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Janet Jackson returned to Japan for the first time in five years for her 2024 Together Again Tour, making stops in Nagoya, Osaka and Yokohama. At her K Arena Yokohama show on March 20, the icon treated the packed crowd to a nonstop 90-minute spectacle of her career-spanning, hits-filled set.
The concerts also featured TLC as the special guest only in Japan, and tickets were sold out in all three cities.
K-Arena Yokohama, the venue for the final night of Jackson’s Japan trek, is one of the world’s largest music-specific arenas, which opened on Sept. 29. Since it’s still a brand-new venue, many appeared to be visiting for the first time and people were snapping pictures on their phones while looking around even before the show began. In addition to the state-of-the-art sound system, all seats are positioned like a fan facing the front of the stage to allow fans to fully experience their favorite artist’s performance. The seats are also comfortable, ideal for those who want to relax and enjoy the concert, but when the lights went down for this particular show, the audience shot up from their seats in unison to greet TLC with loud cheers.
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As the DJ hyped up the crowd with a “T-L-C!” call and response, T-Boz and Chilli appeared onstage accompanied by four dancers and opened the set with their debut single “Ain’t 2 Proud 2 Beg.” With Chilli’s vocals overlapping with T-Boz’s deep voice during the chorus, the two also performed with the late Left Eye during the rap part, bringing the voice of the third member who died in a tragic accident in 2002 along for the ride. Chilli thanked fans in between songs for celebrating the 30th anniversary of the release of the group’s hit album CrazySexyCool, and after a DJ break, the two members returned to perform a few more hits including one of their biggest, “No Scrubs,” to huge cheers from the crowd. Led by a gorgeous horn arrangement, the pair closed their set with “Waterfalls,” as Chili and the dancers danced beautifully to the Left Eye’s rap. The audience cheered loudly, clapping along with the beat, and enthusiastically responded in unison to the “T-L-C!” call and response at the end of the set to express their appreciation.
The venue went dark after a brief set change and the words “50 YEARS OF ME” flashed on the huge screens set up in the center, left, and right sides of the stage. As a montage of flashback photos featuring Janet since childhood flickered by, the central screen rose to reveal the superstar standing immobile on the circular stage wrapped in a purple hooded cloak. Kicking off her set with “Damita Jo,” she sang completely still, then briefly receded to removed the cloak and returned in a sparkly gold bodysuit with a large purple ribbon around her waist. Singing to a simple beat with a heavy bass sound, she performed “Feedback” with her four dancers, the audience gleefully screaming every time they struck a pose. The band consisted of a drummer and bassist on the right side of the stage, keyboardist, guitarist, and DJ on the left. The seamless sound system had no time lag even for fans in the stands, immersing the audience in the concert experience.
The crowd went wild when Janet performed “That’s the Way Love Goes” from her eponymous hit album from 1993. Families with children could be seen here and there in the audience, and it was clear that the concert was a space where the pop icon’s timeless music was being passed down from the generation who lived through the same era as the hitmaker to the next generation of fans.
The concert was divided into four acts, and Janet took the stage in the second decked in a broad-brimmed black hat and long, ruffled black skirt. The second section consisted mostly of songs from her 1986 album Control, including “What Have You Done for Me Lately,” “Nasty,” and “The Pleasure Principle,” and the songstress captivated the audience with vocals and dynamic choreography set to the big beat and scratches by the DJ. She removed her hat and skirt and performed the majority of this act in wide pants along with four dancers dressed in white.
“Now I’m going to take you back,” she said with a grin. “Way back. Bass!” With her cue, the familiar, catchy bass line of “When I Think of You,” began, and she continued, “Back to 1986. This was my first No. 1 song. I was just a baby. But I still look good!” Towards the end of the act, she slowed things down to perform some of her most famous ballads seated on the stage, including “Come Back to Me,” “Let’s Wait Awhile,” and “Again.” Janet encouraged the Yokohama audience to sing along with her on “Again” with her mic raised towards the crowd, and seemed genuinely moved by the rousing sing-along by her fans in Japan.
Returning in a bright orange outfit, the Grammy winner began her third act with “All for You.” She went on to perform tracks including “Girlfriend/Boyfriend,” her collab with Blackstreet, and “Do It 2 Me,” singing and dancing aggressively with her dancers almost non-stop. By this point, it’s been about an hour into the show, and her performance has been phenomenal.
The fourth and final act featured songs from Rhythm Nation 1814, with Janet performing tracks such as “Miss You Much,” “Love Will Never Do (Without You),” and “Alright” rocking a casual T-shirt and jeans get-up as if she were out on the street. The hits from 1989 blending delicate melodies with edgy sounds have stood the test of time, dynamically shaking the hearts and bodies of those witnessing them live.
Then suddenly, the venue went dark and white noise filled the screens. Cued by an all-too-familiar scream, the band began rocking out as the late Michael Jackson’s voice and image appeared majestically on the screens for the brother-sister duet “Scream.” Deafening shouts erupt from the audience as Michael continues to sing his part in the Sci-Fi-inspired, black-and-white music video, later joined by his sister’s live vocals onstage. Janet faced the guitarist towards the end of the song in what looked like a tribute to her late older brother. The voltage in K Arena peaked as the band segued into “Rhythm Nation” and Janet performed the iconic choreography with her dancers surrounded by intensely flashing lighting and beats, ending the main set with an impressive shout.
The icon promptly answered the call for an encore and sang “Together Again,” the title of her tour, as the final song of the concert. Singing along with the audience while casually moving from one end of the stage to the other, she jumped up and down and encouraged everyone to do the same, bringing the audience together as one for a joyful ending to the show. “Yokohama! This is the very last show of this leg of our tour. I hope you enjoyed it,” Janet addressed her fans. “May God bless each and every one of you on your journey through the world. I love you so much, please be safe! Good night! I love you!” A breathtaking 90 minutes of almost non-stop dancing and singing, the concert left one with a sense of awe and respect for the undiminished passion for live performance by an artist who has created some of the leading music of our time.
—This article by Takayuki Okamoto first appeared on Billboard Japan
President and CEO of Shure, Christine Schyvinck spoke with Billboard Japan for its Women in Music interview series featuring female players in the entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.Beginning her career as a quality control engineer in 1989 at Shure, a leading global audio technology company with nearly 100 years of history, Schyvinck gained diverse experience and insight within the company which helps her move the organization forward to this day. In an email interview with Billboard Japan, Schyvinck shared her mission of getting more women involved in STEM to help them become the next generation of leaders and the importance of having a shared mindset within the industry when tackling gender inequality.Growing up, were there any women you looked up to? How have those ideals changed over the course of your career and life?In my much younger years, I paid attention to women in leadership roles and was quite curious about them. Female athletes, astronauts, and political leaders proved to me that women can go places and they inspired me. It was fortunate that I started my career at Shure, which had a supportive system and did not discriminate between men and women. This is a company that was led by Mrs. Shure herself from 1995 to 2016 – I got to work along-side her and understand her values and beliefs. That experience shaped how I work today, and now it’s my job to make sure women can find paths to success.We can’t leave everything to luck – help is needed along the way. Women play an important role in the future of technology and one of my missions is working with organizations to try to get more women involved in STEM so they can understand that this is a viable career path for them that could result in the next generation of leaders.You joined SHURE as an engineer and have had a successful tenure at the company for over 30 years. How has your experience in different departments and business units affected your career and life?This is now my 34th year with Shure. You will not find many global CEOs who have been with their companies that long. I firmly believe it is important to experience new things in an organization. I started at Shure as a quality control engineer and was quickly exposed to learning about the types of issues sound professionals encounter daily. My job was to help ensure that our equipment was reliable and always ready for the show. Shure’s brand reputation was built on quality products and this company remains committed to delivering the best performing products.I eventually moved from Vice President of Quality to Vice President of Operations, where I managed procurement, supply chain, and manufacturing, as well as quality. This was another essential experience because I was able to work with passionate people all around the world, dedicated to making great products that solved problems for our customers. In 2006, I moved into a role leading global marketing and sales, where I managed three business units in the Americas, Europe/Middle East/Africa, and the Asia/Pacific regions. All this experience has helped me learn more about overall company operations, the global business structure, and what we need to do to meet the evolving needs of customers.Having diverse experience within different parts of our company has given me an appreciation that not all CEOs are fortunate enough to have: I thoroughly understand the type of work that happens at various levels of the organization, and I know what our customers expect from us.You earned a master’s degree in management engineering while balancing work with your career. Are there things you are working on or mindful of in order to achieve your current goals?For me, being a strong business leader means listening. I work with so many talented people that help keep me informed of current business conditions and upcoming trends. I’ve found that having trust in your leadership and listening to customers is the best way forward. We are a customer-focused company and we’re not afraid to work shoulder to shoulder with people as they are working through problems. We like being out in the field and solving issues with certain venues or with certain performances. We’re problem-solvers and we share the end goal of having people in an audience be wowed during a performance. The only way this happens is attention to detail, attention to quality products, and attention in listening to what our customers need.It’s also been helpful for me to have been where many of our Associates have been as I’ve worked my way through this organization. There’s no one blueprint for success, but for me, the combination of listening and hands-on experience has really helped me move the organization forward.On the other hand, when faced with difficulties at work, how have you resolved them?The key to overcoming difficulties in business is to surround yourself with smart, capable people who can collaborate to find the right solutions. Many minds can come at a problem from different angles and help find solutions that perhaps weren’t obvious in the way you were thinking.Christine, you have been the CEO of SHURE since 2016, which is a rare feat in the audio and technology industry. Why do you think there are so few women executives in these fields?Shure has been very involved with our trade group AVIXA and others in promoting women in the industry, but there is more work to do too. Women play an important role in the future of technology and it’s really never too early to start thinking about that career path. In fact, I think you have to reach girls when they are in junior high or middle school. They need to start thinking about classes in high school and organizations to join. There are now so many schools and community organizations providing opportunities for all young kids to get involved with STEM (Science, Technology, Engineering, Math), but if that awareness doesn’t hit them early, they won’t sign up or they might be intimidated. As an industry, we should always be looking at ways we can be more involved in getting kids interested in our fields. Then, once they are in the industry, they need to have equal opportunities to progress in their careers and elevate into leadership roles.In terms of gender equality, what is Shure’s current stance, as well as the approaches it has taken in order to achieve it?When Mr. Shure founded the company in 1925, even in those different times, he was very attuned to diversity, equity and inclusion. This has been part of Shure’s DNA from the beginning. McKinsey did a study a few years back called “Diversity Matters.” The facts are there – companies that have more diversity on their teams perform better financially.We have been more aggressive with our Diversity, Equity, Inclusion, and Access (IDEA) efforts recently, involving our Associates in helping shape our communications efforts as we recruit, retain and celebrate a diverse workforce. Gender balance is a big part of that. Mrs. Shure led by example.Diversity in backgrounds, whether it is from the tech sector, musicians, audio engineers, etc., is also important. We embrace this diversity because it helps us better understand our diverse set of customers, which range from major television networks and movie studios, to educational institutions, to musicians and concert venues, to global businesses to individuals who use headphones and earphones. We now have Associates working in more than 30 countries around the world. This gives us a much better handle on local market needs and how to grow in those regions.In Europe and the U.S., women have more access to career development support through various programs and mentorships. Can you tell us about Shure’s women-focused initiative “WE VIBE”?At Shure, we have been making a commitment to our own internal actions around IDEA efforts. Over the past two years, we have held Inclusion Panels, which are panels with our own employees, discussing their backgrounds, their challenges, and how we can all create a better workplace. These are streamed live and via recording for our Associates to watch and ask questions.Our Associate-led resource groups or “VIBES” are each focused on Women, LGBTQIA+ and Culture/Racial Equity – and they have helped guide us in thinking about policies, activities and other support functions they would like to see from Shure. The WE VIBE provides additional resources and support for everyone within the organization who wants to contribute to a more diverse workplace and community. Within the industry, we are holding Women in Technology panels with pros from all over the world in the areas of theater, film and more.Shure is also supporting a number of organizations focusing on increased inclusion and support that reach younger students to help them encourage careers in the audio industry – specifically in areas of STEM.What do you hope to accomplish through this initiative?We have many goals with those initiatives, but our two main goals are: adding more women and diversity to this industry and celebrating and championing those who are already here.Billboard US, launched Women In Music in 2007, an annual event to honor women artists and executives who actively made a difference that year. What are some key factors when raising awareness about gender inequality issues across the industry, including Shure’s initiatives?This past year has been an empowering year for women in music. The top highest grossing concert tours in the U.S. were from Taylor Swift and Beyonce. There are so many up-and-coming female artists as well – not just in the U.S., but all over the world. We have been supporting programs globally that help women who are just getting started in music to teach them and provide them with opportunities to be successful.It is also important to note the increasing growth in the women behind the scenes in music. And we are doing what we can with our efforts to help close those gender gaps.Finally, what advice would you give yourself during the first year of your career? I think many young women who are looking to enter the music industry will be encouraged by your words.Find who your friends are and don’t be afraid to ask them for help. Oftentimes, women think they have to figure it out on their own, lest they be thought of as “weaker” or “incapable.” Asking questions and finding a network of people who can help you actually builds strength and teaches you how to become a good mentor someday. Simply put, don’t try to do it all yourself.
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Creepy Nuts’ “Bling-Bang-Bang-Born” continues to rule the Billboard Japan Hot 100 on the chart dated March 27, logging its ninth consecutive week atop the tally. The MASHLE Season 2 opener is now the record-holder for second most consecutive weeks at No. 1 on the multi-metric Japan song chart, passing Official HIGE DANdism’s “Subtitle” and steadily […]
Since Russia invaded Ukraine on Feb. 24, 2022, most of the country’s musical acts have taken sides, either supporting or condemning the war – but not Picnic.
The aging Russian rock band notably refrained from making any statements about the invasion of Ukraine. Many of their fellow musicians faced touring bans or exile for voicing their opposition, while others performed on the frontlines in solidarity with the Kremlin or in occupied Ukrainian territories.
Now, 46 years after its formation, Picnic has grabbed more global attention than ever for tragic reasons: Its planned concert at the Crocus City Hall in Moscow became the site of a mass shooting last Friday (March 22), with at least 137 lives lost in the terrorist attack. ISIS-K, an offshoot of the terrorist group ISIS, claimed responsibility for the March 22 attack.
Since then, some Russian media outlets have claimed that the band supported Russia’s military operation in Ukraine, suggesting this was one of the reasons that terrorist gunmen targeted the show.
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The band did not comment on these reports. In fact, the band’s current frontman, Edmund Shklyarsky, who joined in 1981 as a guitarist and soon became Picnic’s main songwriter, has remained steadfastly apolitical since the terrorist attack. In his only public comments in the wake of the tragedy, he released a video address expressing “condolences to everyone who, involuntarily and naturally, found themselves involved in this terrible tragedy, utterly senseless. It is clear that there are no words that can resurrect or console people. But, of course, we offer our condolences to all relatives.”
Picnic will brave the stage again on Wednesday (March 27) at St. Petersburg’s Oktyabrsky concert hall. The concert will be dedicated to the victims of the Crocus City Hall attack, with the band announcing on social media that proceeds will be donated to the families of those who lost their lives or were injured in the attack.
The band’s manager, Yuri Chernyshevsky, wouldn’t comment on Picnic’s views on the war with Ukraine, and told Billboard that “you would need to ask the terrorists why they targeted Picnic’s show or why they targeted Crocus City Hall. I hope law enforcement will determine that.”
In the early 1980s, Picnic became part of the Leningrad Rock Club, an organization, allegedly controlled by the KGB, that facilitated underground and semi-underground rock bands to perform at a time when rock music in the Soviet Union faced scrutiny, if not outright bans. Later, Picnic’s songs drew criticism from Communist authorities for lyrics referencing illegal drug use.
In the latter half of the 1980s, Picnic, like other bands, benefited from the perestroika and glasnost reforms in the Soviet Union, which allowed formerly underground rock bands to officially tour and record. However, unlike some prominent bands of the period, Picnic largely avoided social and political issues, focusing more on esoteric and mystical themes in their lyrics.
Currently, the band includes the 68-year-old Shklyarsky, his son Stas on keyboards, bassist Marat Korchemny and drummer Leonid Kirnos. The band’s fan base is diverse, ranging from older listeners who have followed Picnic since the 1980s to younger fans introduced to the band through social media.
At the time of the March 22 attack, musicians from Picnic and a 65-piece orchestra set to accompany the rock band were in their respective dressing rooms and were promptly evacuated. However, Ekaterina Kushner, a member of Picnic’s administrative staff manning the merchandise table, died in the attack.
Another concert by Picnic and the symphonic orchestra was scheduled at the same venue on March 23. Almost all tickets for both performances at the 6,200-seat Crocus City Hall had been sold.
Sarah Geronimo, Regine Velasquez-Alcasid, Moira and more Filipina music icons were given the spotlight at Billboard Philippines’ first-ever Women In Music event, held on Friday (March 22) at Samsung Hall in SM Aura, Taguig City.The evening marked the first-ever Women In Music event held in the Philippines, after Billboard Philippines officially launched in the country in October 2023. Following in the tradition of the Billboard Women In Music event held annually since 2007, Billboard Philippines will recognize and honor notable women in the Philippine music industry every year as well.
The event was hosted by actress, singer and entertainer Jolina Magdangal, who commenced the festivities shortly after welcoming remarks by Billboard Philippines Publisher Anne Bernisca and a three-song set by acclaimed pop-rock artist Barbie Almalbis.
The first two awards to be given out that evening were both fan-voted, with Belle Mariano winning the Listeners’ Choice award for her song “Bugambilya,” and Morissette bringing home the People’s Choice award. All the awards given out that evening were presented by men in the music industry, to highlight the mutual respect, support and admiration among genders in the Philippine music scene.
Young indie artist Zild went onstage to introduce his friend and peer Ena Mori, whose boundary-pushing pop earned her this year’s Rule Breaker award. The 2023 SXSW Festival performer then gave a compelling rendition of her new single “Heartache Generation,” giving the audience a taste of her offbeat-yet-catchy sound.
Afterward, the P-pop fans in the audience were thrilled by the presence of SB19’s Stell, who then introduced the recipients of the Rising Star award: fellow P-pop trailblazers BINI. The eight-piece girl group then launched into the debut performance of “Salamin Salamin” (Mirror Mirror) from their newly released EP Talaarawan (Diary), showcasing their precise choreography and infectious melodies.
Influencer and online sensation Mimiyuuuh then introduced Hitmaker awardee: singer-songwriter and best friend Moira. The most-streamed Filipina solo artist for seven consecutive years also performed “Before It Sinks In” from her multiplatinum 2018 debut album Malaya (Free).
Next, singer and actress Jackie Lou Blanco accepted the Icon award on behalf of her mother, Filipina music legend Pilita Corrales. The Icon award was presented by Billboard Philippines Editor-In-Chief Bret Jackson.
The Powerhouse award was given to the bestselling Filipino music artist of all time, “Asia’s Songbird” Regine Velasquez-Alcasid, for her enduring presence and influence on succeeding generations of artists and in the music industry as a whole. The award was presented by her husband and Organisasyon ng Pilipinong Mang-Aawit (OPM) president Ogie Alcasid, an accomplished singer-songwriter himself. She then serenaded the audience with a heartfelt cover of Paramore’s “The Only Exception,” a staple of her ongoing Regine Rocks concert series.
Finally, the first Billboard Philippines Woman of the Year award went to Sarah Geronimo, fresh from her appearance at the Billboard Women In Music event in Los Angeles last March 7 as the first Filipina Global Force awardee. Husband, producer and actor Matteo Guidicelli presented the award to an elated Geronimo, who then brought the house down with a performance of two of her most memorable songs, “Dati-Dati” (Before) and “Ikot-Ikot” (In Circles), before host Magdangal closed the celebration with a toast to all women in the music industry who inspire and empower their fellow Filipinas to pursue their dreams as artists, musicians, songwriters, producers, and other key roles in music.
All in all, the very first Billboard Philippines Women In Music event was a rousing success. Not only was it the pioneer Billboard Women In Music event to be held in the country, but it also marked the first time in which women were exclusively and properly recognized for their achievements and impact in the Philippine music industry. There are many more who deserve to be honored, and Billboard Philippines shall ensure that they are represented, celebrated, and remembered in the years to come.
See photos from the inaugural event below.
–This article was written by Jason Caballa for Billboard Philippines
Sarah Geronimo
Image Credit: Billboard Philippines
Sarah Geronimo performs at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Regine Velasquez
Image Credit: Billboard Philippines
Regine Velasquez at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Ogie Alcasid
Image Credit: Billboard Philippines
Ogie Alcasid at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Moira
Image Credit: Billboard Philippines
Moira at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Belle Mariano
Image Credit: Billboard Philippines
Belle Mariano at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Jolina Magdangal
Image Credit: Billboard Philippines
Jolina Magdangal at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Anne Bernisca
Image Credit: Billboard Philippines
Anne Bernisca at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Bret Jackson
Image Credit: Billboard Philippines
Bret Jackson at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Sarah Geronimo
Image Credit: Billboard Philippines
Sarah Geronimo at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Jackie Lou Blanco
Image Credit: Billboard Philippines
Jackie Lou Blanco at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Morissette
Image Credit: Billboard Philippines
Morissette at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Dave Lamar
Image Credit: Billboard Philippines
Dave Lamar at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
ena mori
Image Credit: Billboard Philippines
ena mori at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Zild
Image Credit: Billboard Philippines
Zild Benitez at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
ena mori
Image Credit: Billboard Philippines
ena mori at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
BINI
Image Credit: Billboard Philippines
BINI at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
SB19’s Stell
Image Credit: Billboard Philippines
Stell at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Mimiyuuuh
Image Credit: Billboard Philippines
Mimiyuuuh at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Moira
Image Credit: Billboard Philippines
Moira at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Franco Laurel
Image Credit: Billboard Philippines
Franco Laurel at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
From NCT DREAM‘s delicious debut with “Chewing Gum” in 2016 to later devouring the charts with hits like “Hot Sauce” and “Candy,” the boy band’s taste for snackable singles takes a different and darker turn with “Smoothie,” the lead single off their just-released Dream( )scape EP, that speaks to the group’s hope of using music for fans to “escape their fears and negativity.”
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“Our producers and label were like, ‘Is there something that you guys want to say in particular?’” group leader MARK explains to Billboard days before the album drop. “RENJUN was actually thinking, ‘Musically and visually, we’ve always been so bright and very optimistic, but I think we can kind of express how it’s still NCT DREAM and sometimes we can also have bad dreams.”
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Represented through the intense five-part ( )SCAPE Film on YouTube and their most experimental mini album, NCT DREAM tweaked their signature style for tracks that recognize hardship and offer an empowering, encouraging message. MARK opens intro track “icantfeelanything” announcing, “I might’ve been afraid to be brave,” followed by CHENLE crooning, “‘Cause I’m lost and confused” before an intense breakbeat switches into a chant of frustrated yells.
The septet tackles anxiety on the pacifying R&B of “UNKNOWN” (Encouraging the listener to slowly but surely “Go chase your dreams/ Dive in, dive in, into the unknown”) as they yearn for freedom on hip-hop/pop cut “BOX” (“I don’t need controllin’, Let me go/Nobody lockin’ me up, nobody stoppin’ me”). The hook-heavy single “Smoothie” flips the group’s tried-and-true foodie styling by inspiring the audience to share their worries with NCT DREAM so they can blend it into a healing formula: “Throw in that doubt and fake, pour in all that pain / Shower that in all this ice, eventually it all melts.”
Pronounced as “Dream Escape,” the tight, six-track makeup of Dream( )scape offers fans not only an uplifting getaway of a listening experience but crucially lets them in a bit closer to a group that all debuted as teenagers and is becoming a team of wise young adults. The messages should connect well with audiences worldwide as NCT DREAM’s Dream Show 3: Dream( )scape world tour begins in May with plans to visit Latin America, the U.S., and Europe before the year’s end.
Before then, read more from MARK, RENJUN, CHENLE, JENO, JAEMIN, HAECHAN and JISUNG on creating their latest album, upcoming world tour and more.
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Congratulations on the new album. From the teasers to the music itself, NCT DREAM shares a lot through Dream( )scape. Overall, what are you looking to show in this album?
RENJUN: As expressed through the ( )SCAPE Film trailers, although we have all different jobs and are in different locations, we experience the same external stress and, through those processes, we almost feel like we are liberated. And also the title song itself, you can see that it’s titled “Smoothie,” but it means that we will grind all these bad ingredients and mix them up [into something positive].”
MARK: I think we’ve really grown as people, and as artists, and that definitely reflects the way we make our albums now because I think this album might actually have the most of our identities and our personal colors in it. We were very involved in the process from the very start and we really got to put in the message that we’ve always wanted to deliver to our audiences. This album, in particular, really kind of showcases who we are the most out of all the other albums in terms of that we were very much looking forward to how our fans would respond to that. [Dream( )scape] revolved around our ideas, and we were involved with how we wanted this whole message shared, so it made us feel like, “Okay, we need to take more responsibility for this album.”
JENO: This album is the starting point of this year in our new chapter so I think we now want to focus more on that stories that lie within.
What message did you all want to share? MARK opens the album by saying, “I might’ve been afraid to be brave,” and the idea of is mentioned a few times in the record. What’s the significance of bravery here?
RENJUN: It’s always hard to start something and take that first step. Actually, it’s very difficult to be brave and requires a lot of courage. And with this album, we wanted to help others at their own starting line to be brave by themselves.
MARK: Our producers and label were like, “Is there something that you guys want to say in particular for this album?” So, we were thinking among our members but RENJUN was actually thinking, “Musically and visually, we’ve always been so bright and very optimistic, but I think we can kind of express how it’s still NCT DREAM and sometimes we can also have bad dreams as well, you know?” Even though we are going for our dreams, there are hardships that we face in reality. Our hope is to let our audiences escape their fears and negativity; we really want to encourage that. That kind of formed the title of our album as well, which is Dream( )scape.
And I wanted to clarify because I feel like a lot of people would pronounce it as “Dreamscape,” but it’s “Dream Escape.” They took the “e” out because the parentheses are supposed to symbolize a gate, you know? We have to call it “Dream Escape,” I guess — the “e” escaped.
JENO: We express our growth through our music. Since we debuted at such a young age, I think we still have things to figure out from the younger image that our group holds. So, with that in mind, when we were producing this album, we tried to escape from that image that we had.
It felt like Dream( )scape was viral the moment you unveiled these dark teasers that we haven’t seen from NCT DREAM—I thought the bruised and bloody feet were very striking. Can you explain them and your take on the reactions?
RENJUN: The initial teasers meant that the clothes on top are very neat and sleek, but you also see these wounded feet from the members. This signifies that, in real life, everyone seems to be comfortable and put together, but we have hidden feelings inside and wounds in our hearts—and that’s normal. We’re trying to express that going through struggles and pain eventually leads to an escape.
JENO: As you can see in the ( )SCAPE Film, we are locked in our own rooms to show each of the member’s own dreams and identities in this suppressed reality. Eventually, we get to escape after the seven of us gather up, and that’s the storyline that we focused on when we were filming.
MARK: It was really fun seeing how after every photo got released, the fans were like, “Oh, what does this mean? What does this symbolize? I think there’s a story behind all this.” I really liked to see how they were very attentive to each and every detail of the photo, and sometimes even, we were surprised by how they interpreted some parts of a photo or video — their trying to detect what it all meant before everything was released was one of the things that we really liked about this promotion.
Not to pry, but that’s a great message that I imagine many artists relate to. Is there anything you dealt with where things looked good on the outside, but something else was going on inside?
RENJUN: I think everyone has pain and scars from their lives that they don’t want to show until they’re ready. So, maybe talking to people [about this subject] could make others comfortable to want to reveal their pains.
JENO: To continue that, I think the rooms that I described earlier really relate to this album, and that’s where the story and concept came from.
MARK: I think there are a lot of times where I feel very hungry on set, but I just can’t show that to the people because I feel like that might be delaying the whole schedule, you know? Very painful…
RENJUN: He’s joking! He’s always kidding.
MARK: I mean, there’s a seed of truth. [Group laughs.] But don’t worry too much.
Why was “Smoothie” the right song to choose the single for this important album?
MARK: So, it was really hard choosing the title track because we had a lot of meetings and heard a lot of different options of songs for the title track [single], but we eventually chose “Smoothie” because one of the main goals we had for this comeback was to come up with a song that had the easiest hook but still had an impact. In a way, we could have chosen a more complex song, but we wanted to really narrow it down to the simplest type of hook that anyone can kind of catch on, even from the first listen, and I remember how we agreed that “Smoothie” would be the one because of that reason specifically.
JAEMIN: There are a lot of ingredients from which you make a “Smoothie” pictured in the music video, and what we wanted to express was cutting through all these bad ingredients to viewers — that’s the plot point that you might want to look forward to the most when watching.
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One of my favorite tracks from your LP last year, ISTJ: The 3rd Album, was “Yogurt Shake,” and I wondered if “Smoothie” was related to it.
MARK: That’s also one thing we wanted to say! We have a lot of songs that relate to food or something you can eat, which is why we wanted to have the “Dirty Smoothie” as the title because we didn’t want it to sound too common or something that people can expect right away.
Looking at some of the other Dream( )scape tracks you were involved in, I love the lyrics in “BOX,” which MARK co-wrote. Did this come from a personal place or do you ever feel NCT DREAM is put into a box?
RENJUN: We wanted to more so summarize a universal feeling because I think everyone, whether it’s at home or work, I think everyone has felt that kind of feeling of being put in a box so wanting to explore and feel free.
MARK: I relate to what RENJUN said because, whether we are or aren’t aware of it, we all have our own boxes internally as well. I realized that this song’s theme and energy really fit the album’s concept — we can’t be trapped in your frame or opinions anymore. If you were to put that as a “BOX,” this song helps us come out of that and I just wanted to put that energy into the verses that I wrote.
MARK and JENO took part in “UNKNOWN,” which I found comforting and I think fans will too.
MARK: Just from the word, “unknown,” I think a lot of people can relate to being afraid when it’s something that you’re not familiar with — even though they know that they have to take that step. We use the analogy of a body of water as something being “UNKNOWN” so you can dive into the unknown by taking a leap of faith. When me and JENO were writing, we really wanted to express how we know that we want to take that dive so let’s just take the leap of fate together — because it’s always better to do something with someone you trust rather than do it alone.
The album closes with “Breathing,” co-written by MARK, JENO, JAEMIN and JISUNG.
JENO: When I was making the rap, the song content itself is very dark and restrictive, feeling like your breath is running out — that is, until I met you and that became the cure. So, that’s the theme that we set from the start.
RENJUN: The first part of the song starts with “Where I am” and the last part ends with “Here I am.” When we were recording, we put our emotions and struggles into this idea of feeling lost, but when we were getting close to the end, we felt like, “Oh, I am here and I am determined.”
You’ll soon take these songs on stage with your Dream Show 3: Dream( )scape world tour. How are the preparations going?
JISUNG: I think it’s going to be a better concert than The Dream Show 2. We’re still working on it, but we set Dream( )scape as the direction and focus on The Dream Show 3 tour. It’ll be a very different concert because we’re now more experienced, we have new songs and I think we can put out more diverse and improved sides of ourselves.
JENO: This year, fans can look forward to a show where each section has its own strong, independent color and various charms in each section — that’s the key point.
RENJUN: It’s almost like riding a rollercoaster because our emotions throughout the sections have a dynamic to it. So, fans can also ride the ups and downs with us.
What else do fans need to know right now?
CHENLE: We worked really hard on this album, so I hope you guys look forward to it from the trailer to the stages we’re going to perform when we have the album out. It’s going to be a very busy year for us and we’re going to look to do a lot of things. We’ll be getting closer with you all so please look forward to all that.
Twenty-five years have passed since anime song singer Hiroshi Kitadani released “We Are!,” the first opening song of the ONE PIECE TV anime series and the first of many opening songs he would go on to sing for the show. “UUUUUS!” the opening theme for the Egghead Arc, with its rapid shifts and changes, is the creation of Kitadani, composer Kohei Tanaka, and lyricist Shoko Fujibayashi — the golden trio known as the “‘We Are!’ Pirates.” “UUUUUS!” means not only “us” but sounds similar to the Japanese pronunciation of “earth” and the Japanese word for “tomorrow” (Asu), pointing to the future of the series. Hiroshi Kitadani talked with Billboard Japan about what went into the creation of this stunningly densely-packed song and what lies beyond.
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You debuted “UUUUUS!” on-stage at the BANDAI CARD GAMES Fest 23-24 World Tour in Los Angeles, held in late January. What was the atmosphere like?
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Hiroshi Kitadani: I sang “We Are!” “OVER THE TOP,” and ” UUUUUS!” With “UUUUUS!” I was a bit worried about debuting it in L.A. I felt like it might be safer to start the song off with a bang in Japan first… But now, because of video streaming sites, overseas viewers can watch the latest episodes at the same time as in Japan, so the crowd went wild. On stage, we were playing the opening animation to ONE PIECE, and the lyrics were also shown on-screen, written phonetically in the English alphabet, so the audience sang along.
When we were kids, we’d learn old anime songs from reruns on TV, but now, with subscription-based streaming services and streaming sites, it’s easy to hear “We Are!” which was released 25 years ago. So not only do people who were kids back then know it, but even modern kids know it. I think that’s why people around the world love “We Are!” even 25 years later.
Why do you think ONE PIECE is so popular worldwide?
Hiroshi Kitadani: Talking with people overseas, I often hear that “In Japanese anime and manga, the main characters and their friends always get completely thrashed by their enemies, but they usually come back stronger, which really gets you in the feels.” That’s true of Luffy, and also of Goku from Dragon Ball. Overseas heroes like Batman or Superman are incredibly strong right from the start, so I think Japanese anime and comics resonate with audiences because of how the characters turn their frustration into power.
You’ve performed five of ONE PIECE‘s theme songs. Could you reflect on what each of those songs meant to you? Let’s start with “We Are!” the first opening theme song for ONE PIECE, which came out in 1999.
Hiroshi Kitadani: “We Are!” was my debut song as Hiroshi Kitadani. The director I worked with when I first debuted under a previous stage name, later joined an agency called Imagine, who Kohei Tanaka was with. Because of that connection, one day I was approached and told, “They’re going to make an anime version of the most popular manga in Weekly Shonen Jump. Kohei Tanaka is going to submit a song for the opening song competition, and we’d like you to do a temporary vocal track for it.” Then they made the decision to go with “We Are!” for the theme song, but they still hadn’t yet decided who would sing it. Due in part to Kohei’s prompting, the staff began saying “Why not just have it sung by the singer who did the temporary vocal track?” My record company had just told me that they didn’t really see a future for me with them, so I was wondering what to do, career-wise. So this “We Are!” offer came out of the blue. That was the start of my rags-to-riches story.
In 2011, 12 years after releasing “We Are!” you sang “We Go!” which was used in the Fish-Man Island arc, when the crew reaches the New World.
Hiroshi Kitadani: Kohei wrote “We Go!” as a response song to “We Are!” At the time, I was really concerned with what people thought about me, so I was reading a lot of 2channel (laughs). I was worried I’d go on there and see people saying “Hiroshi Kitadani is back, but this song is terrible.” But, instead, when “We Go!” was broadcast, there were a lot of comments like “Dani’s back!” and “Cool!” and “That’s the One Piece sound!” I was so happy I cried.
Then in 2016 you sang “We Can!” with Kishidan.
Hiroshi Kitadani: The offer from Kishidan was totally unexpected. It was the first time I’d sung with someone else as solo artist Hiroshi Kitadani, but we had great chemistry. Kishidan wrote the song, instead of the same trio that had started with “We Are!” but even now there are fans who say they love “We Can!” which makes me really happy.
Then at the start of the Wano Country arc, in 2019, you sang “OVER THE TOP.”
Hiroshi Kitadani: “We Are!” began without anyone knowing who would even sing the song. “We Go!” was a response song to “We Are!” So “OVER THE TOP” was the first song that Kohei wrote to-order, just for me. We’ve worked together a long time, so he was able to write a song with the vocal range where I do my best singing, where I could give the song a distinctive appeal and bring out its flavor. The pandemic started after I released the song, so I haven’t had many opportunities to perform it on stage, but it’s a song that I wish even more people would have chances to hear.
How did you feel when you first heard “UUUUUS!” the current opening song?
Hiroshi Kitadani: To be honest, my first response was “Huh?” Like “It’s not bad…but I prefer music more like ‘OVER THE TOP.’” But Kohei said “It grows on you,” and, sure enough, the more I heard it the better and better it sounded. The show opening is on YouTube now, and it has over 10 million views. One of the comments on the video said “It’s the best song so far.” I know Kohei must always be under a lot of pressure, so I’m amazed that he suggested this song, which is so ambitious but risky.
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I feel like “UUUUUS!” must have been harder to sing than any of the past songs. Do you have any basic advice for anyone trying to sing it?
Hiroshi Kitadani: It’s hard to come up with any kind of succinct advice (laughs). However, for all five of the ONE PIECE songs, not just “UUUUUS!” I’d say it’s important to sing it with a smile on your face. When you sing while smiling, that smile comes out in your voice, making the song brighter and more exciting. When I was recording “We Are!” there were a lot of important people in suits at the recording. It was my first time recording in that kind of atmosphere, and I got really tense. On top of that, every time I’d finish recording a take, they’d be whispering to each other. I was in the recording booth, so I had no idea what they were saying. I was starting to get into a negative mindset, thinking “Was that a bad take?” when Kohei said “This is a song that’s going to give hope and inspiration to people around the country, so smile when you sing it. When you sing with a smile, your voice will have a smile.” That snapped me out of it. I sang while smiling, and they said it was a good take. I’m really glad for the advice Kohei gave me, and it’s something I cherish in my heart even now.
—This interview by Harunoto first appeared on Billboard Japan
Annalisa arrives at the appointment in high boots and a black tracksuit with the hood pulled over her head. She enters the headquarters of her record company, Warner Music Italy, trying not to be recognized by anyone. She comes out in a D&G sporty tracksuit and heeled boots, with perfectly combed red hair and impeccable makeup. She has a bit of fever but one couldn’t tell.
This is Annalisa. Confident, professional, a perfectionist. In Italy she achieved exceptional results: 36 platinum records, in 2023 she stayed ten consecutive weeks in the top 10 of the singles chart and was the only female solo artist in the annual top 10. At Sanremo 2024 she finished third with her song “Sincerely,” which followed a particularly successful period of her career that began in September 2022 with the single “Bellissima.” This period was characterized by a more electronic sound, accompanied by freer and sexier image and lyrics.
After the Global Force Award she received at Billboard Women in Music 2024, honored by Billboard Italy, it’s time to fully understand Annalisa (born in 1985 in Carcare, Liguria), going back to her beginnings. She has a degree in physics, but did she ever think about a career in that field? “Never. I’ve always wanted to pursue a career in music, ever since I was a little child,” she says. “I grew up in a small town and my parents are two very rigorous people, both teachers. They pushed me to look for a plan B. They always supported me, but with realism.”
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Is physics close to music somehow?
I liked it a lot, although I could have chosen to study something more related to music. But I needed an alternative. There are connections with music, of course, otherwise I wouldn’t have liked it so much: first of all, the fact that it leads you to analyse what’s in front of you. I do it a lot, starting from myself and my sensations. This is how my creative process was born. I always asked myself a lot of questions.
When did you realize you had an innate sense for music?
Since I was two or three years old, because I always sang and was always the first to throw myself into all the school plays. I think it’s also genetic. My mom teaches English but also plays music and sings beautifully. Among her relatives there are many musicians, but no one has ever made it a profession.
You said that all your songs, even the happy ones, are born from doubts and questions. Can you give us an example? It’s definitely not the case of “Sincerely,” because those lyrics aren’t particularly cheerful.
No… [laughs] That’s a song full of shadows but dressed up to seem shiny – a bit like me. An example is “Mon Amour,” because it was born from many questions: why can’t we be as free as we want, in love and in the rest our lives? Why should people judge the others if this freedom doesn’t even concern them? I believe that the goal of music, especially pop, is to instill doubts and convey messages with simplicity and lightness.
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Has that happened to you or is it something you feel like doing for what you see around you?
It’s more about seeing what happens to others, although each of us has felt limited and judged for something at some point.
Has the theme of freedom always been fundamental for you, or has it acquired more importance in the last period, from “Mon Amour” onwards?
I’ve always held it dear, but it emerged more from that song onwards. With the work in the studio in recent years I have learned to bring it out at its fullest.
Is it the cause you feel like fighting for the most?
Yes, I prefer to talk about a broad topic like freedom because everything comes from there – even wars and oppression. From the freedom to experience sexuality as one wants, one arrives at the freedom to live in a country without being oppressed.
It is known that you are never satisfied with the results you obtain. What would you have done differently in this last period?
I always think I could have handled situations better and I could have done more on stage, in general. I think I could have rested an hour more, so I would have been more effective, like for interviews. At the Sanremo Festival, for example, things are always exaggerated. Those are tiring days. Almost a month has passed and I’m still trying to recover, but I already have to focus on my future plans.
Annalisa
Nicholas Foals/Billboard Italy
Do you already have ideas for the tour?
Of course. I will soon start the rehearsals with the dancers. Then I’ll return to the recording studio as soon as possible. I always take note of my ideas because I want to be ready.
Do you want to involve some new producers or songwriters?
No, I have a team I have always worked with, namely Paolo Antonacci and Davide Simonetta. With them I created some magic, it is a rare and precious gift. The main point of the songs is that they have to be true. Sometimes, if there isn’t a relationship as strong as ours, they are not. They can be beautiful but perhaps won’t last over time.
What songs from the past are light and deep at the same time?
Nada’s “Amore Disperato”: light but eternal. Loretta Goggi’s “Maledetta Primavera”: we all sing it when we hear it. All Raffaella Carrà’s songs, which always have a message. This is the history of Italian music.
How much do the places where you live – Milan, Genoa and Carcare – influence you?
Milan is the city of music: it is essential to be there. Even though many people today say it can be dangerous, I like living in a buzzy neighborhood where things happen. Genoa is also a city of lights and shadows, even more than Milan. It has incredible places of tradition and history, but also unsafe alleys. And then there is the sea. For me it is a poetic place, of great inspiration. Most of my musical ideas are born there. I must also mention Savona. It is a seaside city, smaller, but it lacks nothing. It’s not rough like Genoa, it’s simpler. There I had my first musical experiences, I participated in the first music contests with my band. And then there is my hometown, Carcare.
You were the only female solo artist included in the top 10 of the most successful singles in 2023 in Italy. The female presence is always small and is a symptom of a much broader problem within the music industry: that of violence, which is not only physical but it is also psychological, economic, of exclusion and abuse. Has this ever happened to you?
I have never suffered harassment of any kind, fortunately. What I can denounce is the immense effort to gain credibility. There continue to be preconceptions about what is considered suitable for a woman or for a man. However, with a bit of pride I can say that I have seen some things change since I started.
Is there more awareness?
I believe that the effort that I and my generation made is useful to the next one – the effort to make others accept the fact that I write songs myself or that I judge things from a technical point of view. Little by little these prejudices will be overcome.
Are there any younger artists you particularly like?
Madame. I appreciate her credibility and the technical aspects of his work. I hope she passes the baton to those who will come after her.
Annalisa
Nicholas Foals/Billboard Italy
hololive English VTuber Hakos Baelz has released her first full album, ZODIAC. On the album, whose theme is the Chinese zodiac, she has taken on a wide range of musical styles, from rock and ballads to reggaeton and EDM. It provides a glimpse into various facets of this artist, hololive’s self-proclaimed “agent of chaos.” There are also guest appearances by veteran VTubers like Inugami Korone, Usada Pekora, and Tsunomaki Watame, and the entire album is full of little touches that keep listeners engaged to the very end. Billboard Japan talked with Hakos Baelz about the new album, ZODIAC, which represents the culmination of her musical activities.
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To start off with, could you tell us a little about how you got started as a VTuber?
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Baelz: At first, I didn’t really know that much about VTubers, but I had a few friends who were doing it, and one day, when I happened to be looking into hololive online, I saw that they were holding auditions. I decided to apply on a whim. That’s how it all started.
Were you already interested in performing music?
Baelz: I’ve been listening to music since I was little, and I was always extra fond of music that expressed my own emotions. I’ve always loved J-pop and K-pop, and I listened to Ayumi Hamasaki thanks to the influence of my family. I didn’t understand Japanese at the time, but the emotions came through in the music, which I really liked. But I didn’t have the confidence to write my own music or sing myself. I’ve never liked my own voice. So, to be honest, I didn’t really have my sights set on music back when I debuted. But I just decided, “why not, I’ll give it a shot” and released my first original song, “PLAY DICE!” I got a lot of support from the people around me, so I started thinking that I could make even more music, which turned into discussions about an EP and then an album.
You released “Play Dice!” in February 2022. What did you want to express through this song?
Baelz: It was my very first song, so I wanted to let listeners know what kind of VTuber I was. I met Camellia, who wrote the lyrics and the music, through a friend. He makes really fun music, and I thought he’d be able to create the kind of music I’d like, so I asked him to write the song for me. He’s been involved on all the EP and album work I’ve done since then, and he always creates exactly the kind of song I’m looking for, so I’m super thankful to him.
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You’re also credited as a co-writer for the lyrics on “Play Dice!” How did the writing process go?
Baelz: First, I wanted a story. I wanted it to feel like my story. I told Camellia about this, and he wrote the starting lyrics. Then I put out some of my own ideas, and we bounced ideas off each other until we’d written the lyrics for the entire song. The song’s theme is “freedom.” Each time I write music, I pick a one-word theme. I share it with the producer and have them write a song that reflects that theme.
You were a member of the special, exclusive unit of hololive members that performed at the Riot Games ONE 2023 e-sports event held in December. You put on a performance of “K/DA,” a virtual pop group made up of League of Legends characters, right?
Baelz: Last April, I covered K/DA’s “POP/STARS.” The reaction from fans was great, which may have been why I was selected to be part of the Riot Games ONE unit. I had never expected to perform at Riot Games ONE, so I was overjoyed. I’ve always been a big fan of K/DA, and I watched their choreography a lot, so I was happy to be able to practice and learn the choreography myself for the event.
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So, moving on to your album, what was your initial idea for how it would be structured?
Baelz: I’m a rat VTuber, so my first thought was that it would be fun to make an album whose theme was the Chinese zodiac. Personally, I find it easier to create an album when there’s a strong theme. When you have a theme to work with, if you ever get stuck while writing music, you can always return to that theme, you know? So that makes writing easier.
The album has all kinds of sounds and aesthetics. Which song do you think is the closest fit for you?
Baelz: The rat song, I’d say. It’s the first song, “RxRxR.” I decided to lead the album with the rat song. On my Pandæmonium EP, which I released last July, I expressed different sides of my personality. With “RxRxR,” I wanted to go with a genre and a message that wasn’t on the EP, so I wrote a pop rock song. It has the powerful spirit that I started out with.
I feel like there’s a chaotic freedom in “RxRxR” and “Play Dice!” and all of Pandæmonium, partly because you’re a rat.
Baelz: I guess so. Most of my songs have something to do with freedom. However, the kind of freedom varies from song to song. In the case of “RxRxR,” the image I had was one of a rebellious high schooler. When I was first talking to ZAQ, that was the story we were using, and the song came out just as I’d envisioned it.
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There are also a lot of collaborations on the album. “HIDE & SEEK ~Nakayoku Kenkashina~” features Usada Pekora.
Baelz: Pekora is rodent family, like me. We’ve collaborated many times, and every time it ends up with us playing fun pranks on each other and friendly competition. I thought it would be fun to have a song like that on the album. I also wanted to collaborate on a song that really fit her. A song that didn’t just match her image, but also her voice and the way she sings. In “COLOUR,” I collaborated with Tsunomaki Watame. I love Watame’s voice, because it’s soft but powerful. I wanted to do a song together with her in that style. On “BITE! KAMU! BITE!” I teamed up with Inugami Korone. I wanted to make an electro swing song. I figured it would be a good match for her voice. She has just ungodly strength. I always crack up when I watch her streams. They’re my favorite streams.
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Which songs were the hardest to record?
Baelz: Probably “GEKIRIN” and “Ohayo-EST Gozai-MASTER ♡.” The rap part in “GEKIRIN” was hard, both because the lyrics are complex and because it’s so fast. But when I heard the final product, I was happy to have created that a song that I also personally find cool. For “Ohayo-EST Gozai-MASTER ♡,” the lyrics were hard. I wanted to make a song that would fill you full of energy, like a “good morning!” to start your day. While the song was still a work-in-progress, it made a weaker impression than the other songs, but Kris helped out a lot and we made changes during the recording process, so it was a lot of fun to record.
I’m sure writing the album was a big challenge. Do you feel like you yourself grew in any way through the process?
Baelz: It gave me the confidence of knowing I can create good songs. Initially, I didn’t have any interest in making music. Whenever I was making covers, I was always really nervous, so I’d consult with my friends on what to do whether it be singing or mixing. But through the process of completing this album, I feel like I’ve learned to identify what makes a good song, what goes into making a good song, what instruments would work best and other knowledge like that.
In closing, do you have any message you’d like to share with listeners looking forward to hearing the album?
Baelz: Thanks for always listening to my music! I still have a lot to learn, but I hope you enjoy my album!
Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Billboard Japan Hot 100 again this week on the chart dated March 20.
Now in its eighth straight week atop the Japan song chart, the MASHLE season 2 opener has surpassed Gen Hoshino’s “Koi” and is tied with Official HIGE DANdism’s “Subtitle” for consecutive weeks at No. 1. (The current record for the longest consecutive stay atop the Japan Hot 100 is 21 weeks, held by YOASOBI’s “Idol.”)
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On the chart tallying the week ending March 17, “BBBB” returns to No. 1 for downloads with 21,307 units (though down by about 4.4%) and continues to rule streaming with 24,945,758 weekly streams (up 17%). The rap banger also rises to No. 1 for video views by a margin of more than 6.4 times over the song at No. 2 (12,089,850 views) and moves 2-1 for karaoke, dominating four metrics of the chart’s methodology this week. Creepy Nuts dropped the CD version of the song on Wednesday (March 20) and is set to kick off its nationwide tour on Friday (March 22), and it doesn’t look like the duo’s biggest hit to date will be slowing down anytime soon.
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AKB48’s “Karakon Wink” debuts at No. 2 this week. The 63rd single by the long-running girl group is off to a great start, launching with 463,564 copies to top sales. The song celebrates the “graduation” of member Yuki Kashiwagi, who will be leaving after 17 years of being one of the most beloved and well known members of the group in its 19th year.
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Number_i’s “GOAT” stays in the top 10 at No. 5 this week, selling 19,459 copies in its second week of CD release to surpass 500k copies total. The track is at No. 2 for sales, No. 11 for downloads (3,926 units), No. 36 for streaming (3,109,214 streams), No. 8 for video views (1,151,338 views) and holds at No. 1 for radio airplay.
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Fujii Kaze’s “Michi Teyu Ku (Overflowing)” debuts at No. 8 after dropping March 15. The 26-year-old singer-songwriter performed his latest single, written for the Japanese movie April Come She Will, on the premiere episode of NHK’s tiny desk concerts JAPAN series broadcast on March 16. In its first week, the track reached No. 3 for downloads (11,394 units), No. 20 for streaming (4,067,422 streams), No. 7 for video (1,208,331 views), and No. 12 for radio.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from March 11 to 17, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.