Global
Page: 6
Billboard’s “International Power Players” list recognizes leaders who are driving the success of the music business in countries outside the United States. Universal Music Japan’s president and CEO, Naoshi Fujikura, was chosen from the music industry leaders of the world for inclusion in the list a fourth consecutive time, making this his fifth appearance. Billboard Japan interviewed Fujikura in recognition of his selection in which he looked back on his decade as the company’s president and the challenges it faces in its global expansion.
This is your tenth year as president of Universal Music Japan. During your time in office, the company has recorded record profits. Looking back, what are your impressions of this past decade?
Trending on Billboard
A lot of things happened, but the one thing they all share in common is “connection.” When I was first appointed, Japan had less visibility within the industry as part of its global music strategy, so coming into UMG it was always important to me to push the narrative forward around the overall importance and commercial scale of the Japanese music market.
Working under the leadership of Sir Lucian Grainge definitely helped with this, as before he took over as global Chairman & CEO, Lucian had run UMG’s international business for many years and he was very familiar and supportive of our dynamic physical-led market. One of the major benefits of working very closely with UMG’s leadership team in Santa Monica and around the world has been that we have had access to strategic insights around the broader shifts in the global industry, helping us to shape our own path over the last decade to stay ahead of the curve, navigating the arrival of streaming in the marketplace, and maintaining our physical business.
At the time, industry people would say things like, “Physical product sales are going to continue to decline, so we should just get rid of that whole segment.” I felt the need to strengthen our connections with the head office in various areas of my work. Back then, in 2014, Apple Music had yet to arrive in Japan, and CDs accounted for 80% of sales. Japan also had a price maintenance system, so products could be sold at set prices. That’s why I told people that in Japan, we were going to put our weight behind both growing our digital business for the future and continuing to support the traditional physical sales market. When I first took this position, I was traveling to the US on what felt like a monthly basis, taking advantage of every opportunity to explain the Japanese market to my new colleagues, introduce our artists, and integrate our vision for the future of the market into UMG’s global plans.
You were trying to help them understand the situation in Japan?
Right. My English wasn’t the best, but I would meet directly with overseas colleagues and reiterate that in Japan, unlike the rest of the world, there was still high demand for physical products, so we weren’t going to switch over completely to streaming, but instead advance on both fronts. Ultimately, we put out multiple million-sellers, like DREAMS COME TRUE THE BEST! Watashi no Dorikamu in 2015 and Hikaru Utada’s Fantôme and RADWIMPS’s Your Name in 2016. Thanks to successes like these, they came to understand that our approach was the right one. I think these successes also led to us signing new artists such as BTS (for Japanese language recordings) in 2017 and King & Prince in 2018.
What do you mean?
We are a global company, and we’re often seen as being focused on digital sales, but our track record of successes showed artists that we also still place importance on physical sales and we have the power to move significant physical units for our artists. I think that helped us connect with new artists and make UMJ an attractive home for Japanese domestic and Korean K-Pop talent, with broader ambitions for both regional and global success.
Spotify was launched overseas in 2008, but Japan was a latecomer, with Apple Music and LINE MUSIC becoming available in 2015 and Spotify arriving in 2016. You took office during a time when the situation in the U.S. was very different than the situation in Japan.
Right, so I think the fact that we had that kind of success is connected to our efforts to grow for the future. Universal Music Japan and the former EMI Music Japan merged in 2013, the year before I became president. Every aspect of how these companies did business was different, so when they merged there were initially a few voices of frustration and confusion, and the company needed to find better ways to “connect” with employees. When I took office, I wanted to remember everyone’s faces and names, so I made a chart in my office with photos of every employee alongside their names.
How many employees did the company have at the time?
I think it was around 500 or 600. Thinking back on it now, there were probably some more efficient approaches I could have used, like putting them on magnets, but at the time I did it by putting the photos on four sheets of butcher paper and writing their names directly on the paper (laughs). I thought it would truly be a waste to end up with the company divided between two antagonistic “ex-EMI” and “ex-UMJ” factions, so whenever I met someone in the elevator, or anywhere in the office, I tried to address them by name.
One of the major initiatives we conducted over the past ten years was having the employees become full employees. Previously, the majority of our staff were contract employees, and because of that it felt like everyone was focused on playing it safe, avoiding any potential failure, in order to keep their contracts from being terminated. I was one of them, and I sometimes felt like I was applying a short-term perspective in my work. Furthermore, starting in 2015, the business of the music industry was on the brink of a major shift as the rise of streaming began to increase consumption and access to music globally, even though this came later to Japan.
For physical CDs, the sales peak for a product is when the CD is released, but with streaming, the number of streams will rise over the course of several months. In some cases, people will continue to listen to a song or album years after it’s released, sometimes even decades if it is a catalog song or album from an artist. Because hits can take all kinds of different shapes, I didn’t think our approach of having employees rotate every year or two and focusing exclusively on single fiscal year periods was a good match for our long-term growth as a company, or for us to innovate and help lead UMJ and the industry into the streaming age.
Did changing over to full employees have a major effect on the atmosphere in the company?
There was a huge change in the year when we switched over to full employee status (in 2017). We held an all-company meeting where we announced that anyone who had been working at the company for a year or longer that wanted to become a full employee could do so. I expected there to be huge cheers from the audience, but it was surprisingly quiet (laughs). I thought people would show their happiness right there on the spot, but I heard later that, after the meeting, those in attendance were happy to be able to tell their families and partners the good news.
At the same time, I didn’t want people to lose their drive upon becoming full employees, so we reviewed and revised our HR evaluation system and established a multi-label system to grow our domestic business. Employees on the same label would compete with each other and help each other reach new heights, and I think that is what helped us to produce all of these different hit artists.
And the last important “connection” is the one we’ve been establishing with listeners and fans. Our business is a B-to-B-to-C business. We provide people with music through retail shops and streaming services. However, the nature of fandom has changed over the last decade. That is why we opened the world’s first Universal Music Group concept store, UNIVERSAL MUSIC STORE HARAJUKU, as a place where fans can come together. Last year, we worked to bring music to people using experiential events, other than just traditional live shows, such as producing shows that combine fireworks with Disney music and music from diverse artists like King & Prince. We have also done these experiential events with international acts including Queen and Bon Jovi.
Just like the rest of UMG, we always strive to be the company of choice for artists, and with our successes in breaking new artists, embracing streaming technology ahead of the curve, as well as nurturing the traditional lucrative physical business here in Japan, our market share has also grown consistently. I think we’ve now been able to achieve ten consecutive years of market growth because of our track record in breaking new artists and also because our artists recognize our commitment to helping them have long careers, connecting them to the world outside of Japan as part of the world’s leading music company. This has made them want to stay with Universal Music Japan for the long-term..
Is there any advice you give to employees about how to remain the company of choice for artists?
UMJ’s creed is “Love People, Love Music, and Deliver Excitement.” I always tell employees that, no matter what department they are in, it’s important that they never forget that they joined our company out of a love for people and music. At the global level, as well, UMG places great importance on its message: “We are the home for music’s greatest artists, songwriters, innovators, and entrepreneurs.” It’s important that we continue to focus our efforts on putting our artists, labels and businesses first so that we continue to push the entire industry forward for the benefit of our artists.
Mrs. GREEN APPLE has demonstrated a tremendous presence in this year’s Billboard JAPAN Hot 100. What do you think is the key to their hits?
It may seem like a trite answer, compared to the kind of answer you might be hoping for, but, at the end of the day, it just really comes down to their talent. First and foremost, we’ve kept on believing in the great music written by Motoki Ohmori and the talent of the whole band. I think that’s what’s led to this success.
They did two days of shows at Yokohama Stadium in July, and later this month (October) they’ll be playing eight days of shows at K-Arena. They don’t set aside time as “input time” to create new work. They don’t stop. They just keep on going, and looking at them, you know you’re looking at a new superstar phenomenon that will continue to grow and inspire fans in this new era.
In September 2023, we launched the Global Japan Songs excl. Japan chart, which ranks Japanese music that’s become a hit overseas. I feel like the Japanese music industry has kicked it into higher gear as we can now see the global success of hits by artists like Fujii Kaze and imase. Physical media sales still account for a lot in Japan. Do you think there’s any potential for physical media sales in the global market?
I do. We’re now exporting CDs and vinyl records of the Japanese versions of albums by the Beatles and the Rolling Stones to the U.S. and the U.K. I think there’s more demand for physical media. Fujii Kaze, Joe Hisaishi and Ado have toured the U.S. in the last year, selling out large venues and arenas and as discovery and demand grows, there will hopefully be opportunities to reach those fans with physical media too, like K-Pop artists have experienced.
In July, the Ministry of Economy, Trade and Industry released its Report on Music Industry Business Models for a New Era. Do you think that collaborations with the national government are going to be accelerating going forward?
In April, as a member of the music industry, we gave a presentation to the LDP’s Special Committee for the Promotion of the Cool Japan Strategy. We want to keep on taking on new challenges, and working together with diverse artists, so it’s very reassuring to know that people in various positions are supporting the sharing of Japanese talent and culture with overseas audiences.
Japanese anime and games have achieved some degree of market share worldwide, but for music, there’s still a long way to go. What challenges do you think the Japanese music industry still faces?
Maintaining a high level of originality. There’s no substitute for ONE PIECE. There’s no substitute for Jujutsu Kaisen. There’s no substitute for BTS. It’s extremely important that you can’t just swap out an artist or collaborate with someone else to make a hit. K-pop has an originality, such as in its group choreography and visuals, that transcends language barriers to move people’s hearts. That’s why carbon copies of BTS or NewJeans fail.
Another key challenge in localization is communicating with fans in various languages, including English. I think that an important part of globalization is close coordination not only inside the company but also with overseas promotion and creative teams. At UMG, one of the core strengths of the company is that it has huge global reach. Offices in sixty countries and all of our markets and business units work in unison to create the best possible environment for artists and projects to succeed.
BTS changed their name from Bantang Sonyeondan to BTS. They made music for the Japanese market, and they made English songs. Step by step, they expanded their reach and audiences, and built a loyal army of fans around the world.
There is no single formula for achieving success for an artist. Instead, I think you’ll now see a lot of different paths to reaching that level. For example, Fujii Kaze’s first wave of global recognition was in Thailand, before catching on in other markets. There are always a lot of different potential scenarios, and it’s important to take immediate action whenever you see the seeds of a future hit starting to sprout.
One last question: Which do you think constitutes a hit, a song that 100 people listen to 100 times, or a song that 10,000 people listen to one time?
This might seem like cheating, but both. We live in an age where there is no single standard of value—not just in music, but in many areas. As far as whether a CD that 100 people each bought one copy of could be called an equal hit as a CD that one person bought 100 copies of, I don’t even know myself.
I’ve asked a lot of different people this same question, and most people who work in record companies or management pick “100 people listen 100 times.” But when I ask people in the media, most pick “10,000 people listen one time.” I think it’s fascinating how people have the same shared understanding of actual hit songs, but this gap when it comes to the actual definition of a hit.
That is interesting. If I can ask you a question, then, do you think if the sensibilities of music companies and the media were better aligned, it would result in bigger hits being made?
Hmm, I’m not sure. I think for each artist there are times when they’re listened to one time each by 10,000 people and other times when they’re listened to 100 times by 100 people.
I agree completely.
—This interview by Seiji Isozaki and Naoko Takashima first appeared on Billboard Japan
The Japan Culture and Entertainment Industry Promotion Association (CEIPA) has announced the launch of a new music award called MUSIC AWARDS JAPAN, with the inaugural event set for May 22, 2025, at the Rohm Theatre Kyoto.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This award will recognize more than 60 categories, led by the six major ones including Song of the Year and Artist of the Year, for works and artists that have been popular from January 29, 2024 to January 26, 2025. Candidates will be automatically selected using objective metrics linked to data from Billboard Japan and more. Five nominees will be selected from these candidates by domestic voting members, and the award winners will be decided from among the nominees through a rigorous selection process by domestic and overseas voting members.
The categories include genre-specific ones including J-pop, hip-hop and idol culture, special categories such as dance performances, music videos, Vocaloid culture and DJing, and global categories by regions such as Asian countries and Europe. The best work and artist will be revealed at the awards ceremony on May 22.
Trending on Billboard
The voting members consist of around 5,000 music industry professionals from various fields, including artists, creatives, managers, recording directors, engineers, promoters, music video directors, music distribution businesses, dealers, distributors, music critics, writers, media, music publishers, judges of overseas music awards, plus creatives, promoters, and music distribution businesses based overseas. There will also be a category inviting votes from general music listeners.
“Post-COVID, the way we enjoy entertainment as a whole has changed,” says CEIPA’s Chair of the Board Shunsuke Muramatsu, who believes that with the recent wave of digitalization, global success and possibilities are expanding within the music industry. “We have seen that the way hit songs and artists emerge has changed with the growth of the digital landscape and the increasing popularity of streaming services. Having witnessed a rapid, borderless connection to the rest of the world, we are now focused on supporting young, talented Japanese creators through an awards show with a global reach.”
The five major organizations in the Japanese music industry — Recording Industry Association of Japan, Japan Association of Music Enterprises, the Federation of Music Producers Japan, Music Publishers Association of Japan, and All Japan Concert & Live Entertainment Promoters Conference — have transcended boundaries to collaborate with the global music industry to establish this award, which is based on the concept of “connecting with the world and lighting the future of music.”
The awards show is said to be an “Asian version of the Grammy Awards,” as Commissioner Shunichi Tokura of the Agency of Cultural Affairs has said in the past. “We established the awards as a way to increase interest in Japanese music and to have Japanese music heard globally,” Tatsuya Nomura, board member of CEIPA, explains. He notes that CEIPA will also focus on promoting the awards outside of Japan. “Additionally, we will also promote the awards in other Asian countries and the world through terrestrial broadcasting stations, livestreaming on YouTube, news coverage, and more.”
Nomura says the awards will also provide an opportunity to celebrate the achievements of overseas artists and bring more attention to them. “The Japanese music market has traditionally been economically viable only within Japan. I believe it is necessary to change this and cultivate a global mindset among artists. Japanese artists are becoming increasingly active abroad, which we will continue to support. At the same time, we aim to establish categories that focus not only on K-POP (which is highly popular in Japan) but also on Western and other Asian music. As a result, there is a possibility that artists from around the world will be honored at MUSIC AWARDS JAPAN.”
The MUSIC AWARDS JAPAN ceremony on May 22 is also set to be broadcast live on terrestrial TV. The event will also be streamed worldwide via YouTube (excluding some regions). MUSIC AWARDS JAPAN week will take place Saturday, May 17 through Friday, May 23, and there will be seminars and showcases by people involved in the music industry from Japan and overseas during this period.
MUSIC AWARDS JAPAN 2025 KYOTO
Date of Ceremony: Thursday, May 22, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Live broadcast on terrestrial TV and global livestream on YouTube scheduled (some regions excluded)
Eligible Works & Artists
Works and artists popular from January 29, 2024 through January 26, 2025 (regardless of release date, including older works)
Awards: More than 60 categories planned including the six major categories
Six major categories: Best Song, Best Album, Best Artist, Best New Artist, Best Global Song, Best Asian Song
Awards
Song of the Year: Domestic and international songs are eligible.
Album of the Year: Domestic and international albums are eligible.
Artist of the Year: Domestic and international artists are eligible.
New Artist of the Year: Domestic artists are eligible.
Top Global Hit from Japan: Honors domestic songs that have become hits around the world.
Best Song Asia: Honors Asian songs that have become hits around the world.
Voting Process
Candidates will be automatically selected using objective metrics linked to data from Billboard Japan and more. Five nominees will be selected from these candidates by domestic voting members, and the award winners will be decided from among the nominees through a rigorous selection process by domestic and overseas voting members.
Voting Members
Voting members will consist of around 5,000 artists, creatives, managers, recording directors, engineers, promoters, music video directors, music distribution businesses, dealers, distributors, music critics, writers, media, music publishers, judges of overseas music awards, plus creatives, promoters, and music distribution businesses based overseas. The nominees and award winners will be selected and honored through a rigorous voting process by these members. There will also be a category with a different selection process.
About CEIPA
Japan Culture and Entertainment Industry Promotion Association (CEIPA)
President: Tatsumi Yoda
Chair of the Board: Shunsuke Muramatsu (President, The Recording Industry Association of Japan)
Deputy Chair of the Board: Takeo Nakanishi (President, All Japan Concert and Live Entertainment Promoters Conference)
Senior Board Member: Hideichi Kurita (Vice President, Music Publishers Association of Japan)
Board Members: Masatomo Takito (President, Japan Association of Music Enterprises), Tatsuya Nomura (President, The Federation of Music Producers Japan), Yutaka Inaba (President, Music Publishers Association of Japan)
CEIPA Members: Japan Association of Music Enterprises (JAME), Federation of Music Producers Japan (FMPJ), Music Publishers Association of Japan (MPA), All Japan Concert and Live Entertainment Promoters Conference (A.C.P.C.), Recording Industry Association of Japan (RIAJ)
At Travis Scott’s Circus Maximus show in Sydney, Australia, on Oct. 18, fans were treated to a massive surprise when The Weeknd, who also happened to be in the country, joined him on stage for four of their collaborative tracks.
Explore
See latest videos, charts and news
See latest videos, charts and news
Scott had teased the surprise during his first Sydney show on Oct. 17, telling the crowd, “I’m gonna see my friend tomorrow morning and see if he can get on the stage. I was trying to get him today.”
He then performed “CIRCUS MAXIMUS,” a track featuring The Weeknd, fueling the excitement for night two.
Trending on Billboard
Both artists also dropped cryptic videos from Sydney’s iconic Luna Park before the performance. The park’s enormous, illuminated face at its entrance bears an uncanny resemblance to the imagery from Scott’s ASTROWORLD—a carnival vibe that’s been a major part of his branding. Fans quickly caught on, adding to the buzz that something big was brewing.
True to his word, The Weeknd made his appearance on stage the following night (Oct. 18), performing alongside the rapper for an assortment of their numerous collaborations together, including, “CIRCUS MAXIMUS,” “Pray 4 Love,” “SKELETONS,” and “WAKE UP.”
The pair’s long-standing collaboration and chemistry were evident as they lit up the stage, much to the crowd’s delight. Scott introduced The Weeknd to the audience as “the greatest of all time.”
“This man right here gave me my first arena tour ever,” Scott told the audience of the Weeknd. “If it wasn’t for him, I probably wouldn’t be on this stage right now.”
Scott’s Circus Maximus Australian and New Zealand tour continues through Oct. 31, with a final show in Auckland, New Zealand. After wrapping up his tour Down Under, Scott and his Cactus Jack crew are set to take over Complexcon in Las Vegas on Nov. 17.
The rapper’s Circus Maximus tour continues to break records, following the global success of Utopia, which debuted at No. 1 on Billboard 200 chart, earning 496,000 album-equivalent units (including 252,000 in pure album sales) in its first week.
Meanwhile, The Weeknd is in Australia for his After Hours Til Dawn tour, with upcoming shows at Sydney’s Accor Stadium on Oct. 22 and 23. This marks his first return to Australia since 2017, with fans eagerly awaiting his next album, Hurry Up Tomorrow, which has already teased singles like “Dancing in the Flames” and “Timeless.”
“I feel a strong pull to perform in Australia before moving on to the next chapter and want to make sure you all know I hadn’t forgotten about you,” The Weeknd said in a statement announcing his new Australian tour dates back in August. “When I return now, it will be the right time, and I promise it will be such a special experience. I can’t wait to see you all!”
Mike Dean, Chxrry22 and Sydney’s own Anna Lunoe are currently supporting The Weeknd on the four Australia dates.
Check out The Weeknd’s surprise performance with Travis Scott below.
RADWIMPS frontman Yojiro Noda took the stage at Tokyo Garden Theater for his first concert as a solo artist under his real name on Sept. 27. This show, aptly entitled “Yojiro Noda welcomes you to WONDER BOY’S AKUMU CLUB,” marked the release of the album by the same name — WONDER BOY’S AKUMU CLUB — and treated fans to a glorious evening with guest acts kZm, Awich and iri.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The 39-year-old hitmaker had previously teamed up with each of his guests, with rapper kZm — pronounced Kazuma — collaborating on “EVERGREEN” off Noda’s solo album, and rapper Awich and singer-songwriter iri collaborating on “SHIWAKUCHA” and “Tokyo,” respectively, off RADWIMP’s album FOREVER DAZE from 2021.
Noda’s solo project had dropped two days before the show, meaning the people who came that evening were die-hard fans who bought tickets before they knew the full scope of his album. His followers probably also knew that he had recently been leaning into hip-hop. So while not too concerned about the potential difference in level of interest in the audience, it was interesting to see how Noda’s fans, who knew him as the face of a veteran J-pop band, would react to the rappers opening the event. But the crowd clapped eagerly along to the first track kZm performed on stage, “Aquarius Heaven,” and the excitement was even greater than expected.
Trending on Billboard
“Most of you probably don’t know me, but I’m kZm, a rapper from YENTOWN,” the MC introduced himself after finishing his performance of “Aquarius Heaven.” The 30-year-old rapper went on to explain that he’d only listened to hip-hop before discovering RADWIMPS when he was in junior high, and that he’d been a fan of the band ever since. He told the audience that Noda had been a kind senior artist and friend ever since they’d gotten to know each other, and was met with a cheer from the crowd when he noted, “I heard Yo-chan would be going on stage by himself today, so I came to support him.” kZm’s respectful monologue showed a sign of respect for Noda and his effort to make this a special evening. From there, the rapper gave a solid performance, with the audience cheering from the intro to “DOSHABURI” and the excitement continuing throughout the set, right up to the last song, “Sakebi,” which he said was one of his favorites.
Next up was Awich, who got the crowd jumping from her first track, “Remember (Solo ver.).” After finishing “Are you serious?,” the theme song for the Netflix series The Queen of Villains, she introduced herself, also saying, “I imagine a lot of people here are seeing me for the first time.” The 37-year-old rapper went on to explain that she is also a member of the hip-hop collective YENTOWN, like kZm, who introduced her to Noda. She said she wrote a song with the RADWIMPS singer and asked to take part in the band’s arena tour in 2021, and the experience of touring the country helped her mentally prepare for her own headlining concert at the prestigious Nippon Budokan in 2022. “(Noda) leads us and I’m truly grateful for his generosity,” said Awich. The “Bad B**** Bigaku” MC, who has since broken out of the rap scene and is now active in a genre-bending way, had full control over the room as she ran through a fierce set from “Kakurembo” (Hide and Seek), performed after mentioning that RADWIMPS have a song of the same name, up to the last song, “LONGINESS REMIX (Soo ver.).”
The final guest, iri, performed a short-but-sweet set consisting of “friends,” the four-to-the-floor number ideal for large venues, the similarly danceable “Corner,” and “Wonderland,” which got the crowd raising their hands in unison. The compact set showcased iri’s smoky voice and her breezy performance captivated the audience. “Yojiro-san’s album is so cool and I was talking with DJ TAAR about how amazing it is,” the 30-year-old singer said, her words brimming with respect for Noda. “So cool that I’ve been really looking forward to his show, and I’m really grateful to be able to sing like this at such a fabulous time.”
The current Japanese rap scene has gained wide popularity as a new youth culture, and since both Awich and kZm are stars of the genre, it feels somewhat uncomfortable highlighting “the band scene” and “the rap scene” as if they are incompatible. But to be honest, the impression is that while it does happen underground, in the mainstream, bands and hip-hop artists in Japan still have a long way to go in coming together in a notable way, as can be seen from the fact that the number of street-born rap acts appearing in mainstream rock festivals not being that high. So from that standpoint, it might be fair to say that the enthusiastic way the audience welcomed the three guest acts at Noda’s show without making them feel out of place was something special.
The “Grand Escape” artist made this possible because he had approached the rap scene early on in his career. WATTER, the DJ who supported Noda during his headlining solo set, is an artist close to 5lack, a rapper featured on Noda’s “Hilight” released under the name illion in 2016. The “Zenzenzense” hitmaker’s strong curiosity and love for music and people, evident from such works as “TIE TONGUE (feat. MIYACHI & Tab Zombie)” from 2018 and “DAI-DAN-EN (feat. ZORN)” from last year, were an important backdrop to this precious night.
Yojiro Noda
Takeshi Yao/Billboard Japan
After the fine opening performances by his three guests, Noda appeared onstage for the main set. As this was his first concert as solo artist Yojiro Noda, the audience didn’t know if he’d be performing with a live band or DJ until that day, but as mentioned above, he took the stage with WATTER for a DJ set, which at that point promised something novel. From the time the venue opened, there was a space surrounded by a gauze curtain in the center of the stage, and Noda kicked off his set with “SHEETA” from within that space. A team of dancers performed theatrical choreography inside and outside the gauze curtain, creating a mysterious atmosphere. These dancers were members of choreographer Seishiro’s team, and they also appear in the music video accompanying RADWIMPS’ “NINGEN GOKKO” from 2022. The concert was clearly being supported by the creatives that Noda had built relationships with over the past few years, just like Awich and iri.
At the end of the vintage soul-tinged performance of “PIPE DREAM,” Noda emerged from behind the curtain and finished the song by playing the piano. “Please give a big round of applause to the three guest artists, kZm, Awich and iri,” said the singer-songwriter, and elicited huge cheers from the crowd by asking, “I want to make this a party where we can all savor this brand spanking new album together. What do you say?” The five-stroke-roll dance beat of “PAIN KILLER” showcased the compatibility with kZm’s raps, and Noda showed off his own clever flow in “PEACE YES,” not to be outdone by the rappers. Hip-hop-like elements were incorporated in the staging as well, with the screen behind the singer highlighting a section of the lyrics of the track by visually sampling the cover art for the album RADWIMPS 4 that has the song with the same word (”Iindesuka?”) as the title. The breadth of his melodies is also worth noting, as evident from the way he built up a celebratory mood by putting a gospel chorus together with breakbeats on “HOLY DAY HOLY” and created a melancholic ambience on piano for “KATATOKI,” his collaborative track with Atlanta rapper J.I.D.
Yojiro Noda
Takeshi Yao/Billboard Japan
“Before, I thought that if I were to do a show as Yojiro Noda, I’d be doing something completely different, like playing by myself, or with a band, or with an orchestra. But I made songs mainly using beats this time and was really worried,” Noda opened up to the crowd. “Right now I’m so incredibly happy that everyone’s listened to the album and my favorite musicians are supporting me. Thank you for coming.” After expressing his gratitude, he mused, “Since kZm is here, we have to do this one,” and the rapper came back onstage to perform the remix version of their collaborative number “EVERGREEN” together. The two artists’ well-coordinated performance set to the anthemic track was one of the biggest highlights of the day. Noda then performed “STRESS ME” featuring rap verses over a post-trap beat, and sat on a sofa to sing “BITTER BLUES,” which vividly conveys his current, genuine sentiments. The team of dancers appeared again for “WALTZ OF KARMA,” followed by the introspective “HAZY SIGH,” and the memoir-like mood of the solo work was faithfully recreated in the show.
During the second half of his set, he expressed his gratitude to HOLLY, the producer/beat maker from Portugal who had been DMing beats to Noda for several years and had motivated him to make his solo album. He then thanked the audience again, saying, “Standing here today, I felt like I can continue my musical journey from now on. Thank you, I owe it to you.” The stage then floated up into the air to the intro of “HYPER TOY,” and Noda sang the lyrics “We’re Wonder Boys on a runner’s high” over an exuberant hyper-pop track featuring the most electric guitar in the album, like the Wonder Boy he clearly was. Before the last song of the main set, he said, “I’m a little embarrassed, but can I sing this song for the finale?” and went on to sing “LAST LOVE LETTER,” which is also the last track on the album, and closed his first solo concert by communicating his love through the lyrics: “If we were to meet, could it be now? Cause I don’t think can wait any longer.”
Yojiro Noda
Takeshi Yao/Billboard Japan
The excited crowd wanted more, of course, but the singer had performed all 13 tracks off the album, and there was no mention of an encore in the set list that had been distributed to the press. However, Noda appeared on stage after a brief break. He sat down at the piano and touched on the news from that day that Sayuri, a singer-songwriter that he had written and produced a song for in the past, had passed away. He chose the song he had written for her, “Furaregaigirl,” for the encore, and sang through to the end while tearing up during parts of his performance. He finished his concert with the words “Thank you, Sayuri,” and the venue resonated with heartfelt applause.
—This article by Atsutake Kaneko first appeared on Billboard Japan
Meet RIWOO
Image Credit: JoongSan Yang
“When we learn the choreography for the first time, we usually learn choreography that is almost complete, but I feel like we have to include our own style,” RIWOO says of his creative specialty in the group. “If our members want to show something, I want to make sure we can express it and edit it a little so that it’s more BOYNEXTDOOR.”
BOYNEXTDOOR‘s latest single, “Nice Guy,” begins with the K-pop group crooning, “Don’t be such a wuss, Seoul is mine tonight/ Let’s rizz up all night” for a synth-pop anthem of declarative self-confidence. While it seems like a stark contrast from “Dangerous,” the rebellious pre-released buzz single about teens pushing curfew which kicked off the group’s 19.99 album, it all connects into BOYNEXTDOOR’s multifaceted world of limitless freedom and friendliness.
With less than a year and a half since their debut, Billboard’s K-Pop Rookie of the Month for October 2024 is seeing its message reaching audiences worldwide. 19.99 scored BOYNEXTDOOR’s first No. 1 on Billboard’s World Albums chart and top 40 entry on the Billboard 200, while the group has performed on festival stages in South Korea, Spain, Japan, Hong Kong, and the United States. The sextet has modeled for Korea’s most prominent brand, Samsung, but is also the face of Japan’s popular casual clothing brand, WEGO, and has competed for best new artist recognitions at the MAMA Awards, iHeartRadio Music Awards, Asian Pop Music Awards and beyond.
During a weekend morning interview and photoshoot with Billboard in Seoul, any understandable tiredness from BND takes a back seat as members Jaehyun, Sungho, Taesan, Riwoo, Leehan, and Woonhak excitedly emphasize their desire to connect with audiences through authenticity rather than just chart placements and awards. “Rankings aren’t everything,” Taesan says in the Zoom call. “Our priority is really talking about what we want to and conveying that to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud.”
Trending on Billboard
Those themes are present in the narrative structure of 19.99, which is grounded in the guys’ real-life experiences. Without fixed roles within the group, BOYNEXTDOOR pride themselves on a collective creativity, where members can contribute across different areas like music, storytelling, choreography, stage direction and more. While half the group is credited as lyricists, and Riwoo added personal touches to their new choreographies, 19.99 has the DNA of all six stars divided throughout the EP.
That philosophy of artistic expression and prioritizing personal experiences and creativity over external pressures feels like a founding block of BOYNEXTDOOR’s label KOZ Entertainment, founded by boy band member-turned-chart-topping soloist-producer ZICO, that’s housed in the HYBE LABELS system. While ZICO has been a presence on the Billboard charts for over a decade (earning his first No. 1 on a U.S. sales chart earlier this year), BOYNEXTDOOR says his mentorship and tips have been crucial to the group’s impressive and quick takeoff.
“He always told us that you have to have a really good attitude and be cautious of how people would see you,” eldest member Sungho says of their mentor. “He always cared so much for us and gave us a lot of advice even before we debuted.”
With BOYNEXTDOOR’s first tour on the horizon and a growing global fanbase awaiting the group’s next steps, the “Nice Guy” singers remain ambitious to make Seoul — and every other city — their own by doing it their way. Read more on BOYNEXTDOOR’s story as the next group to watch as Billboard’s K-Pop Rookie of the Month for October 2024.
Congratulations on the latest chart success with 19.99, BOYNEXTDOOR! Do you feel the impact and that you’re growing your audience overseas?
TAESAN: Yes, we feel like more and more people are starting to like and enjoy our music, which we are very happy about. But you know, grades and rankings aren’t everything; grades aren’t our priority. Our priority is really talking about what we want to convey to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud and gives us the confidence to stride forward.
19.99 starts a very different musical chapter from your previous trilogy of EPs. What are some of the differences between your past releases and this project?
SUNGHO: So, I think the “First Love” trilogy [the Who!, Why.., and How? EPs] was a big narrative that we had and tried to follow. When we were recording, creating and on stage, we tried to follow the overall kind of narrative and scenario that we had for the trilogy. But after that, with 19.99, rather than going with a narrative, this was an album where we really infused our experiences and the members’ stories. What we experience in our daily lives and what we go through is really infused in the tracks.
So, when we were recording or on stage, we felt like we were speaking our own language and just talking about what we experienced as boys. Even when we were performing, I think we focus more on our individual style and vibes… it’s more grounded and more heartfelt this time around. We paid more attention this time.
How do you express your stories? Is it sharing your experiences with each other? Writing lyrics? The concepts? Performing on stage?
JAEHYUN: I think my answer to that is really all of the above. It really starts at the very beginning of the creative process: we discuss a lot about what we want to talk about in the songs and in the album, so I think that naturally infuses into the songs — both in the songwriting and performance. So, we would talk a lot with the performance director and the music producers so that we could add our input into the lyrics and the overall concept of the performance as well. So, yeah, I think it’s all parts of what you brought up.
I see BOYNEXTDOOR as having a lot of freedom. There are no fixed positions within the team. Does that freedom allow you to be more creative, or is it difficult to balance that in a group dynamic?
TAESAN: As JAEHUYN said earlier, we are very heavily involved in the creative process; we have a big say. And as you said, we have a lot of freedom. Instead of thinking of that as a stress factor, we enjoy it because it gives us the freedom to be more creative and I think we’re even more eager to participate more in the creative process. So, rather than finding it difficult, I think it’s our fate to make these stages.
Even from your teaser videos, “friendliness” feels like a keyword for BOYNEXTDOOR. On one hand, artists who are so friendly can come off as less mysterious and intriguing. Do you have ideas or methods for bridging that gap?
JAEHYUN: I guess the secret lies in our music. So while we are friendly as people, our music can be mysterious; people can always wonder what’s coming next. You said that the name BOYNEXTDOOR is a very “friendly” name, but you never know who’s living next door. That boy might be a hip-hop lover, that boy might be a rock lover or love ballads. So, I think there is an air of mystery to that name as well. So, we kind of have both.
You deserve a lot of credit because not many rookies can say that and it feels like you’re sharing even more on 19.99. Can you share more about the title and what the EP represents?
WOONHAK: The six of us talked about what kind of album we wanted to make and what kind of music we wanted to do…
TAESAN: The producer asked us to talk about how we felt about our 20s one by one — [asking] “What was it like for you?” or “What do you expect from turning 20?” — and we gradually came up with the theme. After we came up with the theme of the number “20,” we discussed what kind of stories each of us wanted to incorporate into the album. JAEHYUN, WOONHAK and I actually wrote the lyrics based on that. We tried to capture 20 as much as possible in our own way.
When it comes to 20, the youngest member of BOYNEXTDOOR, WOONHAK, will soon be turning 20. Have your members shared any advice for you?
WOONHAK: So, instead of giving me advice directly in words, I think I just learned from them vicariously and naturally. Seeing them, I can understand that there are certain things that people don’t see or understand because I’m underage, you know? They recognize when I tell them I’m facing certain challenges and say, “That’s okay.” But when I do turn 20, there will be more responsibilities as an adult — and I see that through our leader JAEHUYN, our oldest SUNGHO, RIWOO, as well as TAESAN and LEEHAN. So, I think I kind of learn by looking at how they behave and take on different tasks. They continue to teach me a lot.
Along with JAEHYUN, TAESAN, and WOONHAK’s songwriting, how do you all collaborate creatively?
JAEHYUN: Although there are just three of us in the album credits, I think it really should be the six of us together because we talk a lot amongst ourselves and are sources of inspiration to each other. So, we would talk to other members and gain insight from their experiences and stories. So, all six of us are actually involved in the creative process.
SUNGHO: While JAEHYUN, TAESAN and WOONHAK are involved in the songwriting, in terms of the stage, RIWOO is really involved a lot in terms of the stage; when we actually go perform, he can lead the crowd. When we need to rehearse, we practice together under RIWOO’s guidance. He even creates and organizes the setlist and has a lot of input and ideas about the setlist. RIWOO is the one who has the most to say about our performances; each of us has such different personalities and individual styles, but RIWOO is the one who kind of becomes the anchor to help us combine and blend together as a group.
RIWOO: When we learn the choreography for the first time from choreographers, we usually learn choreography that is almost complete, but I feel like we have to include our own style into it and tweak it a little bit to make sure that it really fits our own style and not the choreographer’s style. From facial expressions to gestures and movements, I personally think about it a lot. If our members want to express something, I want to make sure we can express it and edit it a little so that it’s more BOYNEXTDOOR and our style.
Talking about stage performances, you recently announced your KNOCK ON Vol.1 tour. What are you preparing for your first tour? Do you think you’ll have more “volumes” or dates beyond Asia?
JAEHYUN: Our first concert is in the planning process, but there are a lot of stages and performances that we’ve saved for the concert. The stages that you’ve wanted to see and the performances that you wanted us to do, we’ve been saving them all to show you at our first concert so I think there will be a lot of stages that our fans, ONEDOOR, will really like.
LEEHAN: We’ll go anywhere. We’re willing to fly to anywhere where ONEDOOR exists. And we hope there are many more opportunities going forward to share these great times with ONEDOOR.
Do you have any worries ahead of the tour?
TAESAN: There will inevitably be some challenges because it’s our first concert and first tour, but I think we need to focus on how to overcome those difficulties. But I think what’s always on our mind is our next step forward — what we’re going to talk about in our next album.
I recently met with ZICO, and he spoke so affectionately about you. Do you notice that affection or is this his everyday self? Any fun stories you can share about your time with him?
SUNGHO: We actually noticed his affection ever since when we were trainees. He was always very worried about us. He always cared so much for us and gave us a lot of advice. Even before we debuted and after our debut, when we became “professionals,” he always told us that you always have to have a really good attitude and be cautious of how people see you. But the difference between the days when we just debuted and now is that in the early rookie days, he would try to really help and assist us in all kinds of ways. But now I think he really respects us as professionals and that we have our own way of communication and style. And then when he thinks we need help or if there are parts where he can help us, he will kind of jump in. I don’t really remember any specific anecdotes to share…
WOONHAK: I actually do remember one! He said, “I regret taking really bad selfies.” [All laugh.] So, we should really make sure that we take nice selfies.
JAEHYUN: My father! There are so many funny moments. Recently, ZICO has been telling me to show him some aegyo, like doing something cute or adorable, because he said that JAEHYUN as a trainee and JAEHYUN as a member of an idol group is really different. So, he wants me to show him those aegyo moments like I do with ONEDOOR, but for him. So, he’ll kind of tease me, telling me, “Can you show me some aegyo?!?” [Laughs.]
Any other messages you want to share with international fans or Billboard readers at this time?
JAEHYUN: Thank you for loving our tracks. I’m happy to see our songs on the Billboard charts and I hope you all keep loving them.
TAESAN: Please stay tuned for our tour and our concert. I hope that we’ll have more opportunities to go to other continents and other countries as well!
WOONHAK: Love you!!!
As the last rays of sunlight illuminated the facade of CasaSur Palermo Hotel on Wednesday night, the first fans began to arrive. News spread like wildfire on social media: Liam Payne, former member of the boy band One Direction, had died after falling from a third-floor hotel room. The shock was immediate, and within hours, dozens of followers gathered at the makeshift shrine in front of the place where the 31-year-old British singer met his tragic end. Buenos Aires, the city that embraced him in life, was now bidding him farewell in death.
Payne, one of the voices that defined a generation of pop music, had arrived in Argentina to attend former bandmate Niall Horan‘s concert at the Movistar Arena, amid a resurgence of fame following his recent solo musical projects. However, no one could have imagined that this trip would become his final goodbye. The fateful fall from his hotel room left his followers engulfed in collective grief, which most are trying to process from the sidewalk on Costa Rica Street, where candles, flowers and letters have filled the scene.
Trending on Billboard
A vigil that never ends
“I can’t process it; I’m still in shock. He was a fundamental part of my childhood, he meant everything to me,” says 22-year-old Martina, one of the first fans to arrive at the makeshift shrine. With a trembling voice, she recalls the moment she first heard the British band: “I was in the car with my dad when I heard ‘What Makes You Beautiful’ for the first time, and from that day, I never let them go. From that moment on, their music became an essential part of my life. Every song accompanied me through different stages, from happy moments to the hardest times. It was as if they always had the exact words for what I was experiencing,” she continued. “One Direction was much more than a band for me; they were my refuge.”
The area in front of the hotel transformed into a space of catharsis for Payne’s followers. The pain is palpable, but so is the sense of camaraderie. Twenty-five-year-old Felicitas, wearing a Harry Styles shirt, arrived with flowers to pay tribute: “When I found out, I couldn’t process it. I felt like the world stopped for a moment. Everything he had meant to me crumbled in seconds. The idea that someone so present in my life was no longer here was devastating,” she says, tears streaming down her face. Like her, dozens of young fans gathered to remember the singer’s life, singing his songs and sharing anecdotes that connect them to the British artist.
Billboard Argentina
The Impact of His Death
Payne’s sudden death shook the entertainment world, especially among One Direction fans who had grown up listening to their songs. The group, formed on The X Factor in the U.K. in 2010, quickly became a global phenomenon. Their music became the soundtrack to the adolescence of millions of young people worldwide. According to Spotify, One Direction has more than 40 million monthly listeners on the platform, even years after their breakup. Songs like “What Makes You Beautiful” and “Story of My Life” continue to be anthems defining a generation.
Twenty-three-year-old Ludmilla explains it succinctly: “Every song was part of our story, a reflection of what we were living. They helped us feel understood, find comfort, and above all, connect with each other. They were not just a band; they were the thread that united us and accompanied us as we grew and discovered the world.”
The latest police report revealed disturbing details about the state of the room where Payne died. According to sources, pills, a nearly empty whiskey bottle, and other substances suggesting possible drug abuse were found. Investigations are ongoing, but these details have added another layer of tragedy to an already painful loss. The exact circumstances of his fall remain a subject of debate, but for the fans gathered at the shrine, the details matter less than the void he left behind.
The vigil on Costa Rica Street continues. Television channels broadcast live, but for the young women who remain there, the focus is on remembering the good times and bidding farewell to their idol with the music that united them. “I don’t know how I’m going to get through this,” says 25-year-old Candela, a Chilean fan living in Buenos Aires. With a notebook in hand, she wrote a letter now resting at the makeshift altar alongside flowers and photos. As the candles burn low and the noise of the city begins to envelop the scene once again, the words of one fan resonate in the air: “With his absence, he took a part of our existence.”
Billboard Argentina
On Thursday (Oct. 17), Tencent Music Entertainment Group announced a strategic partnership with Galaxy Corporation, the agency representing the influential global musician G-Dragon, for his upcoming regional tour.
The collaboration marks a significant step forward in TME’s ambitions to expand its global presence and further solidify its position in the international music scene. As part of this agreement, TME will act as the proprietary tour partner for G-Dragon’s concerts across various markets, including most of Southeast Asia, the Middle East, Hong Kong, Macao, Taiwan, Australia and New Zealand.
Speaking at the signing ceremony, TC Pan, group vice president of Tencent Music Entertainment, highlighted the importance of this partnership. “Collaborating with a renowned global musician like G-Dragon aligns perfectly with TME’s vision of connecting international audiences with exceptional music experiences. This partnership not only strengthens our presence in the global market, but also underscores our commitment to empowering music partners and artists to reach their full potential on the world stage.”
Trending on Billboard
Yongho Choi, CEO of Galaxy Corporation, also shared his enthusiasm. “We are delighted to partner with Tencent Music Entertainment, a global entertainment-tech company listed on NYSE and the Hong Kong Stock Exchange. Building on this strategic partnership, we plan to integrate AI, AR, mixed reality, and robotics into entertainment to create a new kind of concert experience for global audiences.”
TME has been making efforts to broaden its international footprint through a range of initiatives like its Global Music Outreach program, which seeks to showcase Chinese music artists on international platforms and facilitate cross-border collaborations. It also operates the JOOX streaming service in Southeast Asia.
With this strategic partnership, TME aims to elevate G-Dragon’s overseas tour experience by expanding its reach and providing fans with new opportunities to connect with his music and brand, while reinforcing TME’s growing influence in the global music industry.
VivaOla, an R&B artist born in Korea and raised in Tokyo, released his second full album, APORIE VIVANT, in March. His progressive style, inspired by Bryson Tiller’s album Trapsoul, has generated a great deal of buzz, and he recently released a new song, “RIGHT/WRONG,” which features Jimmy Brown, a globally active R&B artist based in Korea. This is the second collaboration between the two, following Jimmy’s 2022 song “bag on you,” on which VivaOla appeared. The borderless style of “RIGHT/WRONG,” with lyrics switching between English, Japanese, and Korean, embodies today’s music environment, where music has global reach.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Billboard Japan had the opportunity to talk to these two artists, whose roots lie in R&B but whose creativity crosses genre lines and national borders.
Trending on Billboard
To start off with, VivaOla, could you introduce Jimmy Brown?
VivaOla: Jimmy’s an artist based in Korea who releases songs in English, with an eye toward fan bases in North America and Europe. He’s been a part of the global R&B scene for a while now, so I’d known about him for a while, but a shared Korean acquaintance of ours put me in touch with him. In 2022, I was a featured vocalist on his song “bag on you,” which I recorded remotely, without ever meeting him in person. We finally met for the first time at Shibuya in August 2023, when he came to Japan on vacation. I grew up listening to R&B from the 2000s and the 2010s, and I could feel that same musical influence in his vocals and songs. His music really resonated with me, and when I found out later that the “Brown” in Jimmy Brown came from Chris Brown, one of his favorite R&B singers, it made perfect sense.
Jimmy Brown: Thank you. I think VivaOla’s appeal lies in his beautiful singing voice. When I was working on “bag on you,” I knew that it would be a great song if I could get his voice on it, so I asked him to be a featured artist. The song was positive to begin with, but his addition increased those vibes, and I love how the song came out.
VivaOla: I work a lot with Kenya Fujita from Bleecker Chrome, who appears as a featured artist on my new album, APORIE VIVANT, and he was also talking about how he had to “catch the vibes.” It made me realize, again, that it’s more important to catch that vibe rather than the sound or style of the song. In “bag on you,” money represents love. Money’s a sensitive topic that I handle in my own works, too. I used a lot of trial and error in writing “bag on you,” and I was able to tie it all together with the message of loving someone so much you want to give them everything, even if you don’t have any money. I’m glad that Jimmy and I were able to arrive at that same message.
Tell us how you went from collaborating on “bag on you” to, two years later, featuring Jimmy on your own song with your second collab, “RIGHT/WRONG.”
VivaOla: For me, 2022 was a year of collaborations, but out of the many I did that year, “bag on you” was my favorite, in terms of the mix, the lyrics, and the vibe. Following the release of APORIE VIVANT, I’ve written a lot of songs with producer Kota Matsukawa (founder of creative collective and label w.a.u). I knew one of the songs would be even better if we had a featuring artist, so I consulted with Kota about who we should go with, and we were like “Jimmy Brown would be great, wouldn’t he?” After releasing “bag on you,” I’d met Jimmy in person and gotten a feel for what a wonderful person he was, so I wanted him to collaborate with me on one of my own songs. My songs are about all kinds of topics, like our internal struggles, but the theme of this new song with Jimmy was straightforward: love. Kenya and I worked on the songwriting together, and we both talked about how we wanted to write a song that would excite Jimmy.
In “bag on you,” Jimmy depicts love in a positive way, but “RIGHT/WRONG” feels more in line with your style, VivaOla, not necessarily depicting love as always positive.
VivaOla: Right, it’s a little bit dark. But even though there’s this dark part, as you point out, the verse section is ultra-positive. I was hoping Jimmy would use a Chris Brown-like vocal approach, and I was really happy to feel that Chris Brown feeling in his verse section, where the groove is in double-time.
On your latest album, APORIE VIVANT, which came out in March, you embodied the spirit of trap soul, inspired by Bryson Tiller. What sound approach did you use on your new song?
VivaOla: Stylistically, I carried on the feel of APORIE VIVANT, but while the actual sounds are trap, I wasn’t fixated on the music itself being trap. That’s why I didn’t use the rapid-fire rapping of trap, but instead tried for a more alternative rap feel, like Frank Ocean.
Jimmy, what do you think of VivaOla’s music?
Jimmy Brown: It’s got a very modern sound. If you listen to our verses, you’ll be able to hear the things we have in common and also our differences. For both of us, our roots lie in American R&B, but there are some major differences in how we stretch out our voices, the parts we stretch out, and how we use our vocal cords. Before I was exposed to R&B, I grew up in the Korean countryside, listening to [traditional] Korean ballads, which I think influenced me. Likewise, I think VivaOla was influenced by his experience with rock and jazz, before he got into R&B. But I don’t think these are things we’re consciously trying to bring out, they’re part of our respective characters, the products of our backgrounds.
VivaOla: In my case, I often overthink my singing approach, so I end up circling around to singing without thinking about it, but Jimmy doesn’t overthink things, he’s a very genuine artist. The two of us are alike in that neither of us is really all up in our own heads when we’re singing, but my approach is the exact opposite of Jimmy’s. I think that’s what draws us to each other, and our approaches harmonize within the same song.
So you’re more of a producer-style singer-songwriter, VivaOla, while you, Jimmy, are more of a natural-born singer-songwriter. And your contrasting styles resonate in “RIGHT/WRONG.”
Jimmy Brown: I’m a very simple man (laughs).
Can we look forward to hearing more collaborations between you two in the future?
VivaOla: “bag on you” and “RIGHT/WRONG” were positioned as one-offs, with each of us appearing as featured artists on each other’s songs. If we work together again, I think it would be fun for us to go into the studio together, creating music from the ground up and releasing it under both of our names.
—This interview by Yu Onoda first appeared on Billboard Japan. It was conducted in Japanese then translated into English
Ae! Group’s “Gotta Be” blasts in at No. 1 on the Billboard Japan Hot 100, dated Oct. 16.
The title track of the quintet’s second single launched with 411,052 CDs in its first week to rule sales and also came in at No. 4 for radio airplay. Though the figure didn’t match the previous release, “A-Beginning” (782,835 copies in its first week), “Gotta Be” gives Ae! Group its first No. 1 on the tally.
NMB48’s “Ganbaranuwai” debuts at No. 2. The girl group’s 30th single sold 251,651 copies in its first week to hit No. 2 for sales.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Mrs. GREEN APPLE’s “Lilac” follows at No. 3. The Oblivion Battery opener is still going strong in three metrics of the chart’s measurement: streaming (up 101%), downloads (up 112%), and karaoke (slight gain). The former No. 1 hit has coasted along in the top 3 for seven consecutive weeks and in the top 5 for 26 consecutive weeks. The three-man pop band recently launched its eight-day residency at K-Arena Yokohama, slated to run through Nov. 20.
Creepy Nuts’ “Otonoke” jumps 32-4. The opener for the anime series Dandadan dropped digitally on Oct. 4 and debuted at No. 32 last week. Streaming for the track increased by 337% compared to last week, downloads by 135%, and radio by 437%. The number of downloads has remained higher than that of the duo’s smash hit “Bling-Bang-Bang-Born” in both the first and second weeks, so whether the pair’s latest release can also become a long-term hit is something to keep an eye on.
Trending on Billboard
Comparing the number of streams by country during the first week for each track, “BBBB” logged 33% of its plays from Japan and 16% from the U.S., while “Otonoke” accumulated 41% from Japan and 18% from the U.S., showing a slight increase in the U.S., according to Luminate. In other countries, “BBBB” was played more in Europe, such as in Germany and Spain, while “Otonoke” was played more in Southeast Asia and Latin America, including Mexico and Indonesia.
Official HIGE DANdism’s “Same Blue” rises 7-5. Streaming for the Blue Box opener gained 188% compared to the week before.
KID PHENOMENON’s “Unstoppable” debuts at No. 6, selling 66,499 copies and coming in at No. 3 for sales.
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 Oct. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.