’m from outer space. Maybe I say weird things without being aware of it or say things that don’t make sense.

ANRI: I’m ANRI, the singer. I just recently turned 18. I’m generally the serious type.

UWA: That’s a little suspect these days. [Laughs]

ANRI: Oh, and people also call me “granny” a lot. I guess my favorite foods and the way I talk and act is kind of oldish?

About six months have passed since your debut. How do you feel now?

UWA: It’s been about two years including the audition. Looking back, it feels like it was a long time, but it also feels like it happened so fast. It’s only been six months since our debut, but we’ve spent a lot of time together so we’re like a family now.

MIRANO: I’ve accumulated an unbelievable amount of memories and experiences in the past six months. I got to be on stage, something I’ve always dreamed of, and went to Europe for the first time to shoot a music video. I’m so grateful for this environment that lets me experience new things, and I want do my best to keep improving myself.

Have you noticed anything new since starting to work as a group?

ANRI: A lot of people tell us that each member of MOONCHILD has a distinctive personality. Some groups have a well-defined concept, but in our case, our concept is to make the most of our individuality. I’ve learned things about how to express my uniqueness since starting working as a group, and having members with different personalities nearby has helped me reaffirm my own individuality.

HANA: I’ve been exploring new ways to sing. I get to sing a variety of songs as MOONCHILD, so my repertoire of singing styles has expanded. Every day is a learning experience.

You recently released your second EP, Friends Are For. What’s the title track like?

UWA: Most of our previous songs have depicted tough girls or a love story, but this time, since it’s the ending theme for the anime series The Seven Deadly Sins: Four Knights of the Apocalypse, it’s a song about caring for your friends and peers.

MIRANO: It’s also the first time we’ve done a cheery, American-pop-like number. I think everyone can enjoy listening to it.

Could you tell us what to focus on when listening to it?

ANRI: I sing a phrase from the part that goes, “A rainbow shining in 100 colors, colors I can’t paint alone,” and I think it’s the part that truly represents this song. Personal qualities come together to make a rainbow, and mixed together, they become hope. I thought, “That’s so great!” when I first heard it. I mean, if I’d been on my own, I wouldn’t have become the person I am today, and I can perform on stage thanks to the people around me. I feel strongly about that part, so that’s what I recommend.

HANA: It’s a bright song about friendship, but has striking parts like the rap and the drop, so I’d like to bring attention to those. The refrain of the same words is also catchy and it has many phrases that linger in your mind.

UWA: Like they said, everything about this song is worth listening to. [Laughs] Personally, I’d like to recommend the parts where we call out “You and me” and “All right.” We recorded that part with everyone around the microphone holding hands and having fun.

MIRANO: Our debut song “Don’t Blow It!” was a cool song so the accompanying dance was powerful and girl-crush-like, but this time the choreography is really eye-catching.

What are the key points of the choreography?

MIRANO: First, the “You and me” part of the chorus. The choreography is like a cheerleading move holding a pom-pom, like you’re cheering on your friends and yourself. The next one is the “Do it do it do it” part after the chorus. You alternate sticking out your thumb and pinky, and it’d be great if people try it and share the videos on social media.

Another song on the EP is “Warning.” It has a completely different vibe. Could you elaborate on this one?

HANA: It’s a song about a lover. The lyrics are more mature, about giving someone a last chance, like, “I love you this much, so you better start acting like you deserve it.” We had to express ourselves in a mature way for this one. Up until now, I’d been letting out all the skills I have in full force, but felt that if I did that in “Warning,” I wouldn’t be able to express the cool R&B-like quality of the song, so I sang it with a more relaxed, chill image in mind.

Another aspect of “Warning” is that the lyrics are in English. The way you sing must be different from when you’re singing in Japanese.

ANRI: I was very careful with the pronunciation. HANA is the only native speaker (of English) among us, so ALYSA, our the music producer, gave the others specific instructions so the song wouldn’t sound strange to native ears. On the flip side, I’m a native Japanese speaker, so I make an effort to place more emotion into the lyrics when singing in my language.

UWA: Japanese uses a lot of vowel sounds, right? So it feels like I can’t produce the same sense of rhythm and groove as in English unless I consciously add emphasis to certain parts. I try to be aware of marking the rhythm when I record.

You all sing Japanese in an English-like way, don’t you?

ANRI: The songs don’t sound like J-POP to begin with, so it happens naturally by singing to accommodate the music. Also, we recorded both English and Japanese versions of our debut single, so we put a lot of thought into how to sing in both languages without ruining the rhythm of the song.

Please tell us a bit more about yourselves. First, what do you think are MOONCHILD’s strengths?

UWA: A lot of girl groups have a main member, someone who’s the face of the group, but MOONCHILD doesn’t have that. Each of us has our own distinctive quality, which is why we can make it work no matter who’s in center position. When it comes to creating a piece of art, everyone fits in without standing out in a jarring way. I think this is MOONCHILD’s strength.

HANA: Our songs are great. Each number has its own message, and I can perform with confidence. We’re told in advance what the message is in detail, so we can think carefully about how to express it.

MIRANO: We can convey those messages through our performances, which is also one of our strengths.

MOONCHILD’s music certainly is distinctive. One of the reasons for this is probably due to the fact that ØMI and HYBE LABELS JAPAN co-produces your songs. What are your thoughts on these new collaborative production efforts?

ANRI: We feel the upsides of the co-production, like being included in festivals in South Korea and being able to utilize Weverse. Although we’re affiliated with LDH (in Japan), it does feel like our group is taking a slightly different approach, aiming for global audiences from the beginning. This feels new, and we hope to create an unprecedented movement in this regard.

UWA: I think we’re growing as a kind of girl group that has never existed in Japan before. Of course, there are many K-pop groups that are on the rise all around us, and they have many aspects that I think are great, but we have our own style. All of the members want to explore a new kind of group in a different genre.

By the way, in what ways do you think the members have grown since you’ve been together?

UWA: I think everyone has become much prettier visually compared to two years ago when we first met.

ANRI: We’ve also become more coordinated. Our backgrounds are completely different, so if the four of us had danced the first round of auditions together, it would have been a mess. [Laughs]

UWA: It would have been terrible for sure!

ANRI: But it’s been two years since we met and we’ve become more unified because we’ve been striving towards the same goal day after day. We’ve grown in the sense that we can show off our individual qualities while also creating a sense of unity as a group.

MIRANO: Then there’s the ability to survive. [Laughs] I live on my own now, and I think I’m a lot more self-sufficient now that I do my own housework.

HANA: I’ve experienced a lot of difficult situations since the audition. I think I can endure anything that may come my way in the future because I’ve experienced so much hardship. I’m grateful for the opportunity to have experienced such things at the young age of 16.

Tell us about your future goals.

MIRANO: We’re fortunate in that “Friends Are For” has been featured as the ending theme of an anime series that’s popular internationally, and we’d like to keep working hard to become a Japan-based group with fans everywhere.

–This interview by Azusa Takahashi first appeared on Billboard Japan

Ado’s “Show” continues to rule the Billboard Japan Hot 100, now in its ninth week at No. 1 on the chart dated Nov. 29.
Although overall points are down by about 0.9 percent from the week before, the USJ Halloween event theme continues to dominate downloads (9,361 units), streaming (11,335,147 streams), and video views. The song is also enjoying popularity on social media, returning to No. 1 on the TikTok Weekly Top 20 ranking this week.

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YOASOBI “Idol” rises to No. 2 for the first time in three weeks, with points increasing by about 4.5 percent. The record-holder for most weeks at No. 1 on the Japan Hot 100 (21 weeks) is currently at No. 2 for streaming (8,610,371 streams, up 2 percent), No. 10 for downloads (3,551 units, up 9 percent), and No. 2 for video (up 3 percent). Meanwhile, the pair’s latest release called “Biri-Biri,” a song inspired by the Pokémon Scarlet & Violet video games, jumps 85-14 on the Japan Hot 100 this week, while “The Brave” extends its stay in the top 10 to 9 weeks (No. 4).

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The finalists and winners of the 65th Japan Record Award 2023 were announced on Nov. 22 and Ayase, YOASOBI’s songwriter and producer, is set to receive the Best Composition Award for “Idol” and the duo will be honored with the Special International Music Award. 

NEWS’s “Gifted” debuts at No. 3, hitting No. 1 for sales with 130,866 copies sold. The boy band’s 30th single is being featured as the theme song for a drama series by the same name starring member Takahisa Masuda.

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Kep1er’s “Grand Prix” bows at No. 6, coming in at No. 2 for sales with 86,273 copies sold.

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AKB48 returns to the top 10 for the first time in eight weeks, as “Idol nanka janakattara” hits No. 10. The girl group’s 62nd single peaked at No. 4 on the chart dated Oct. 4, and after selling 58,173 copies during this chart week, the single has sold an estimated 677,371 copies total and is currently at No. 3 for sales.

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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 Nov. 20 to 26, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

SEVENTEEN was the top winner at the 2023 MAMA Awards, which were held over two nights, Nov. 28 and 29, at Tokyo Dome, Japan. The group won five awards – album of the year for FML; best male group and best dance performance male group, both for “Super”; bibigo culture & style and worldwide fans’ choice.
SEVENTEEN was one of 10 winners in the latter category, along with ATEEZ, BTS, ENHYPEN, Lim Young Woong, NCT DREAM, Stray Kids, TOMORROW X TOGETHER, TWICE and ZEROBASEONE.

NewJeans was a close runner-up in total number of awards, with four – artist of the year and three awards for their hit “Ditto” – song of the year, best female group and best dance performance female group.

BTS, JISOO and ZEROBASEONE each won three awards. ATEEZ, Jung Kook and TREASURE each won two.

Jung Kook won both of his awards – best dance performance male solo and best collaboration – for “Seven” featuring Latto. The track was a global hit, reaching No. 1 on the Billboard Hot 100.

Awards were presented in more than 20 categories. There are the usual five or six nominees in most categories, but in the big four categories – artist, song and album of the year and worldwide fans’ choice – there are dozens of entries. All artists who were nominated in one of the subordinate categories were automatically nominated there — an unusual approach for an award show to take.

In the worldwide fans’ choice category, winners were determined by global fan votes. There were two rounds of voting on the K-culture platform Mnet Plus and on Spotify, which is also one of the sponsors for this year’s awards.

Jimin and Tomorrow X Together were the leading nominees for the 2023 MAMA Awards, which were announced Oct. 19. Each received eight nominations.

Jimin won best male artist, beating two fellow members of BTS – Jung Kook and V. The other nominees in the category were Lim Young Woong, Parc Jae Jung and TAEYANG.

The nominees for album of the year included three albums that topped the Billboard 200 in 2023: Tomorrow X Together’s The Name Chapter: Temptation, Stray Kids’ 5-STAR and NewJeans’ Get Up.

While many Western awards shows are moving toward gender-neutral categories, fully half of the 20 categories here are gendered. There are separate male and female categories for best artist, best group, best new artist, best dance performance solo and best dance performance group.

First-night performers included &TEAM, Dynamicduo, ENHYPEN, INI, JO1, JUST B, Kep1er, Lee Young Ji, STREET WOMAN FIGHTER 2, TOMORROW X TOGETHER, TVXQ!, xikers and Yoshiki.

In addition, JAEHYUN of BOYNEXTDOOR, HONG EUNCHAE of LE SSERAFIM, ANTON of RIIZE, CHOI HYUN SUK, YOSHI, HARUTO of TREASURE and ZHANG HAO of ZEROBASEONE appeared for special collaborations.

Second-night performers included ATEEZ, BOYNEXTDOOR, EL7Z UP, (G)I-DLE, LE SSERAFIM, Monika, NiziU, RIIZE, SEVENTEEN, TREASURE and ZEROBASEONE. 

Also, XIAOTING of Kep1er and Bada Lee from STREET WOMAN FIGHTER 2 appeared on stage.

Videos of the performance can be watched on the official YouTube channel, Mnet K-POP.

The MAMA Awards, which bills itself as the world’s foremost K-pop awards, is presented by entertainment company CJ ENM. This year’s eligibility period ran from Oct. 22, 2022, through Sept. 30, 2023. The show aired live on various global platforms, including CJ ENM’s music channel Mnet.

Here’s the full list of nominations for the 2023 MAMA Awards, with winners marked.

Artist of the year

ADYA

aespa

BOYNEXTDOOR

Choi Ye Na

EL7Z UP

EVNNE

EXO

(G)I-DLE

Hwasa

IVE

Jeon Somi

Jihyo

Jimin

Jisoo

Jungkook

KISS OF LIFE

LE SSERAFIM

Lee Chae Yeon

Lim Young Woong

LIMELIGHT

NCT DREAM

WINNER: NewJeans

Parc Jae Jung

RIIZE

SEVENTEEN

Stray Kids

Taeyang

TREASURE

tripleS

TWICE

TXT

V

xikers

ZEROBASEONE

Song of the year

aespa – “Spicy”

Agust D (Suga) – “People Pt.2” (Feat. IU)

AKMU – “Love Lee”

Anne-Marie, Minnie – “Expectations”

ASH ISLAND – “Goodbye” (Feat. Paul Blanco)

BIG Naughty – “Hopeless Romantic” (Feat. Lee Suhyun)

BIG Naughty – “With me” (The Interest of Love OST)

BSS (SEVENTEEN) – “Fighting” (Feat. Lee Young Ji)

BTOB – “Wind and Wish”

BTS – “Take Two”

BTS – “The Planet” (BASTIONS OST)

DAWN – “Dear My Light”

(G)I-DLE – “Queencard”

Hwasa – “I Love My Body”

IVE – “I AM”

J-Hope – “on the street” (with J. Cole)

Jay Park – “Candy” (Feat. Zion.T)

Jeon Somi – “Fast Forward”

Jihyo – “Killin’ Me Good”

Jimin – “Like Crazy”

Jisoo – “FLOWER”

Jungkook – “Seven” (Feat. Latto)

Kai – “Rover”

LE SSERAFIM – “UNFORGIVEN” (Feat. Nile Rodgers)

Lee Chae Yeon – “KNOCK”

Lee Mujin – “Ordinary Confession”

Lim Jae Hyun – “Heaven (2023)” (It Was Spring OST)

Lim Young Woong – “London Boy”

M.C the MAX – “Eternity”

MeloMance – “A Shining Day”

NCT 127 – “Ay-Yo”

NCT DREAM – “Candy”

WINNER: NewJeans – “Ditto”

Parc Jae Jung – “Let’s Say Goodbye”

Paul Kim – “You Remember” (The Glory OST)

SEVENTEEN – “Super”

STAYC – “Teddy Bear”

Stray Kids – “S-Class”

Taeyang – “VIBE” (Feat. Jimin)

Taeyong – “SHALALA”

TXT – “Goodbye Now” (Love Revolution OST)

TXT – “Sugar Rush Ride”

V – “Love Me Again”

ZEROBASEONE – “In Bloom”

Zior Park – “CHRISTIAN”

Album of the year

(G)I-DLE — I Feel

aespa — MY WORLD

Agust D — D-DAY

Big Naughty — Hopeless Romantic

BTOB — WIND AND WISH

EL7Z UP — 7+UP

EVNNE — Target: ME

EXO — EXIST

IVE — I’ve IVE

JEON SOMI — GAME PLAN

JIHYO — ZONE

JIMIN — FACE

KAI — Rover

KISS OF LIFE — KISS OF LIFE

LE SSERAFIM — UNFORGIVEN

Lee Chae Yeon — Over the Moon

LIMELIGHT — LOVE & HAPPINESS

NCT DREAM — ISTJ

NewJeans — Get Up

Parc Jae Jung — Alone

WINNER: SEVENTEEN — FML

STAYC — TEENFRESH

Stray Kids — 5-STAR

TAEYANG — Down to Earth

TAEYONG — SHALALA

TXT — The Name Chapter: TEMPTATION

TREASURE — REBOOT

tripleS — ASSEMBLE

TWICE — READY TO BE

V — Layover

xikers — House of Tricky : How to Play

ZEROBASEONE — Youth in the Shade

Worldwide fans’ choice (10 winners)

aespa

AKMU

WINNER: ATEEZ

BOYNEXTDOOR

BTOB

WINNER: BTS

CIX

CRAVITY

WINNER: ENHYPEN

EVNNE

EXO

fromis_9

(G)I-DLE

H1-KEY

Highlight

ITZY

IVE

Jisoo

Jeon Somi

Kep1er

LE SSERAFIM

Lee Chae Yeon

Lee Mujin

WINNER: Lim Young Woong

MONSTA X

n.SSign

NCT 127

WINNER: NCT DREAM

NewJeans

NMIXX

ONEUS

P1Harmony

Parc Jae Jung

Red Velvet

RIIZE

WINNER: SEVENTEEN

SHINee

STAYC

WINNER: Stray Kids

Super Junior

Taeyang

TEMPEST

THE BOYZ

WINNER: TXT

TREASURE

WINNER: TWICE

Xdinary Heroes

xikers

WINNER: ZEROBASEONE

Zior Park

Best male artist

WINNER: Jimin

Jung Kook

Lim Young Woong

Parc Jae Jung

TAEYANG

V

Best female artist

Hwa Sa

JEON SOMI

JIHYO (TWICE)

WINNER: JISOO

LEE CHAE YEON

YENA

Best male group

EXO

NCT DREAM

WINNER: SEVENTEEN

Stray Kids

TOMORROW X TOGETHER

TREASURE

Best female group

(G)I-DLE

aespa

IVE

LE SSERAFIM

WINNER: NewJeans

TWICE

Best new male artist

BOYNEXTDOOR

EVNNE

RIIZE

xikers

WINNER: ZEROBASEONE

Best new female artist

ADYA

EL7Z UP

KISS OF LIFE

LIMELIGHT

WINNER: tripleS

Best vocal performance solo

DAWN – “Dear My Light”

LEE MU JIN – “Ordinary Confession”

Lim Young Woong – “London Boy”

WINNER: Parc Jae Jung – “Let’s Say Goodbye”

V – “Love Me Again”

Best vocal performance group

WINNER: AKMU – “Love Lee”

BTOB  – “Wind and Wish”

BTS – “Take Two”

M.C the MAX – “Eternity”

MeloMance – “A Shining Day”

Best collaboration

Anne-Marie, MINNIE ((G)I-DLE) – “Expectations”

BIG Naughty – “Hopeless Romantic” (Feat. LEE SUHYUN)

BSS (SEVENTEEN) – “Fighting” (Feat. Lee Young Ji)

WINNER: Jung Kook – “Seven” (feat. Latto) – Clean Version

TAEYANG – “VIBE” (feat. Jimin of BTS)

Best dance performance male solo

Jimin – “Like Crazy”

WINNER: Jung Kook – “Seven” (feat. Latto) – Clean Version

KAI – “Rover”

TAEYANG – “VIBE” (feat. Jimin of BTS)

TAEYONG – “SHALALA”

Best dance performance female solo

Hwa Sa – “I Love My Body”

JEON SOMI – “Fast Forward”

JIHYO (TWICE) – “Killin’ Me Good”

WINNER: JISOO – “FLOWER”

LEE CHAE YEON – “KNOCK”

Best dance performance male group

NCT 127 – “Ay-Yo”

NCT DREAM – “Candy”

WINNER: SEVENTEEN – “Super”

Stray Kids – “S-Class”

TOMORROW X TOGETHER – “Sugar Rush Ride”

ZEROBASEONE – “In Bloom”

Best dance performance female group

(G)I-DLE – “Queencard”

aespa – “Spicy”

IVE – “I AM”

LE SSERAFIM – “UNFORGIVEN” (feat. Nile Rodgers)

WINNER: NewJeans – “Ditto”

STAYC – “Teddy Bear”

Best rap & hip-hop performance

WINNER: Agust D – “People Pt.2” (feat. IU)

ASH ISLAND – “Goodbye” (Feat. Paul Blanco)

j-hope – “on the street” (with J. Cole)

Jay Park – “Candy” (Feat. Zion.T)

Zior Park – “CHRISTIAN”

Best OST (original soundtrack)

BIG Naughty – With me (The Interest of Love OST)

WINNER: BTS – The Planet (BASTIONS OST)

Lim Jae Hyun – Heaven (2023) (It Was Spring OST)

Paul Kim – You Remember (The Glory OST)

TOMORROW X TOGETHER – Goodbye Now (Love Revolution OST)

Best music video

(G)I-DLE – “Queencard”

IVE – “I AM”

WINNER: JISOO – “FLOWER”

Jung Kook – “Seven” (feat. Latto) – Clean Version

SEVENTEEN – “Super”

Stray Kids – “S-Class”

Other Awards

Worldwide icon of the year: BTS

Favorite new artist: RIIZE, ZEROBASEONE

Inspiring achievement: TVXQ!

Favorite Asian male group: INI

Favorite Asian female group: Kep1er

Favorite international artist: Yoshiki

Galaxy Neo Flip artist: TREASURE

bibigo CULTURE & STYLE: STREET WOMAN FIGHTER 2, SEVENTEEN

Favorite dance performance male group: TREASURE

Favorite dance performance female group: LE SSERAFIM

Favorite global performer male group: ATEEZ

Favorite global performer female group: (G)I-DLE

ONE N’ ONLY digitally released a new song called “Freaking Happy” on Nov. 14. This uplifting number about the spirit of heading into the future was featured as the theme song for TV Tokyo’s five-day event from Nov. 15 celebrating the broadcaster’s upcoming 60th anniversary in 2024.

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ONE N’ ONLY celebrated its fifth anniversary this year. In this new interview, members HAYATO, REI, TETTA, NAOYA, EIKU, and KENSHIN chatted with Billboard Japan about their latest release, being tapped to participate in TV Tokyo’s 60th anniversary celebrations, and also share anecdotes from their ongoing tour spanning all 47 prefectures in Japan entitled ONE N’ SWAG ~ Hook Up!!!!!! ~ that kicked off in October.

Your new song “Freaking Happy” is being featured as the theme of TV Tokyo’s 60th anniversary celebrations. Good job!

ALL: Thank you!

It’s a pretty major tie-in project for you. How did you all react when you first heard the news?

HAYATO: We were so psyched! We were told about it when we were together and it took us all by surprise. 

“Freaking Happy” is a really positive and energetic number.

REI: It’s a great song, isn’t it? It has a friendly feel and is upbeat, the kind of tune that’ll lift you up when you hear it in the morning. If you listen to it every day before you go out, I’m sure you’ll feel its effect. [Laughs]

KENSHIN: I really couldn’t believe it when this tie-in came through and was like, “Is this about us?” It didn’t feel real. It was good enough that we were invited to perform on such a major music program, so we’re thrilled that our song was chosen as the theme for the festival. The roster of the music show has been announced and every act is a big name, and since we’ve been asked to perform alongside them, we intend to do so with our heads held high.

NAOYA: It’s a surprise that a song of ours was chosen as the theme for TV Tokyo’s 60th anniversary festival and I’m really grateful. It’d be great if more people get to know us through this tie-in and our SWAG (ONE N’ ONLY fans) grows in numbers. Above all, we’re really grateful to be able to perform on a music program like this, and hope to do a good job so other EBiDAN groups can follow in our footsteps.

HAYATO: It’s a feel-good song and is unabashed about it. I hope it makes people smile when they hear it. I’m sure the event will be a lot of fun too, so it’d be nice if our song becomes a part of people’s good memories.

EIKU: It’s a pretty straightforward track and easy to chime in. A really fun song that’ll bring our SWAG and us together even closer.

KENSHIN: You’re right.

EIKU: It gives me this sense of coming together with those who have supported us and not just amongst ourselves. Not only will it make people feel positive, but it’ll also be a good opportunity for them to get to know what we’re all about.

Such a catchy number is actually pretty rare in the group’s catalog.

TETTA: Right. You know what, though, we haven’t settled on the choreography yet. But when the track played over the speakers during the mic test at our 47-prefecture tour the other day, it was just so cheerful and while I was singing it, I kept thinking how it’d be so much fun if our SWAG were here.

Since the tie-in was a last-minute deal, that must mean your schedule for learning choreography and shooting a music video and whatnot must also be tight.

NAOYA: Yes, the EP was set for release in December, so we’ve been working on the choreography and recording while also doing the 47-prefecture tour. We’ve been spending quality time.

What will the choreography be like?

HAYATO: We want to make the choreography catchy to match the song. We were thinking it’d be nice to have a dance part that everyone can imitate on TikTok. We want to give a performance that will leave an impression even after one viewing.

TETTA: I could come up with (the choreo), you know.

REI: Hey man, don’t bother. [Laughs]

HAYATO: His ideas never fly! [Laughs]

TETTA: I suggest ideas like, “How about moving our hands like so” every once in a while, but they’re never considered. Why?

HAYATO: You’re always a bit too direct. Like if the lyrics say “run,” you’d suggest a running motion, right? You translate stuff too literally.

TETTA: So that’s why! [Laughs]

HAYATO: You can do your own choreo when you go solo someday…

TETTA: Why? [Laughs]

HAYATO: But for this song, I asked a dancer who’s around our age, Rena (Hattori), to handle it. I have a feeling (the dance) will go viral!

It’s a big project. Was it your idea to ask Rena to do it, HAYATO?

HAYATO: Yes. She’s really busy so I was prepared to be turned down, but she kindly agreed to do it and I’m grateful for that. We had an online meeting and…

TETTA: Was she nice? Does she seem strict?

REI: Is that what you’re worried about? [Laughs]

TETTA: I mean, I’ll get in trouble if she’s too strict. [Laughs]

You’re a global star, you have it in you to handle a bit of strictness.

TETTA: Will do my best! [Laughs]

HAYATO: It’s a pretty major collaboration, so if it gets people talking about us, that’d be great. Rena is known for her catchy choreography, so I’m sure we’ll be able to show a good dance performance that’s not too easy and takes advantage of our strengths.

What will the music video be like?

NAOYA: The music video will be directed by Shintaro Sakai, who has produced videos for INI and NiziU. He shoots really lovely visuals using state-of-the-art technology and captures light and the design so beautifully in his works, so I can’t wait to begin shooting.

It looks like you guys are moving up to the next level in terms of the visuals and music and choreography. Since your new song has such a positive vibe, our next question is, who has the most positive outlook these days?

(Everyone besides TETTA looks at him.)

TETTA: What? We’re all positive!

REI: Well, you’re always pretty much the same. But you’re so noisy!

TETTA: That’s because when I’m feeling down or when I’m quiet, I automatically get sleepy.

HAYATO: Just by being quiet?

TETTA: Yeah. I get increasingly drowsy. So I have to keep myself hyped up!

KENSHIN: Is that positive? [Laughs]

NAOYA: It’s certainly energetic. [Laughs]

HAYATO: I appreciate that he’s always cheerful, in good times and bad.

EIKU: Whenever it sounds like something is going on, it’s usually TETTA messing around. [Laughs]

REI: It’s fun to watch when it’s amusing, but it depends on the situation. Sometimes he can’t read the room, you know what I mean?

TETTA: I read rooms just fine!

I guess it’s good for an energetic group to sing a positive number because it’ll amp up the energy.

HAYATO: You’re really good at putting things back on track.

Thank you. [Laughs] You’re currently in the midst of your domestic tour spanning all 47 prefectures. How’s it going so far?

TETTA: We’ve only done four shows, but it’s been a lot of fun. In the more rural areas, we’ve been performing in small “live houses” (night clubs) and the like. I’m always conscious of the cameras in large venues, but in smaller ones, I can look each person in the eye and sing. Of course I try to remember to do so in large places, but it’s a lot of fun performing while seeing how everyone’s doing. Also, the acoustics are different at each venue and so are our respective positions, so I feel like I’ve learned a lot about how to deal with such things.

EIKU: Most of all, it really reminds me of when we first started out. We used to perform in small venues when we first made our debut, so things like checking the lighting and doing our own makeup feel really familiar. I’ve been remembering stuff from our early days while performing. Also, the vibe in each venue is completely different.

KENSHIN: It really is different, isn’t it? That’s why I thought it was very meaningful to tour all 47 prefectures. We’ve toured Tokyo, Nagoya, Osaka, and other major cities before, but there were SWAG we couldn’t meet because it was hard to go. Now we can really visit them all and we’ve been so psyched about it. Like the other day, we went to the Hokuriku area (northeastern part of Japan’s main island) that we don’t get to visit often, and were happy to see so many local people there! We can communicate with our fans in the smaller clubs we’re performing at, and it feels like our ability to do live shows has genuinely improved.

You’re getting better at hyping up the audience.

KENSHIN: Yes. We also change the way we stir things up. Since we’re traveling to a lot of places, it wouldn’t be interesting if we did everything the same. The members are having a lot of fun, too.

NAOYA: Because we’re so close to SWAG, the concerts feel more spontaneous. The way the audience gets into the music is different, and the way the stages are set up is also different, so it’s really fun. The set list changes daily and we also have medleys, so I hope people enjoy themselves.

REI: There are things we can do only on small stages, and because we’re close to the audience, the view from where we are is also different. At this point, I just want to do my best to make it through the entire tour. Personally, I’m looking forward to going to Shikoku. I had some bonito tataki in Kochi once, and it was amazingly good.

KENSHIN: I want to try the udon (noodles) in Kagawa too.

NAOYA: Udon in Kagawa is really good.

KENSHIN: Can’t wait to try some! We had a sauce katsudon (pork cutlet served on top of a bowl of rice) and seafood in Hokuriku and they were awesome!

HAYATO: Yeah, that was great. We’re also enjoying the traveling bits, too. It almost feels like a school trip, so I want to keep having fun as we charge through this tour. The schedule is quite packed and there are periods we can’t return to Tokyo, so I’m hoping to enjoy that as well while we’re at it. I’m just really happy that we’re able to tour all 47 prefectures at this point in time. The group is celebrating its fifth anniversary and we’re tighter than ever, so we want to keep gathering speed from this point forward.

EIKU: We also went to Brazil (this year). Oh, and so far each of us has been staying in our own hotel rooms.

NAOYA: Yeah! 

HAYATO: But we all end up getting together to go a hot spring or something.

TETTA: We’re making an effort to visit tourist attractions together during this tour. Most recently, we went to a park with windmills in Kashiwa, Chiba.

Where will you go before the Toyosu PIT show (in Tokyo)?

KENSHIN: What? Lalaport Toyosu (shopping mall)?

HAYATO: No doubt about it. [Laughs]

EIKU: I can really feel us getting better during this tour, so I’m really looking forward to seeing where we stand when we finish it.

NAOYA: After touring all over Japan, we’re doing a show at Pacifico Yokohama, which I’m sure will be an amazing sight. It’ll be the biggest venue we’ve ever performed in, and just imagining the view from the stage gives me feels.

You’ll be moved to tears.

REI: KENSHIN will cry.

KENSHIN: What? Of course I’ll cry! I almost cried when the Pacifico Yokohama show was announced!

TETTA: KENSHIN always cries, so it makes me stay calm.

HAYATO: It doesn’t make you cry in sympathy?

TETTA: REI usually stands next to me and he’s level-headed, so that calms me down, too. [Laughs]

REI: KENSHIN cries good tears. I’m looking forward to it. [Laughs]

KENSHIN: OK. [Laughs]

—This interview by Kana Yoshida first appeared on Billboard Japan

On the night of Nov. 5, Awich established her solid position as Japan’s top artist of the new age. Appearing before an audience of 18,000 fans that packed K-Arena in Yokohama, Japan, a new venue that opened in late September, she put on a three-hour show that was a crystallization of her full potential. From the first note to the last, Awich gave off an aura of authority with a down-to-earth, personal feel, in a way that no other Japanese artist has. A rapper from Okinawa, Awich gave voice to our modern age, both as a mother and as an entertainer without precedent. She showed the delight and exhilaration hip-hop and rap music could bring to the masses. She elevated not only the hip-hop scene but Japanese culture as a whole. Her listeners and the members of the audience share an actively open and receptive approach to modern society and Awich’s music, and she guided these fans to a new stage of music. Awich understands that this is something she is uniquely positioned to do — her mission.

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The artists that are the chosen of their generation do not simply follow a path set out for them by the gods. She is proof of that. She’s struggled and experienced her share of hardship. At one point, she was even on the verge of putting down the mic and leaving the music world altogether, but thanks to the support of her daughter and other musicians, she kept on with her creative efforts. Buoyed by the tide of hip-hop and rap music, which has become a symbol of youth culture, her efforts ultimately brought her here, to the K-Arena. That’s why she has taken on the showbiz world while preserving her raw, unvarnished sensibilities as a rapper. She brought together a “union” of hometown friends, rappers and dancers from different hoods that she met through hip-hop, minyo folk singers, classical Japanese dancers, and her own daughter, who joined her on-stage, bringing together their collective power to put on the night’s spectacle.

Last March, while Japan was still struggling with the pandemic, Awich put on a solo show at the Nippon Budokan that is recognized by all as simply legendary. Since then, she hasn’t slowed down a bit. On October 25 of this year she completed her new album, THE UNION, and now she put on this show at the K-Arena, driving a paradigm shift.

As the lights fell at the start of the show, the packed audience brimmed with expectation and the air rang with cheers. The opening number was “THE UNION,” the title song of her new album, which elevated traditional Okinawan music to a new level. On the massive LED screen, a black-and-white video played, a flashback encapsulation of Awich’s life and the path she had forged as an artist. The eyes and ears of all 18,000 people in the audience were locked on the stage as Awich descended. When she began rapping, a huge sun began rising on-screen. The opening number, along with several other songs in the show, had been specially arranged for live performance, and the beat was truly dynamic. The stage presentation, including the video, likely produced by Kento Yamada, created a whole new world.

From the very start of the show, Awich performed alongside numerous guest rappers and dancers — you really need to see the set list to get the full impression. On the sixth song, Awich was joined by NENE, LANA, MaRI, and YURIYAN RETRIEVER (with AI joining with a video comment) in performing “Bad Bitch Bigaku Remix,” the most powerful Japanese sisterhood anthem of 2023. This was followed by many other unforgettable songs.

Awich’s daughter, Yomi Jah (Toyomi), was an irreplaceable addition, performing sometimes as a dancer and sometimes as a rapper on “Call On Me” and “TSUBASA.” In the first block of the show, Awich and her friends from her hood presented a true-to-life expression of the beauty and potential inherent in the culture of Okinawa, where Awich was born and raised. The block ended with Awich and Toyomi sitting in front of the DJ booth, looking at each other and holding hands as Awich quietly sang “Wait For Me,” a song from a mother to a daughter. It was a truly moving performance.

Then Awich performed “Burn Down,” whose lyrics express the light and dark sides of the internet, together with GADORO, who has a major presence on Awich’s new album, THE UNION. Also from THE UNION was “Twinkle Stars,” in which Awich joined BIM in shining a bright light into the lonely night with their melodious singing over the beat laid down by STUTS. YURIYAN RETRIEVER and Nadaru (from Korokoro Chikichiki Peppers) then took the stage, putting on a live performance of their viral YouTube cover of Awich’s “THE FIRST TAKE” video, in which YURIYAN RETRIEVER played Awich and Nadaru played KEIJU. This was immediately followed by Awich and KEIJU themselves coming on-stage and kicking off a tremendous performance of “Remember.”

The set continued. “Link Up feat. KEIJU, ellow Bucks,” “Brainwashing feat. DOGMA & CHINZA DOPENESS,” “Yacchi Maina (Get Em) feat. ANARCHY,” “WHORU? feat. ANARCHY,” and “SUPER GIRA GIRA feat. JP THE WAVY, YZERR.” The guests, drawn in by the magnetism of Awich, put on an overwhelming show that aggressively demonstrated the power of the hip-hop scene. Awich told YZERR of her hopes for the success of BAD HOP’s February 2024 show, which will be their last show before the group dissolves and Japan’s first Tokyo Dome solo show by a hip-hop artist. She also thanked YZERR for encouraging her on the day of this K-Arena show by telling her “You can do it!” She talked about her unswerving desire for everyone to come together in union to raise the level of the hip-hop scene and grow together.

Then an announcement video began playing. It announced that, starting in 2024, Awich would be setting out to make her true overseas debut. The video hinted there there was a lot of information that couldn’t yet be revealed, but the screen showed a figure resembling RZA from the Wutang Clan, mentioned in the lyrics of “THE UNION,” and expectations rose even further.

“All of you, go get passports! I’ll show you something you’ve never seen before. But that doesn’t spell an end to my musical activities here in Japan!”

This was immediately followed by the announcement of a Japanese tour with The Union starting in April 2024 and a birthday show on Awich’s birthday in December. In other words, starting now and then all through 2024 and beyond, Awich is going to be on a whirlwind schedule through Japan and around the world.

For her last two songs, Awich chose “Queendom” and “Love Me Up.” After putting on a superb performance during “Queendom” that represented all of the qualities of the show, she boarded a trapeze that lifted her high into the air while she sang “Love Me Up.” She looked down with love at the audience that packed the arena as she closed with the ultimate gentle, romantic rap and singing performance. Once she left the stage, a hand-written message from Awich appeared on the screen:

To everyone,

I’m about to set out into the world, forging a path for everyone to take!!

Thinking about it, sometimes I get scared. Sometimes I get anxious. But that’s why I have to do it.

If you’re a true Awich fan, then you’re also a fan of yourself!

So no matter how big the stage I perform on becomes, never get the wrong idea that I’ve left you and gone off far away. Never be lonely. Let’s grow together!!!

Believe in yourself and grow, just like I’ll keep trying to do, for the rest of my life♡

November 5, 2023

See you soon

PEACE

Awich

Awich set great things in motion that night. Her story will continue as she achieves that which has never been achieved before, together with all of her fans.

Full setlist:

1. “OKINAWAN OPENING SHOW” with Ryukyu Buyoudan

2. “THE UNION” with Ryukyu Buyoudan

3. “Guerrilla” 

4. “ALI BABA” with MFS 

5. “IKEMENTAL” with NENE 

6. “Bad Bitch Bigaku Remix” with NENE, LANA, MaRI, YURIYAN RETRIEVER 

7. “Kuchini Dashite (Say it all)”

8. “Kuchini Dashite 2 (Say it all 2)”

9. “Shut Down” with CYBER RUI 

10. “Call On Me” with Yomi Jah 

~ DJ U-LEE TIME ~ 

11. “Ryukyuaika Remix” 

12. “NINGEN State Of Mind II REMIX” with RITTO 

13. “RASEN in OKINAWA” with Tsubaki, OZworld, CHICO CARLITO 

14. “LONGINESS REMIX” with SugLawd Familiar, CHICO CARLITO 

15. “TSUBASA” with Yomi Jah 

16. “Wait For Me” with Patrick Bartley (Sax) 

17. “Revenge” 

18. “Burn Down” with GADORO 

19. “Twinkle Stars” with STUTS, BIM 

20. “Kakurembo”

21. “Remember -THE FIRST TAKE ver.- ” by Nadal, YURIYAN RETRIEVER 

22. “Remember” with KEIJU 

23. “Link Up” with KEIJU, ellow Bucks 

24. “SENNO” with DOGMA, CHINZA DOPENESS 

25. “Yacchi Maina (Get Em)” with ANARCHY 

26. “WHORU?” with ANARCHY 

27. “SUPER GILA GILA” with JP THE WAVY, YZERR 

28. Queendom 

29. Love Me Up 

—This article by Shoichi Miyake first appeared on Billboard Japan

Vaundy has recently released his second album, replica. His first album in three years, replica‘s 35 songs span two discs (15 songs on Disc 1 and 20 songs on Disc 2). Disc 1, which includes “replica versions” of “Backlight” and “Kaiju no Hanauta,” is a crystallization of Vaundy’s current sound. Disc 2, on the other hand, contains all of the singles Vaundy has released over the past three years, leading up to this album release, presented in the order in which they were released.

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Vaundy graduated from university this spring, and Billboard Japan talked to him about the album, which he calls his “graduation project.”

It’s been roughly three years since your first full album, strobo. Was there some specific reason for this timing?

Actually, it’s part of my graduation project. I started working on the album around June of last year, but I also had a tour and a few collaborations at the end of the year, so I just didn’t make much progress on my songwriting. That’s why it’s taken me over a year to release the album.

Replica ended up being a huge double album with 35 songs.

Originally, I wasn’t planning on creating a Disc 2. I was going to include my existing songs as “replica versions” on Disc 1. But, it just wasn’t possible. Disc 1 is the real album. Disc 2 is a collection of singles, which is included as kind of a bonus. Disc 2 is in the order of my releases, so I think if you listen to the two albums, you’ll hear how much I’ve grown since strobo.

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Is there a unifying concept behind Disc 1? Or is it like strobo, a playlist that gives a snapshot of Vaundy in the here and now?

Both. I knew it would be a playlist-like album. I spent so long on the mastering I thought my ears were going to give out (laughs). But Disc 1 includes the sound effect tracks “Audio 007,” “Audio 006,” and “Audio 008,” so I think it also expresses a unified aesthetic. The songs are all different, but the listener will feel like they’re all somehow part of the same world. I think the album’s more consistent than strobo.

Could you explain what you mean by consistent?

I think it’s expressed by the title, replica. The works that people think of as being originals are, essentially, the products of generations of replication, right? Just like the Earth is a giant sphere, covered by different strata, with music, as well, you have the same layers of history. Layers like music theory, or knowing that a song sounds good sung in a certain way, or knowing that some melody will sound beautiful paired with a certain chord. Together, these build up into a huge ball, forming the music. I don’t know exactly how big it is, but it’s big enough that if you took a drill and started digging down into it, you’d find various layers — various replicas — as you dug. When creating replica, I felt like I was standing on the surface of that giant ball, and that’s what the titular track is about.

So the reason that there’s so much variety in the album is that you’re standing there on this planet of music, digging down in different directions, through different musical strata.

I mean, that’s what the word “digging” originally meant, right? I love David Bowie, so first I dig down to David Bowie. In doing so, I pass by other people who love David Bowie. And then I dig beyond David Bowie, and I see the artists that David Bowie was looking at. On this album, each song is like that. In that sense, I’d agree that the album has songs that come from all kinds of different directions. To be honest, now, with the album all finished, I can’t remember where I was digging. When I’m digging through references, I listen to all kinds of music, so the tunnels I dig might be filled with twists and turns.

And in addition to that, you have your own originality.

I hope that comes across. The basic approach is to copy something, to sketch something out. People will tell me that songs I write sound like this song or that song, but I don’t know the songs they’re talking about at all. And then I’ve gone and listened to the songs and thought “man, that does sound similar.” But, at the same time, that means that my musical choices weren’t wrong. All I did was put what I thought was the best-fitting melody line over a chord progression.

The lyrics of “NEO JAPAN” are critical of society. Do you see connecting to society through your music to be an important part of your activities as an artist?

Yes, very important. I think of replica as being pop. The aesthetics of pop aren’t simply about conveying simple messages, but about conveying complex messages in easy-to-understand ways. And, what’s more, in a way that sticks with you. For example, consider gummy candies. I’m sure at the start, nobody understood them. But then they made them into animal shapes and other everyday shapes, so people wanted to try them out. I think that’s why Haribo’s been in business for over a century. When you have these replica-like elements, which have been steadily stacking up over time, that’s pop. I think my new album really embodies this idea. It’s a fresh, new batch of replicas.

So it’s the newest form of pop music, part of an unbroken chain through the years.

That’s why reflecting modern times is so important. Pop consists of following the pattern of these replicas that have stacked up over time, but it’s always being updated. What I want to do is create the newest type of pop music. However, my timing is often off. A good number of my singles are songs I wrote one or two years ago. For example, “Carnival” feels kind of old to me.

“Backlight” is a cover of music you wrote yourself for another artist, and the arrangement is really tight. The guitars are credited to TK from Ling tosite sigure. What kind of interaction was there between you and TK?

I met him once and shared my vision for the song, and I used what he came up with, just as it was. I only reach out to people that I trust 100%. I knew that he was the one of the people who established what I call “grotesque pop” — music like “unravel” from Tokyo Ghoul. For me, he’s really a standout artist.

Disc 2 ends with “Todome no ichigeki feat. Cory Wong.” This is the ending song to season 2 of the TV anime SPY x FAMILY. What aspects of SPY x FAMILY were you trying to express through the song?

It’s about Yor’s struggles. Season 2 is when the story starts to look at what she’s going through — what kind of assassin she wants to be, whether or not she should focus on being a mother. I thought season 2 was the most serious, really focusing on what family is about. That’s why I thought it would be best not to write a song that’s overly happy. I tried to reflect that wistfulness, and it ended up having a city pop feel.

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What led you to having Cory Wong make a guest appearance on the song?

I just wanted to meet him and work with him. I knew he’d understand the atmosphere of the song better than anyone and his guitar part would be perfect. He’s got a real revival feel, and he understands what makes Japanese pop appealing, plus he’s very technical. I could have played the guitar part myself, but I just knew, intuitively, that Cory would make the song even better. And it turned out really wonderful. He’s amazing.

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Now that the album is finished, what direction are you going to be taking in the future? Is there any music that you find yourself interested in or drawn to now?

Next, I want to create warmer music with a more human touch. Conceptually, I’m thinking like Haruomi Hosono, but the kinds of songs he writes are hard to create even if you try. Following replica, I’d like to focus on themes like “warmth.”

What led you to want to make that kind of theme the theme of your music?

I think warmth and pain are the heart of pop. You can’t just make music haphazardly. These feelings just come out in the music. They connect directly to the lyrics and the chord progressions. I want to create songs that help cultivate an appreciation of beauty, both for myself as a musician and for the people who listen to my music. When I’m old and gray, the kids who complain about it can just be better than me. I think the keys are always in the hands of the children.

So it’s like making music as the foundation for future generations?

Right. An old man’s job is to build the foundations. That’s why I’m saying we’re replicas. A few years from now, listening back on this album, people may think it’s garbage. But as long as we’ve evolved in the meantime, that’s fine. I think that, at the very least, I’ve created an album that is a sign of better things to come. I did all that I could. I hope the people who listen to my music enjoy the fact that I’m alive. I hope they enjoy Vaundy, this main character that lives inside me and that I control.

Billboard Japan caught up with the members of J-pop rock band Ryokuoushoku Shakai for its Monthly Feature interview series highlighting artists and works of note. Formed in 2012, the four-member group with a goal to “become a household name” has gained massive support from a wide range of listeners for its solid pop sound and the variety of their songs made possible by having all the members involved in songwriting.

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Ryokushaka, as the band is called by fans, recently dropped a new track being featured as the opener for the anime series The Apothecary Diaries called “Hana ni Natte,” which the members say is the “most difficult” song to play in their catalog. The four members — Haruko Nagaya (vocals & guitar), peppe (keyboards), Issei Kobayashi (guitar) and Shingo Anami (bass) — spoke about their latest release that enhances the graceful and glamorous world tinged with precarious malice and intrigue depicted in the anime, while also looking back on the band’s journey this past year and shared their future plans.

The anime series The Apothecary Diaries is a story about Maomao, a young woman assigned as food tester in the inner palace who solves difficult cases that occur in the royal court. How did everyone react to being tapped to write the opener for this work?

Haruko Nagaya: I’d already been reading the manga adaptation of the original novel and loved it. So I was surprised when we were asked to do it and was immediately like, “I want to do it!” I first discovered the manga when it appeared at the top of a comic app. It caught my attention because I could sense the historical background of the story just by looking at the cover. When I previewed it, I thought Maomao’s multifaceted character was really charming, too. At first, I expected it to have a rom-com element to it from the style of the artwork, but it isn’t like that at all. The thrilling storyline drew me in and I found myself captivated by it.

Were there any requests from the producers of the anime regarding the music?

Nagaya: Since the work deals with poison and because Maomao is an unprecedented kind of protagonist, something like addictiveness was a theme.

You wrote the music, Shingo. What inspired your composition?

Shingo Anami: I kind of felt that a melancholy melody would suit the song. When I was trying to come up with something while playing the guitar, the piano phrase at the end came to mind, and I expanded it from there. When I read the manga, I got a kind of “continental (China)” feel from the vast landscape, so the clapping in the intro was inspired by that. Also, I think Maomao’s stance towards medicine and the way she gets carried away pursuing what she loves is linked to the drive of this song.

Haruko wrote the lyrics. Could you share some of the process with us?

Nagaya: When I heard the music, I felt that it was solidly addictive and had a well-honed vibe. The melody is different from anything we’ve ever done before and also has a playful feel to it. Those aspects linked to the protagonist Maomao in my view. We’d also been given the keyword “self-love” as a theme for the lyrics, so I considered how to connect it to the characters. I think we imagine main characters (of manga and anime) to be cheerful or brave and such, but Maomao is the complete opposite. I find her facial expressions interesting as well. Even when she smiles, it’s in an eerie way but it’s charming. So I wrote the lyrics around the theme of self-love and wanting people to love you as you are.

And the arrangement is by Shingo and producer Keita Kawaguchi.

Anami: I had this heavy rock sound in mind when I first arranged it, and Mr. Kawaguchi improved upon it. He added some fast guitar riffs, for example. The most distinctive parts were the traditional Chinese instruments, like the erhu and gongs, that appear mainly in the “B-melo” section. I hadn’t considered such instruments at all, so they changed the impression of the song a lot.

peppe: The piano is pretty much the same structure as in the demo. The original version was so good that I didn’t think it was necessary to add my own color to it this time. But it was hard to practice. Like, the phrases were the kind that people who constantly play the piano wouldn’t come up with. It was experimental and fun, though.

What about the guitar?

Kobayashi: When I first heard the demo, I was like, “Don’t blame me if I can’t play this live.” [Laughs] But Mr. Kawaguchi is also a guitarist and he can probably play it with ease. In any case, I had to be able to play it before the recording, so I practiced sweep picking for the first time in my life.

How was the vocal recording?

Nagaya: When I write songs, I sing the lyrics as I go along, and don’t think I would have come up with that catchy fall in the chorus where I sing, “Hana ni natte.” Also, I wanted to sing powerfully, but not be too loud. For example, the A-melo part has interjections alongside a melody with distinctive tempo, but the B-melo is slow and silky, then the chorus brings up the pace again. Each block of the song has a completely different expression, so I tried to be aware of the difference in nuance when I sang it. The song was like sports day at school.

You’ve been making great strides in recent years, like headlining a show at the prestigious Nippon Budokan last September and performing on the historic year-end music program on the national broadcaster NHK, Kohaku Uta Gassen, for the first time. Could you tell us how you feel about where you currently are in your career?

Nagaya: We’d always been aspiring to perform in those places, so it feels like we’ve achieved our dreams. But I don’t think the way people see us has changed a whole lot because of that. In a way, the fact that we reached our ten-year milestone and fulfilled our dreams of performing at the Budokan and on Kohaku kind of lifted a weight off our shoulders. That’s why we were able to take on ambitious works like pink blue and “Hana ni Natte.”

In September you dropped “Summertime Cinderella,” the theme of the drama series Manatsu no Cinderella, broadcast on Fuji Television’s popular “getsu-ku” (Monday nights at nine) slot. The track has been charting on the Billboard Japan Hot 100 since its release. This single is what you could categorize as mainstream J-pop.

Anami: When we were making pink blue, we discussed whether or not to make the title track the lead single. We’d just been tapped to do the drama series and knew we’d definitely do something classic for that collaboration, so we figured it’d be okay to have fun with the album. That’s how we planned our project, trying to find a balance.

The fact that “Summertime Cinderella,” a song you wrote with the intention of doing something classic, is being widely heard must have given you all confidence since you’ve always said the band’s goal was to become a household name.

Nagaya: When we were asked to do it, I felt a lot of pressure. The song would be featured on the popular “getsu-ku” series being aired over summer vacation, meaning a lot of people would watch it. Furthermore, I’d never written a mainstream love song like that before. Plus, we were working on the pink blue album. So I was really worried about so many things when writing that song and wasn’t in a mindset of being confident about it or anything like that. I kept wondering if what I was doing was right. Now that it’s out there and many people have listened to it, I do have a sense of accomplishment, but it also kind of struck home how there still are acts that sell more records than us.

Kobayashi: Nagaya and I co-wrote the lyrics for “Summertime Cinderella,” but this time we discussed the content with the producers of the drama series while writing it, so it doesn’t feel like we delivered 100 percent of ourselves. To me it feels a lot like the song itself took us along its journey.

Nagaya: But tie-ins tend to be like that, you know? They’re hard in some ways because you’re making them together (with the clients). For the pink blue album we were allowed to do whatever we wanted. I was worried about whether people would accept it, but surprisingly, we had people tell us they liked that kind of music, too. So pursuing what we want to do is something we can try more, but it’s also not enough. After making “Summertime Cinderella,” it felt like music with that kind of catchy style and easy-to-understand lyrics is something people want, and I think it actually also suits our band’s style. It’d be best if we could strike a balance between the two.

peppe: That could be the way to keep the band going for a long time, to keep making music while enjoying what we do.

Nagaya: I mean, we originally formed the band to write songs we wanted to play. But we also love mainstream J-pop, so we want to keep exploring that kind of music as well. I don’t think we’ve fully given everything we’ve got. There has to be a kind of J-pop that suits us. I hope we can establish that as well. Ryokuoushoku Shakai’s J-pop.