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American singer, songwriter and dance producer Porter Robinson, from North Carolina, is a huge fan of Galileo Galilei, a rock band that hails from Japanâs Hokkaido region, and the tremendous influence theyâve had on his own expressive approach is well-known. Porter recently performed at Tokyoâs Toyosu PIT, one of the shows of his first Japanese tour in five years, and as soon as the curtain fell, he was finally able to meet Galileo Galilei and play with them for the very first time. The atmosphere in the studio, as they bounced ideas off each other, was intense, brimming with mutual affection and respect.
In the studio, Porter and the four members of Galileo Galilei were deep in discussion in the control room. Going into the studio session, Galileo Galilei had prepared a track and sent it to Porter. Porter had put his own spin on the track, and brought the results with him. The five of them were listening to the music and talking about what direction to take the song. The theme of the session was âCircle Game,â one of Galileo Galileiâs most famous songs, released in 2013 as the theme song for the movie Anohana: The Flower We Saw That Day. Porter adores the song. His track uses elements of âCircle Game,â but mashes it up with the essence of another of Galileo Galileiâs famous songs, âAoi Shioriâ (which was also the opening theme for the Anohana television anime series). The choice of the song provides a taste of the esteem Porter has for Galileo Galilei.
The five musicians kept on talking about Porterâs track. Guitarist and vocalist Yuuki Ozaki was deeply stirred by what Porter had come up with. Ideas flew back and forth â âwhat about adding some piano in here?â âI think maybe we could get rid of the outro,â âwhat should we do about the bass line?â The song changed, little by little, with each suggestion, remaking the song in real time. The process wasnât one of everyone coming together to cover a song, but more like Porter had become a member of the band, and they were all creating a new song together. To be honest, when I first heard theyâd be working together, I imagined a more laid-back, easy session. An artist was coming to Japan for the first time in years, meeting a band of which he was a huge fan for the first time ever. Heâd probably join them in playing some of their standout songs â and that alone would still be a tremendously fulfilling experience. But Porter and the band had developed a powerful friendship over the years, online and through their music. The bond between them was far too strong for a mundane jam session like that.
After careful preparation, they began to play. The full-band sound of Galileo Galilei overlapped with Porterâs piano intro, and the song progressively became more involved and colorful. Yuukiâs delicate vocals intertwined with Fumitoâs chorus and were joined by Porterâs singing, altered with effects. While the original âCircle Gameâ had a somewhat innocent and straightforward feel, over time, Porterâs additions transformed it into something more dynamic and emotional. Perhaps âtransformedâ is the wrong word â it felt like it had been that way from the start. The âAoi Shioriâ phrases that could be heard toward the end of the song, and the vocal samples from Porterâs own âSomething Comfortingâ and âTrying to Feel Aliveâ were a testament to the powerful bonds between Porter and Galileo Galilei, and to Galileo Galileiâs musical history.
After finishing their first take, the five talked about their performances. Porter, an embarrassed expression on his face, blurted âI messed up.â Finding himself finally together with this band of which he was such a fan, he shouted, âIâm so nervous!â The studio burst into laughter. According to Porterâs tour manager, this was Porterâs first time taking part in a studio session with a band. Although he has performed with a live band onstage, playing in the confined space of a studio puts you under a different kind of pressure.
After awhile, they started into their second take. The mood was more relaxed than the first take â you could even feel the change in mood through the control-room speakers. Perhaps it was Porterâs previous exclamation that had broken up the tension in the studio. Whatever the case, it was a wonderful performance. âCircle Gameâ was written over a decade ago, but this fresh, modern spin made it feel new again.
After the second take, Porter drew out his smartphone and started taking selfies. He says that the session felt like being in a dream, so he wanted to capture the scene for posterity. This experience, which Porter had long dreamed of, had become a reality, and as the musicians melded their parts, the mood in the room changed. The five were communicating in a way that only musicians can. They began their third take. With each take, the sound became more lively and relaxed. Although they were playing the same song, arranged in the same way, the way the musicians felt completely changed the tone of the song. Just as I was reflecting on this, the session came to an end. All five of them beamed with satisfaction.
On behalf of Billboard Japan, writer Tomohiro Ogawa spoke to Porter Robinson and the four members of Galileo Galilei following the session.
How did it feel performing together here today?
Porter: During the second take, there was a point where I was about to cry. Just looking at Yuuki, it brought back memories of when I saw the âAoi Shioriâ music video a decade ago. It was really like a dream come true.
Yuuki Ozaki: That makes me so happy to hear. For us, too, it was like being in a dream. I didnât feel nervous, it was more like I was walking on air, my head in the clouds. Iâm so happy to hear it felt the same for you, too.
Kazuki Ozaki: Iâve always been a fan of Porterâs, and since I first learned about him, Iâve been imitating him, buying all kinds of equipment (laughs). It was a really wonderful day for me.
Fumito Iwai: Today really reaffirmed the power of music for me. This was all new for Galileo Galilei â connecting with an artist from another country, on a song that spanned the years, and creating something so wonderful. It was like weâd opened a new door, or got a glimpse of a new world.
Yuuki: It was a really stimulating experience.
Iwai: I almost lost it. Weâre currently working on new music, but I feel like weâll be able to use this experience in our new music, and in our live performances, too. It was like I got a peek at uncharted territory, something thatâs clearly going to have an influence on our future musical activities.
Masaki Okazaki: For me, too, it was walking on air (laughs). Iâve watched videos of Porterâs live performances, and Iâve been really influenced by his music. I never expected to have this opportunity, and it still doesnât really feel real. But thereâs no doubt that this is going to be a precious memory I carry with me throughout my life.
Watching your session, it felt like âCircle Gameâ was reborn â or like it was given new life. The addition of Porter made you feel like a different band. It was like the five of you had already been playing together for a decade.
Porter: Iâm glad you think so. Iâve been listening to them for such a long time, but I never imagined that they were inspired by what I was doing. I had no idea until today.
Yuuki: Today, the way we were playing together and exchanging ideas â it didnât feel like our first time playing together.
Iwai: Yeah, I felt like there were a lot of similarities between us.
Yuuki: I really felt like we had the same feel, the same kind of tone, which came through in every little gesture and every musical expression. It was really moving, and it filled me with so much joy. Also, we all really love Porterâs music, and heâs been a constant influence on warbear, BBHF, and Galileo Galilei. To be honest, I imitate him a lot. Todayâs session provided me with a better understanding of what draws me to Porter Robinson as a musician, and I think it was a wonderful chance to compare notes. When we started today, he asked us so many questions. He asked why Galileo Galilei broke up and why weâve reformed. I think thatâs because he wanted to get a proper sense of what the band feels like now. He makes music from the heart, and that really came across today. I found it very moving.Â
Porter: One of the things I truly believe is that in your life, every few years, youâll come across something that changes your perspectives forever. It could be a movie, it could be a band, it could be travel, it could be a change of environment. For me, those moments are indescribably precious. Thatâs why I want to express my profound gratitude to them, for being such tremendous inspirations, providing me with such joy, and creating music that completely changed my perspectives. I hope that we can continue to work together in the future.
âThis article by Tomohiro Ogawa first appeared on Billboard Japan
YOASOBIâs âIdolâ has now logged its 20th week atop the Billboard Japan Hot 100, holding the position consecutively since it first debuted on the chart dated April 19.
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On the latest list dated Aug. 30, the Oshi no Ko opener falls 2-3 for downloads with 9,271 units sold and 18-20 for radio airplay, but still dominates streaming (12,393,052 streams), video views, and karaoke. The duo has been busy with festival performances over the summer and maintains momentum, adding another week to its unprecedented stay at the summit.
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Soaring 39-2 on the Japan Hot 100 is Nogizaka46âs âOhitorisama Tengoku,â released Aug. 23. The girl groupâs 33rd single sold 713,642 copies in its first week, off to a much better start than the previous one, âHito wa Yume wo Nido Miru,â which launched with 663,277 copies. The new single was mostly powered by physical sales (No. 1) and comes in at No. 20 for downloads (2,651 units), No. 26 for radio, No. 74 for streaming, and No. 35 for video.
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Three of the four debuts this week on the top 10 are by new groups born from âiCON Z,â the biggest audition in the history of LDH, home of EXILE and many other popular bands. WOLF HOWL HARMONYâs âSweet Rainâ bows at No. 3, THE JET BOY BANGERZâ âJettin’â at No. 4, and KID PHENOMENONâs âWheelieâ at No. 5.
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There was a difference of over 1,373 points between âSweet Rainâ and âJettinâ,â with the former selling 73,524 copies to come in at No. 5 for sales while also ruling radio. âSweet Rainâ also came in at No. 32 for downloads (1,804 units), No. 84 for streaming, and No. 45 for video. Meanwhile, âJettinââ sold the most CDs of the three new bands, launching with 91,271 copies. The track comes in No. 3 for sales, while âWheelieâ sold 84,185 copies to come in at No. 4 for the metric. Both tracks ended up bowing in their respective positions below âSweet Rainâ on the Japan Hot 100 due to lack in points in the digital metrics.
The fourth debut on the top ten this week is the Japanese version of âUNFORGIVENâ by LE SSERAFIM at No. 6, featuring Nile Rodgers and breakout J-pop songstress Ado.
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IMP.âs âCRUISIN’â jumps 53-8 this week after being released digitally Aug. 18. The TOBE actâs debut single is off to a great start, ruling downloads (21,801 units) and coming in at No. 2 for radio and No. 5 for video.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Aug. 21 to 27, here. For more on Japanese music and charts, visit Billboard Japanâs English Twitter account.
Afrobeats star Burna Boy blasts into top spot in the U.K. chart race with I Told ThemâŠ, his seventh studio LP.
The Nigeria-born artist leads the Official Chart Update with his latest release, which features assists from Dave, 21 Savage and J. Cole.
If it holds its position, I Told Them⊠would give Burna Boy his first crown, and fourth U.K. top 40 appearance, after 2019âs African Giant (No. 16), 2020âs Twice As Tall, and 2022âs Love, Damini, which both peaked at No. 2.
At least two tracks from it are predicted to crash the top 40 on the U.K. singles chart, including âSittinâ On Top Of The Worldâ and âCheat On Meâ with Dave.
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Burna Boyâs career has been cooking of late. Earlier this summer, he became the first African artist to headline a stadium concert in the U.K., when he played his Love, Damini tour date at a packed-out 60,000 capacity London Stadium.
Born in Port Harcourt, Rivers State, Burna Boy already has a No. 1 on the U.K. singles chart for 2019âs âOwn It,â with Stormzy and Ed Sheeran. On the other side of the Atlantic, he won a Grammy Award for 2020âs Twice as Tall (best global music album), and headlined a headline show at New Yorkâs Madison Square Garden in April 2022.
According to the Official Charts Company, Steps singer Claire Richards could snag a career-best solo appearance with her second LP Euphoria. Itâs new at No. 2 on the chart blast, and should outpace her solo debut, 2019âs My Wildest Dreams, which peaked at No. 9.
Shock-rock legend Alice Cooper is on track for his highest-charting album since 1989 with Road, new at No. 3 on the midweek tally, while indie-pop artist Ashnikkoâs debut album Weedkiller could plant itself in the top 10. Itâs new at No. 4 on the Official Chart Update.
Close behind is Digga D, with the hip-hop artistâs latest full-length set Back to Square One. Itâs set to drop in at No. 6. The British rapper, singer and songwriter led the chart last year with his mixtape Noughty By Nature.
All will be revealed when the Official U.K. Albums Chart is published late Friday, Sept. 1.
Hozier enjoys an unreal start on the U.K. albums chart as his third studio album blasts to No. 1. Unreal Unearth (via Island) debuts atop the Official U.K. Albums Chart, published Aug. 25, for the Irish singer and songwriterâs first leader. The leader at the midweek stage and best-seller on vinyl across the latest full-week […]
Thirteen is the lucky number for Dua Lipa as âDance The Nightâ (via Warner Records) completes its coronation on the Official U.K. Singles Chart.
Lifted from the Barbie soundtrack, âDance The Nightâ rises 2-1 for its first stint at the summit, doing so in its 13th week on the national tally, published Friday, Aug. 25.
With that effort, Lipa becomes just the sixth British female solo artist to bag four leaders, drawing level with Ellie Goulding, Rita Ora and Spice Girl Geri Halliwell. Only Jess Glynne (seven) and Girls Aloudâs Cheryl (five) have more No. 1s, the Official Charts Company reports.
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Lipa previously led with 2017âs âNew Rules,â 2018âs âOne Kissâ with Calvin Harris, and 2021âs âCold Heartâ with Elton John and Australian electronic production outfit Pnau.
The last British female artist to reign over the U.K. singles chart was Kate Bush, with her 1985 classic âRunning Up That Hill,â which exploded off the back of Stranger Things season four.
âDance The Nightâ replaces another hit from Greta Gerwigâs Barbie, Billie Eilishâs âWhat Was I Madeâ (Interscope/Atlantic) which dips 1-2. The podium is completed by Olivia Rodrigoâs âVampireâ (Interscope), unchanged at No. 3.
Meanwhile, Doja Cat makes an impressive leap on the chart with âPaint The Town Redâ (RCA), up 15-4 for a new high. âPaint The Town Redâ is the new No. 1 in Australia.
Continuing the Girl Powered look of the U.K. singles chart in recent weeks, female artists lead the top seven tracks, and eight of the top ten.
Thereâs a notable entry for Oliver Anthony Musicâs divisive Billboard Hot 100 leader âRich Men North of Richmond,â which cracks the U.K. top 40 for the first time. The independently-released country music hit single is up 64-23 on the Official Chart.Finally, the release of Guardians of the Galaxy Vol. 3 on the Disney+ streaming platform has a measurable impact on the Official U.K. Singles Chart as Florence + The Machineâs âDog Daysâ (Island), which appears on the Marvel franchiseâs soundtrack, re-enters the top 40. âDog Daysâ drops in at No. 27, not far from its peak position of No. 21.
Jung Kook holds atop the Aug. 26-dated Billboard Global 200 and Billboard Global Excl. U.S. charts with âSeven,â featuring Latto. At No. 1 for the fifth consecutive week on both lists, itâs the longest running chart-topper on the Global 200 among K-pop acts, including his fellow BTS members and even BTS as a group (âDynamiteâ led for four weeks in 2020-21).
But another BTS member makes noise with a pair of top 10 arrivals. V debuts on Global Excl. U.S. at No. 6 with âLove Me Againâ and at No. 8 with âRainy Days,â while starting at Nos. 12 and 16, respectively, on the Global 200.
âLove Me Againâ leads the pair with 40.8 million official streams and 35,000 downloads sold worldwide in the week ending Aug. 17, according to Luminate. âRainy Daysâ follows with 38.9 million clicks and 32,000 sold. Both tracks take 92% of those streaming figures from outside the U.S.
The bigger global totals for âLove Me Againâ are reflected in the songâs international chart ranks. Not only does the song outpace âRainy Daysâ in the U.S. (3.4 million streams vs. 2.9 million), but itâs also higher on all five of Billboardâs Hits of the World charts on which they both appear. Theyâre side-by-side at Nos. 16 and 17, respectively, on Indonesia Songs, but most dramatically separated (if not wildly so) on Vâs native South Korea Songs, at Nos. 7 and 21.
Both songs boast official music videos, signaling a big win, especially, for âRainy Days.â Across video platforms worldwide, the clip received 13.5 million streams (35% of the songâs overall streaming total), compared to 10.5 million (26%) for âLove Me Again.â
Any which way these songsâ success is split, both tracks mark new highs for V. Previously, he hit No. 43 on Global Excl. U.S. and No. 51 on the Global 200 with âChristmas Tree.â With âLove Me Againâ and âRainy Days,â he becomes the fifth BTS member to crack the top 10, following, in chronological order, Jung Kook, Jin, Jimin and Suga (under the alias Agust D).
In total, the men of BTS have accumulated 11 top 10s on Global Excl. U.S. as soloists â equaling the groupâs tally.
YOASOBIâs âIdolâ scores its 19th consecutive week at No. 1 on the Billboard Japan Hot 100, dated Aug. 23, extending its all-time record for most weeks atop the chart again.
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The duo headlined Japanâs Summer Sonic music festival over the weekend, closing out the Mountain Stage lineup in both Tokyo and Osaka. The âMonsterâ pair also entertained fans with its âTraveling Bookstore YOASOBI,â a collaborative endeavor with the mobile bookstore BOOK TRUCK, set up in the food area of the festival grounds.
On this weekâs chart tallying the week ending Aug. 20, downloads for âIdolâ slips to No. 2 (10,631 units), but the long-running hit continues to dominate streaming (13,100,852 weekly streams), video views, and karaoke. The Oshi no Ko opener also climbed 24-18 for radio, and while gradually losing points overall, the total continues to best the song at No. 2 by about 1.7 times.
Tatsuya Kitaniâs âWhere Our Blue Isâ holds at No. 2 this week. The Jujutsu Kaisen Season 2 opener continues to improve in karaoke, jumping 62-37, and collected points in a balanced way: holding again at No. 38 for sales, No. 2 for streaming (9,232,884 streams), and No. 6 for video, slipping 3-4 for downloads (7,562 units) and 32-95 for radio.
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Bowing at No. 3 is Kazuya Kamenashiâs first solo single in four years called âCross.â The track launched with 105,544 copies to hit No. 1 for sales, and is off to a good start coming in at No. 22 for downloads and No. 40 for radio.
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Gen Hoshinoâs âLifeâ debuts at No. 7. The superstar singer-songwriter curated the Beach Stage at Summer Sonic in Tokyo on Saturday (Aug. 19), highlighting and collaborating with such artists as Jacob Collier, UMI, Camilo, and Sam Gendell. His latest track rules downloads (13,713 units) and radio this week, while hitting No. 38 for video.
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Another debut on this weekâs Japan Hot 100 is Colorful Diamondâs âAmakyun,â bowing at No. 5 after selling 76,514 CDs in its first week.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Aug. 14 to 20, here. For more on Japanese music and charts, visit Billboard Japanâs English Twitter account.
J-pop boy band IMP. dropped its debut single âCRUISIN’â on Friday (Aug. 18). The rookie seven-member group consisting of members Yuki Yokohara, Shunsuke Motoi, Takuya Kageyama, Taiga Tsubaki, Taiga Suzuki, Arata Sato, and Minato Matsui announced last month that they would sign with TOBE (âto beâ) to pursue new forms of entertainment at the agency. […]
BABYMETAL is now back to being a trio since April after MOMOMETAL officially joined longtime members SU-METAL and MOAMETAL. Japanâs metal sensation recently dropped a new song called âMETALI!!â featuring Tom Morello of Rage Against the Machine. The latest single celebrates the new lineup with a hyped-up, chaotic track graced with the inimitable presence of the legendary RATM guitaristâs performance.
Since May, the band has toured the U.K. and Europe with Swedish rockers Sabaton, headlined shows in Asia and Australia, and is set to travel to North America for a tour spanning from the end of this month to October. BABYMETAL has also been making headlines for its featured appearance on Lil Uzi Vertâs song âThe Endâ from his new album Pink Tape released in June. In this brand-new interview, the three members of BABYMETAL chatted with Billboard Japan about their new track, tours, collaborations and more.
BABYMETAL just dropped âMETALI!! (feat. Tom Morello)â as its first release since becoming a trio again. Tell us what you thought when it was completed.
SU-METAL: I think weâve created a fun, yet solidly mature, very BABYMETAL number thatâs bound to make people go, âWhat the heck?â Iâm sure people will be hyped to hear it at our shows, so right now Iâm just looking forward to performing it and seeing how everyone reacts to it.
MOAMETAL: Iâm really looking forward to performing this song live. Itâs been a while since weâve had an upbeat track like this, so Iâm glad this is our first song under our new lineup. Also, Tom Morello played on this song for us so itâll always be close to our hearts.
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MOMOMETAL, this is your first song as BABYMETAL. How do you feel about it?
MOMOMETAL: I thought this song was awesome from the moment I heard the intro. Iâm glad my first song (as BABYMETAL) is one that makes me excited just by hearing it. The choreography also has a lot of interesting moves, so Iâm looking forward to performing it.
Tom Morelloâs guitar also has a strong presence in this song. What was your impression of his guitar sound?
SU-METAL: I think it really matches the chaotic vibe that âMETALI!!â has. BABYMETAL is a group that has surprised people in a âWhat the heck?â kind of way, and this song is like the good parts of âPA PA YA!!â and âMegitsuneâ combined. So Iâm sure our fans will find it familiar in a way, but the vibe changes drastically in the second half and itâs like the sonic equivalent of a bucket of fluorescent colors being splashed all over the place. We thought weâd updated the BABYMETAL sound in our own way, but the addition of Tom Morelloâs guitar draws out a new âWhat the heck?â element from it. He really is such a legend.
MOAMETAL: Iâve listened to Rage Against the Machineâs albums and always thought his guitar was so cool. Iâm really glad to have someone like that involved in our music, and itâs exciting to think how this collaborative circle could keep expanding like this.
You were in charge of the spoken part of the song, MOMOMETAL. What was that like?
MOMOMETAL: I got into character and just ran with it. I focused on the intonation and spent a lot of time on the recording to make it interesting and to enhance the image of the song.
Since May, youâve toured the U.K. and Europe with Sabaton, then headlined shows in Asia and Australia on a tour that took you to many countries. The itinerary alone must have been grueling, but what was the experience like?
MOAMETAL: This is the hardest tour schedule weâve had in 13 years of our career. Weâve been so busy since we became a trio again and havenât had time to be idle, but Iâm happy we donât have to stop and happy there are people out there who want to see us.
SU-METAL: Touring is a lot of work to be honest, but I always wanted to sing (while on hiatus from performing live), so itâs so much fun to be able to sing every day. Iâve been touring with MOAMETAL like weâre family, and MOMOMETAL has been able to fit right in. I think the three of us are great together, and hope we can continue to work like this for a long time to come.
MOMOMETAL: It was a period when I discovered the things I needed to improve on because there were so many shows. It was a tough tour, but the experience of getting through it helped build up my confidence.
Tell us about your tours. First, how was the U.K. and Europe tour with Sabaton?
SU-METAL: I was really happy to be able to see Sabaton live every day. I think their music is meant to be seen live, in that itâs a kind of composite art. That aspect is similar to BABYMETAL, so I learned a lot from them and it was really fun touring with them.
What about Asia and Australia? What stood out from those shows?
SU-METAL: Indonesia was especially amazing. The crowd was so enthusiastic, it was hard to believe it was our first headlining show there. Everyone sang all my parts. They were so loud I was sure theyâd go hoarse and I could tell from their intense gazes that they didnât want to miss a single moment of the show. They were trying to enjoy the space with all of their senses. They gave us so much energy, and even the members of our crew, who were a bit tired after the tour with Sabaton, were invigorated afterwards. It was amazing.
MOAMETAL: I was surprised that those big venues in Australia were packed. We hadnât been able to visit before and the fact that there were so many people waiting for us to come made me think weâll be able to meet even more people in other parts of the world. I definitely want to tour Asia and Australia again.
MOMOMETAL: I had a lot of fun performing with F.HERO in Thailand. It was so cool seeing him rap live. Everyone had such a great time and the song was over too soon. It was a memorable moment.
From the end of this month to October, youâll be touring North America for THE BABYKLOK TOUR 2023 with DETHKLOK, and have a few festival appearances lined up. What are your thoughts on these upcoming shows?
SU-METAL: This is the year we go and meet our fans around the world as the new BABYMETAL. Weâre so happy to be able to perform in larger venues than the ones in our previous North American tour, and look forward to seeing everyone there. Also, the timing coincides with our collaboration with Lil Uzi Vert and it feels like that expanded our fanbase again. I hope this tour will be a great opportunity for people who see us for the first time to get to know what BABYMETAL is all about.
That collaboration with Lil Uzi Vert came as a surprise. How did you feel when you were first asked to do it?
SU-METAL: I couldnât believe it and was like, âThis canât be true.â Apparently he really likes BABYMETAL and told us he wanted to introduce his favorite music so we could do whatever we wanted. It was a new challenge for us and we went wild with it.
MOAMETAL: He also collaborated with Bring Me the Horizon on that album, and I thought, âWow, he really does like metal.â I want to hang out with him.
You also collaborated with Bring Me the Horizon on âKingslayer feat. BABYMETALâ from their 2020 project Post Human: Survival Horror. To reiterate, youâve collaborated with the likes of Tom Morello, Lil Uzi Vert, and Bring Me the Horizon, meaning youâre linked to such top artists from around the world in various genres. Itâs a fascinating situation from an objective standpoint, but what do you make of it all?
MOAMETAL: Maybe because weâve collaborated with artists from various genres, more people outside the metal world have heard of us now. I had the opportunity to see Backstreet Boys live overseas and they knew about us. Our collaborations have gradually been giving us confidence that BABYMETAL is helping to connect metal and other genres, if only just a little.
SU-METAL: Up until recently, BABYMETAL aimed for recognition from metal fans. We respect metal music, but were trying to create a new movement within the genre. Having done that for a decade, it now feels like BABYMETAL is exploring a new genre of music. We want to keep expanding our collaborative ties with various different artists.
It does look like the metal genre has become revitalized lately. A lot of artists are starting to do things that arenât bound by conventional concepts. BABYMETAL is in sync with this trend. Any thoughts on this phenomenon?
MOAMETAL: Itâs true that thereâs been a big generational shift and the people who were considered young are now leading the way, and I find that interesting. And Iâm also awed by the open-mindedness of the legends who recognize these young artists. The way metal is accepting of various other genres makes me love it even more.
SU-METAL: When we toured Asia and Australia, we noticed that our fans were really young. A lot of them seemed to be enjoying the music more casually. When we started BABYMETAL, we wanted people to enjoy metal music in a more pop, casual way and to be a gateway to the genre, so I hope that our existence has been a bit influential in that respect.
âThis interview by Tomonori Shiba first appeared on Billboard Japan
At 20, Olivia Rodrigo has become the youngest artist receive a BRIT Billion Award by the BPI. The award celebrates artists who have reached one billion career U.K. streams, as calculated by the Official Charts Company. RAYE, 25, had been the youngest artist to receive the honor. Rodrigo was presented the award while in London […]