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Miu Sakamoto spoke with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were recently published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai, who continues to speak with women to highlight their stories.
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Sakamoto celebrated 25 years in music last year. She grew up surrounded by numerous high-profile adults from a young age — she’s the daughter of world-renowned musicians Ryuichi Sakamoto and Akiko Yano, for starters — and moved to the United States at the age of nine. Her upbringing instilled in her a relatively unbiased way of seeing the world through encounters with various people, and she’s now trying to reflect this in her own parenting. The 43-year-old singer, actress, and writer shared her thoughts on where she currently stands in terms of her career and motherhood.
Did you look up to any women when you were little?
I lived in Koenji (a bohemian district in Tokyo) until I was nine years old and grew up not being very aware of differences between men and women. I’m not very good at noticing gender differences. So I don’t think I looked up to any particular woman, but did love beautiful things. I adored a British band called Japan. They disbanded in 1982, but they were also big in Japan at the time, and when they came, they’d do stuff with my father and hung out at our house. I also liked David Bowie and the hair & makeup artist Chiaki Shimada.
Which reminds me, I remember being fascinated with doing makeup. The men I saw growing up, including my father, wore makeup when they appeared on TV or on stage, so it never even occurred to me that most people thought wearing makeup was something only women did.
Of course if you see men wearing makeup all the time, you wouldn’t end up with such a bias regarding gender norms.
Exactly. I also liked Butoh from a young age and when I became a teenager, I liked Visual-kei bands and gothic style. Beautiful things that transcend gender.
Did you become more aware of gender inequalities as you grew older?
I tried to study gender issues when I became an adult and especially since I returned to Japan, but to tell you the truth, I wasn’t very keen on the way some people advocated feminism in a vocal way.
Why do you think you felt that way?
Since men and women are built differently physically, I thought they’d have respective specialties and roles. I’m sure there are exceptions, but… Because I didn’t think in a discriminatory way, or in terms of gender norms like, “This is how things should be,” I had no idea how people who have had such things imposed on them felt at all. I was never told by my parents to “be like a girl,” and I don’t think my brother was ever told to “be like a man.” That’s why, to begin with, I didn’t get why women had to fight (for their rights).
But I gradually learned through junior high and high school how hard it was for women to win rights in all aspects of society throughout history. Once I realized that it hasn’t been that long since women won their rights and that we’re still in the middle of that process, I began to feel that we still need to continue the movement.
The thing is, though, I’ve still never suffered from having my femininity forced on me, so maybe I’m still a bit fuzzy about it all. That’s why I don’t feel like we necessarily have to constantly reject “being like a woman.” Sometimes it feels limiting to stick too closely to equality in form.
I’ve spoken to more than 30 women so far in this series, and many of them aren’t comfortable with being too vocal about asserting women’s rights. But I don’t think asserting women’s rights is the same as oppressing men or people of other genders. I’m hoping this series will someday lead to a future where we don’t have to focus on “being a woman” as a theme. You mentioned earlier that you were raised in an environment without gender norms. What do you take care to do in raising your child?
To raise her among adults with various values, I suppose. Like what I mentioned earlier about the members of Japan playing with me when I was little, I grew up in an environment with a diverse range of adults around me. There were lots of people who were really wild, too. I’ve seen many cases where people who don’t do well socially are outstandingly talented in one particular thing. I mean, my father was like that. [Laughs] I think that’s very human, and no one is perfect. Looking back, I think my way of thinking has a lot to do with my childhood environment.
In a world where people are criticized if they stray a little bit, it’s meaningful to have that sense that imperfection is human nature. I’m sure it would change society if more people thought that way. Is there anything you take care to do in raising a girl?
I never make fun of her appearance. I’ve always had hang-ups about my own appearance, so I make an effort to never say anything negative to her. Of course it comes naturally and not because I decided to do so, but I persistently tell her that she’s so cute, every day. Maybe it’s something that I wanted for myself growing up.
I don’t think anyone feels negatively about their appearance from day one, and we start comparing ourselves to others as we grow up. Going through that, it must be reassuring to have someone close to you affirming you in that way.
Yes. I gained weight after we moved to the U.S. I started extracurricular activities and became muscular and strong, and also wore glasses because I had bad eyesight. Meanwhile, my brother was pale, slender, and had a beautiful face. So my relatives would casually compare me to him. They’d say things like, “Miu, your physique is made for an easy delivery” and things like that. The concept of “lookism” wasn’t widely known back then. More than the fact that I was a minority as an Asian, I suffered an inferiority complex about my appearance during my adolescence.
You’re right, that bias of “this is how beautiful women/men should look” is what causes people to feel inferior about their appearances. As an artist, do you think being a woman affects you in any way?
As a singer, I think being a woman affects me in terms of how I use the voice I have. My voice is my identity and I want to use it to help society. That’s why I continue to appear on radio (as a host) on top of my singing projects.
In 2022, out of the 100 most popular groups on Billboard Japan’s year-end tally, the gender breakdown of artists and acts was 58 male, 27 female, and 15 mixed. The percentage is pretty much the same every year. Any thoughts on this?
My take is that I don’t think this result necessarily means that female artists have limited opportunities, but rather, there’s an imbalance in the style of consumption in Japan and the age group that can spend money on music. I don’t know the real numbers, but I don’t see how there could be such an imbalance in the share of opportunities (based on gender), because I really don’t feel it myself.
Then there’s the reality that there are far fewer women in management positions in the Japanese music industry.
OK, that is so true. Women who are good at their jobs have to fight in the ways of the man’s world to some extent, and they are under a lot of stress. It’d be best if everyone could work in a way that suits their own physical strength, and I hope someday people will be able to choose jobs based on their individual abilities rather than what gender dictates.
Do you and your partner ever talk about how to divide household tasks?
I happen to be a better and more avid cook than my partner, so I’m in charge of cooking. But when I’m away from home because of tours and things, he handles it. We don’t have specific roles and our general rule is, “the one who’s better at it, does it.” I like cooking because my parents always told me that I should be able to cook. And it wasn’t because I’m a girl, they told my older brother the same thing.
So the balanced way you were raised is still being reflected in your current life. Is there anyone who makes you think, “Seeing this woman gives me courage”?
Well… I have many wonderful friends, but I think it would be (actress) Rinko Kikuchi. We’ve been good friends since we were single and she hasn’t changed at all since she got married and became a mom. I think that’s because she has her own individuality at her core. She’s such a natural kind of human being.
It’s often said that when women have children and their life stage changes, they’re referred to as the mother of their kids or face “mommy track” problems that prevent them from getting jobs they want. But obviously women aren’t just moms even after they become one. I think it’s great that such a high-profile person is expressing that. Did anything change for you personally after becoming a mom, or conversely, did anything remain the same?
I don’t feel like I’ve changed, but when I look back at pictures of my daughter when she was still little, I’m sloppily dressed and my face looks different. I wore clothes that allowed me to breastfeed right away and took her to work, and didn’t have much emotional leeway. I’d breastfeed like it was normal even in the radio studio, so the guests were taken aback. [Laughs] When I kept doing that, people around me got used to it and even the security guys were really nice to me. But I don’t feel that my core has changed. In fact, my boundaries as both a mother and a singer are fading and I’m becoming freer.
—This interview by Rio Hirai first appeared on Billboard Japan
Nogizaka46’s “Monopoly” blasts into No. 1 on the Billboard Japan Hot 100, dated Dec. 13, stopping Ado’s “Show” from adding another week to its six-week streak atop the chart.
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The 34th single by the popular J-pop girl group launched with 691,515 CDs, which is 13 percent more than the first-week figure for its previous single, “Ohitorisama Tengoku.” The track rules sales while also coming in at No. 9 for downloads (4,361 units) and radio airplay.
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Ado’s “Show” slips to No. 2 after ten inconsecutive weeks at No. 1, but still maintains momentum. The USJ Halloween event theme racked up 11,181,079 streams (6 percent gain) and 3,487,800 views (5 percent gain) on video this week to hold at No. 1 respectively, while collecting 13,488 downloads (35 percent gain) to come in at No. 2.
YOASOBI’s “Idol,” Billboard Japan’s No. 1 Song of the Year, falls 2-4 this week but also gained points overall. Streaming is up 0.3 percent from the previous week to hit No. 3, while downloads increased by about 6 percent to come in at No. 11. The track also climbed in radio, rising 33-11 this week.
Both YOASOBI and Ado are set to perform live on the CDTV Live! Live! (Dec. 18) and the 74th NHK Kohaku Uta Gassen on New Year’s Eve. These rare TV appearances by two of the year’s biggest acts will likely lead to expanding their reach even further, greatly influencing the performances of “Idol” and “Show” on the charts in the coming year.
After breaking into the top 10 at No. 8 last week, tuki.’s “Bansanka” rises to No. 5 this week to give the 15-year-old singer-songwriter her highest position on the Japan Hot 100 yet. The poignant love song collected 7,271,834 streams (11 percent gain) to rise 6-4 for the metric, while selling 5,784 units (37 percent gain) to hold at No. 7 for downloads. The track also comes in at No. 9 for video with 1,070,672 views (21 percent gain).
Namedaruma’s “FEEL OR BEEF BADPOP IS DEAD” soars 69-9 to give the Saitama-based hip-hop crew its first top 10 hit. The track hits No. 4 for downloads (8,498 units) and video (1,760,136 views), while also coming in at No. 13 for streaming with 4,754,588 weekly streams.
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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 Dec. 4 to 10, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
A special program highlighting the Rising Sun Rock Festival 2023 in EZO, an all-night outdoor rock festival that took place Aug. 11 and 12 in Hokkaido, Japan, is set to be streamed on RSR’s official YouTube channel for two days on Dec. 22 and 23. Explore Explore See latest videos, charts and news See latest […]
FZMZ, pronounced fathoms, is the masked avatar band that burst onto the scene with “BROKEN GAMES,” the opening theme to the TV anime series Shangri-La Frontier, which began airing in Japan in October. FZMZ is said to be a collective of artists on the front-lines of the music scene, hailing from inside Japan and overseas, and the true identities of several members have already been discovered. JACK is (sic)boy, GAVI is Ivan (of Survive Said The Prophet), and KAMATA is Pierre Nakano (of Ling tosite sigure). However, the band remains shrouded in mystery. Billboard Japan talked with MAQUMA, HONNWAKA88, and KAMATA about their new CD single, “BROKEN GAMES,” which will be released on November 29, about what FZMZ is all about, and about the band’s plans for the real world.
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FZMZ, we know you’re a group of active artists from Japan and abroad. While we know some of your true identities, there’s still a lot of mystery about you, and all kinds of theories are circulating on social media. Could shed some light on what led to you coming together and how it’s felt working as a group.
MAQUMA: Urggg…while I’d love to leave it all to your imagination, I shall take advantage of this opportunity and deign to answer your questions! I was approached regarding Shangri-La Frontier, and I thought to myself, if I’m going to be doing this, then why not join with musicians HONNWAKA88 and KAMATA, who are fellow game and anime aficionados, and create a new project?! Then JACK and GAVI joined, bringing us up to five members. I wrote the demo and HONNWAKA88 worked on the arrangement. As soon as I heard it, two words flashed through my mind: “Giant, Massive Success!”
Details regarding FZMZ’s members are still sparse, but you all clearly have a lot of experience and are highly skilled. It would be unsurprising if there had been some conflict between you, in terms of your motivations and musical preferences. Have you all gotten along well from the start?
HONNWAKA88: This…is the NETAVERSE…
Lineage matters not… sleight of hand matters not…
Crazy sounds spill from our souls, laid bare…
There is no need to hold back…we give ourselves up to the chaos, like a turbulent stream, to surging elation…and thus we are “FZMZ”…
We can go…
What kind of creative work do you see as the exclusive domain of FZMZ?
KAMATA: FZMZ’s, like, this really avant-garde project, and we’re using VR, and games, and anime to open new doors. We’ve got some members we haven’t announced yet that are gonna blow people’s minds, so I’m super-hyped about the future! We’re gonna do some real world live shows and some particle live shows, and we wanna make things even more exciting! Now, if we just had some liquor and some meat and social media, it’d be perfect! Especially liquor!
Your long-awaited first digital single, “BROKEN GAMES,” will be coming out soon. I know that you wrote it as the opening theme song for the TV anime Shangri-La Frontier. What feelings were evoked for you by this anime, this tale of a devotee of terrible games who uses the skills he’s learned through them to take on a beloved gaming masterpiece? What aspects of it did you want to express through your music?
MAQUMA: Urgg…Going back to the comic book source material, I was struck by the dynamism of the battle scenes, so full of energy and movement they scarcely felt like a comic. Now that comic was going to be adapted in anime form, so it was vital that our song had a breakneck beat that could keep up with the anime’s tempo. That said, this anime is no simple collection of battles! There are also the aesthetics of the fantasy world, and appearances by other games, so we needed to weave new approaches into our music! Our supremely gifted rapper, Jack mixed in a hip-hop approach, to great success (that said, I am also a talented rapper!). What’s more, there’s a jangling yet sweeping chorus. These diverse musical elements come together to express the world of Shangri-La Frontier in sonic form!
From the soaring, aggressive intro to the layers of rap, each with their different flows, and then the melodious chorus that opens up the song, it’s really a superb song that makes a tremendous impact. What areas did you focus on when writing the song?
MAQUMA: Urggg! The whole world has its attention focused on the anime coming out of Japan. The image of anime reaching foreign audiences long after Japanese viewers is outdated. Now overseas audiences are keeping up with the latest anime. This is no exception, so, to some extent, we wanted to make a song that would click with overseas fans! For example, my rap, the first verse in the song, is in Japanese, but with English-style pronunciation.
I imagine that lines like “Not not not yet NO, I haven’t had enough” and “this world is going to be mine…duh” reflect the feelings of the main character of Shangri-La Frontier, who keeps taking on games without ever tiring. There must be some overlap there between him and yourselves, who have such illustrious careers but never feel sated and keep pushing forward. What do you think?
MAQUMA: A valiant attempt at an insightful observation, but unfortunately the lyrics of the song are all about the main character, Sunraku. It is free of the feelings of the members of FZMZ! How unfortunate! Don’t feel bad, interviewer! Urggg! However, it is true that no matter how much plankton I eat, I am never sated. This is because I am always growing hungrier!
MAQUMA, you and JACK share credits for the lyrics and music. Is there anything you could share with us about how you divide up your lyric-writing and track creation duties?
MAQUMA: Simply put, Jack writes his own rap parts, and I write the other parts! He’s more of a rap specialist than I, so there’s not much I can say about his part…but I was originally going to sing the “we can go” melody in the chorus. Instead, he sang a high-pitched version, and, honestly, I was stunned. What a serendipitous mistake that beautiful voice was!
MAQUMA, some people have been saying that your voice sounds like the voice of MAH, the vocalist of SiM. They’ve also been saying that your sound production is reminiscent of SiM. What are your thoughts on that?
MAQUMA: Urggg…Interviewer! Do you need to take a break or something? Are you suffering from sleep deprivation?! I am MAQUMA, and no other! We’ve heard in the NETAVERSE that there’s an incredible band called SiM in the real world…but FZMZ is number one! We’re unrivalled and unique!!
Is FZMZ a one-time band, created for just this song, or are you planning on creating more in the future? Could you shed some light on that?
MAQUMA: That’s not important! What’s important right now is that you get some sleep! You can’t do good work if you aren’t well-rested! Urggg…We’ve gone to the trouble of bringing together this group of thrilling and provocative members, so of course we’re going to gift the world with even more of our artistry! If the technology advances enough, the day may come when we can travel freely between our worlds and put on live shows in the real world. But until that day comes, listen to “BROKEN GAMES” and enjoy Shangri-La Frontier!
–This interview by Ryuji Yakou first appeared on Billboard Japan
ONE N’ ONLY, a Japanese dance and vocal unit that celebrated its fifth anniversary this year, recently released a new EP, You are / Hook Up. The EP, which came out on Dec. 6, contains eight new songs. The title song, “You are,” is the group’s first ballad. “Hook Up” is also the name of their tour of all 47 of Japan‘s prefectures, which began Oct. 13. Another song on the EP, “EVOL,” is already a mainstay of their live shows. Billboard Japan talked to them about the highlights of You are / Hook Up, the making of the EP, their impressions of EBiDAN THE LIVE UNIVERSE 2023, and more.
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You’ve recently had a rush of new releases, including this new EP, You are / Hook Up. A month ago, you began streaming a new song, “Freaking Happy.” I’m sure your schedule lately has been really hard lately as you were recording this new material.
TETTA: It was a really intense period of recording, but somehow we made it through. It was a really fulfilling time. We even recorded a music video in the midst of our 47 prefecture tour.
HAYATO: We film a lot of our music videos on location, so we go to urban ruins or overseas sites. But, looking back, even after our five-month period of continuous releases, we’ve been able to release even more.
NAOYA: We’ve been in this cycle of performing at various summer events, and then as soon as they’re finished we go in to record a new song.
HAYATO: Yeah, there’s no need to downplay it, our schedule’s been really hard. (laughs)
And in the middle of all that, you also had EBiDAN THE LIVE UNIVERSE 2023.
HAYATO: That was so fun.
TETTA: Yeah. EBiDAN LIVE really brought EBiDAN together. Until EBiDAN LIVE, each group performed their own music at their own events, so it felt like we were colleagues but, at the same time, rivals. With this event, though, we all really bonded and worked together as one.
KENSHIN: The Soiya project, which everyone in EBiDAN took part in, was another huge accomplishment for us.
EIKU: Right. I’m sure there are people out there who learned about ONE N’ through the project and became fans. In EBiDAN LIVE, we played with label-mates, with different sets and lineups. It was a ton of fun. Yuki from Bullet Train was involved in the production, so we really got to interact a lot more. I’m looking forward to performing with everyone again!
And then you released “You are” and “Hook Up.” These are two very different types of songs.
REI: The EP shows a different side of us, coming right after “Freaking Happy.”
KENSHIN: “You are” was sung by our three vocalists (TETTA, REI, and EIKU), and it’s a song about really straightforward love. The melody, the choreography, it all conveys a different emotional feel than our past songs. It expresses its own well fleshed-out worldview, so I hope people realize that it’s a love song to our SWAGs.
It’s bound to strike an emotional chord with the audience when you perform it live.
TETTA: Right. Plus, we’ve never sung any rock ballads before, so I was really happy to be able to sing a song like this. Personally, I like rock music, and this song opened my eyes to what a surprisingly good match ONE N’s JK-POP and rock are. I think this may have opened the door to more rock-like songs in the future. It’s an extremely freeing song, and it sounds great even with some vocal arrangement twists, so I’d love to perform it live.
“Hook Up” is almost its polar opposite.
HAYATO: It’s really different from “You are.” There’s a lot of rap in “Hook Up,” but I love how these two songs showcase our strengths. We’ve always had a lot of hip-hop based songs, but this is our first time doing this much sampling, so it was really exciting. When we were planning for our tour of all 47 prefectures, we all talked about what to call the tour. We wanted for everyone to feel connected, so we went with the slang “Hook Up!” This song really matched up with that theme. Due, in part, to that, we decided on “Hook Up” as the name of the song, too, and the lyrics became all about racing across Japan. What we ended up with was a more positive-feeling song.
KENSHIN: I sing the start of the second verse, and the lyrics in my part are perfect for this 47 prefecture tour theme. I feel it even more when performing it live, and the song has a lot of interplay with the SWAGs, so it gets everyone amped up. When we perform it live, we take time before the chorus to teach the audience (the call and response), which gets people even more excited, so you can really feel the live ONE N’ experience. A lot of the shows in our 47 prefecture tour are at clubs, so the song is even more special, creating a greater sense of unity with the crowd.
Years from now, when you hear this song, they’ll remember the 47 prefecture tour.
NAOYA: Definitely!
TETTA: Really vividly.
EIKU: It’s such an exciting song. However, the choreography is pretty exhausting, even compared to our other songs, so it’s also a hard song to perform.
HAYATO: It’s so hard!!
EIKU: When we were filming the music video, the dancing took so much stamina, it was a tough shoot. But the energy that goes into our moves looks great on-screen and made for a really cool music video.
HAYATO: We filmed the video in Chigasaki, which is a center for skateboarding, basketball, graphics, and other elements of hip-hop culture. The weather forecast said it would be cloudy all day, but it ended up being sunny.
That’s because you’re stars!
TETTA: Of course!
Haha! I’m sure the music video will also have a really open feel to it.
TETTA: Our performance in the video is really fun, too. KAITA did the choreography for it. KAITA always has really powerful vibes, but this time the dance was three times more energetic than usual. The dancing is really a blast.
REI: The song has a pretty strong hip-hop feel, and it really put our abilities to the test. I love the kind of atmosphere it creates, and I’m sure that aesthetic is going to shine even more when we perform it live. I like our performance in the song even more than the other things we’ve done, so I want to do right by it.
The EP has a lot of other wonderful songs, too.
TETTA: I love the melody to “I Don’t Know.” It’s fast and the singing requires some technical skills, but the chorus uses falsetto. It has a very sophisticated feel. It’s one of my favorites. I like it so much that during show rehearsals, even though we’re not planning on performing it in the show itself, we use it for the sound check.
“I Don’t Know” was JUNE’s first song in a while, right? How did it feel taking direction from him again after all this time?
HAYATO: He has a really strong aesthetic.
KENSHIN: JUNE does the vocals in the demos he sends us, and they’re so polished you could probably release the demos as-is.
TETTA: Yeah! So it always feels to me like we’re doing a cover version. Also, each time I hear a new song from him, I can tell that he’s expecting even more out of us, so it’s really exciting (laughs). The switch-ups in the arrangement were complex, so I struggled with them a bit, but it was really fun.
“The Light” is another cool song.
TETTA: It’s wonderful. At the same time, I feel like it ratchets up expectations for our performance.
KENSHIN: The rap in the second verse was so hard that I really struggled during the recording. It took a long time to make it truly my own. But I recorded that part over and over again, and everyone stuck there with me to the end. I could really feel everyone’s love for the group.
REI: When I heard “Nice Guy,” I was like, “Perfect.” (laughs) In a certain sense, it’s an unusual song for us, so we had to think about the best way to make it shine. We still haven’t developed the choreography for it, but our own efforts have a big impact on the quality of a song, so I want us to really think hard about this one before we perform it.
NAOYA: I particularly like “Turn it up.” It’s a very Japanese-feeling take on hip-hop, and it’s addictive. That said, it’s also a really hard song, and we had to record the rap parts several times. It’s the kind of song I hope people listen to closely.
EIKU: This was the first song I performed a spoken part on. I gave it a bit of a bad-boy feel, so keep your ears open for it.
TETTA: When I first heard it, I didn’t even think it was you, EIKU! I thought it was HAYATO. So I guess you really look up to HAYATO…
HAYATO: Haha!
TETTA: It feels totally natural, and the transition from your lines, EIKU, to your singing, HAYATO, was really smooth.
You mean because of EIKU’s respect for HAYATO?
EIKU: Huh?! Uh, yeah! (laughs)
HAYATO: You sound like that was dragged out of you. (laughs)
I’m looking forward to hearing these songs performed live.
HAYATO: As we’re celebrating our 5th anniversary and touring all of Japan’s 47 prefectures, with this EP we’ve also fully leveraged the rap and vocal strengths we’ve been refining through the years. For now, we want to make it through the tour without any accidents or injuries and top the tour off with a successful final performance at Pacifico Yokohama, so make sure to come see us!
—This interview by Kana Yoshida first appeared on Billboard Japan
Billboard Japan unveiled its 2023 year-end charts, tallying the weeks from Nov. 30, 2022 to Nov. 26, 2023.
The No. 1 song of the year on the Japan Hot 100 is YOASOBI’s “Idol.” The opening theme song of the anime series Oshi no Ko was released digitally in April and logged a whopping 21 consecutive weeks at No. 1 on the Japan Hot 100, an all-time record in the history of the Billboard Japan charts.
The long-running hit by the male-female J-pop duo also made headlines in Japan for hitting No. 1 on Billboard’s Global Excl. U.S. chart on the list dated June 10, a first for a Japanese-language song. “Idol” racked up 509,751 downloads and 527,143,965 streams during the tracking period, taking the top spot on the ranking for the respective metrics.
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“I’m elated. It’s no exaggeration to say I’ve been working hard for this,” says Ayase, YOASOBI’s producer and songwriter. “Of course, I don’t make music for the sake of the charts, but we came in a close second both last year and the year before, and it kind of felt like defeat. I found myself feeling like I had to hit No. 1 (on the year-end charts) to move forward. Looks like my gears will start to move at last.”
Singer ikura adds, “I really feel the same way, and the fact that we were able to reach No. 1 in our third year is the result of YOASOBI having made progress and updated itself. I’m happy to be able to actually feel that.”
At No. 2 this year is “Subtitle” by Official HIGE DANdism, the theme of the popular drama series called silent. Vaundy’s “Kaiju no Hanauta” follows at No. 3, a track that has been charting consistently in the top 10 after being boosted by the 23-year-old hitmaker’s first-ever performance on NHK’s prestigious year-end music show Kohaku Uta Gassen last year.
King & Prince
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The No. 1 album of the year on Billboard Japan’s Hot Albums chart is Mr. 5, the greatest hits collection by King & Prince. The set sold 1,408,873 copies total during the tracking period after dropping April 19. “Our best-of album Mr. 5 hitting No. 1 on Billboard Japan’s Hot Albums of the Year 2023 is an honor,” said Ren Nagase and Kaito Takahashi of King & Prince. “While this will be a repeat of what we said when it hit No. 1 on the mid-year chart, again we’d like to sincerely thank everyone who picked it up and everyone who was involved in its production.”
“This year marks our fifth anniversary, and we’re so grateful to receive such major recognition during our milestone year,” they continued. “It proves many people listened to and saw the works and activities that our group has created since our debut. Thank you to our Tiaras (King & Prince fans) for watching over us all these years. We’ll work even harder next year and beyond so that our works and activities will please those who listen to us. Thank you so much.”
Snow Man’s i DO ME comes in at No. 2 and Stray Kids’ Social Path (feat. LiSA)/Super Bowl -Japanese ver. follows at No. 3.
YOASOBI also tops the Artist 100 ranking compiled from the results of the Japan Hot 100 and Hot Albums charts. With “Idol” and “The Blessing” (No. 15 on the year-end list) showing strong performance in streaming and downloads throughout the year, YOASOBI charted a total of six songs and three albums on the respective year-end top 100 lists. Following at No. 2 on the Artist tally is Mrs. GREEN APPLE with ten songs and Official HIGE DANdism at No. 3 with eight songs on the year-end Japan Hot 100.
YOASOBI’s “Idol” is currently the record-holder in Japan for a song that surpassed 500 million streams the fastest and continues to steadily increase that monumental figure. Meanwhile, HIGE DAN’s “Subtitle” was the record-holder for that same milestone before “Idol” came along, meaning the year-end chart for 2023 sees historic chart results with the biggest hits of the century in Japan dominating the top two spots.
With many reports of international successes and achievements by J-pop acts including YOASOBI, Fujii Kaze, XG, imase and more, we can expect more artists to proceed with a global perspective in 2024. The end of the pandemic will likely lead to more Japanese artists expanding their scope of activities outside of their country, and 2024 looks to be a promising year with music by domestic and international acts intermingling in an unprecedented and exciting way.
Billboard JAPAN Hot 100 of the Year 2023
1. “Idol” / YOASOBI
2. “Subtitle” / Official HIGE DANdism
3. “Kaijuu no Hanauta” / Vaundy
4. “KICK BACK” / Kenshi Yonezu
5. “Dai Zero Kan” / 10-FEET
6. “New Genesis (Uta from ONE PIECE FILM RED)” / Ado
7. “Dance Hall” / Mrs. GREEN APPLE
8. “W/X/Y” / Tani Yuuki
9. “Overdose” / Natori
10. “Utsukushii Hiré” / Spitz
Billboard JAPAN Hot Albums of the Year 2023
1. Mr.5 / King & Prince
2. i DO ME / Snow Man
3. Social Path (feat. LiSA) / Super Bowl -Japanese ver.- / SEVENTEEN
4. FML / SEVENTEEN
5. ALWAYS YOURS / SEVENTEEN
6. THE SOUND / Stray Kids
7. SEVENTEENTH HEAVEN / SEVENTEEN
8. Koe / SixTONES
9. POPMALL / Naniwa Danshi
10. SWEET / TOMORROW X TOGETHER
Billboard JAPAN Artist 100 of the Year 2023
1. YOASOBI
2. Mrs. GREEN APPLE
3. Official HIGE DANdism
4. Vaundy
5. Ado
6. back number
7. Yuuri
8. Kenshi Yonezu
9. King & Prince
10. SEVENTEEN
Ado’s “Show” continues to rule the Billboard Japan Hot 100, now in its 10th week atop the list dated Dec. 6.
The enigmatic songstress has been ramping up exposure on terrestrial TV as the year-end festivities draw near, kicking off her string of appearances on NTV’s Best Artist 2023, a four-hour music extravaganza broadcast on Dec. 2 featuring some of this year’s biggest acts. She performed “Show” and “Tot Musica,” a track off the ONE PIECE FILM RED soundtrack onstage in an elaborate cage-like set, her face veiled in the shadows the entire time.
The USJ Halloween event theme is at No. 3 for downloads this week with 9,991 units, up 6 percent from the week before. Streaming and video views are on the decline but still at No. 1 — both down by about 7 percent with the former at 10,522,262 streams and the latter at 3,296,075 views. The track also comes in at No. 8 for karaoke and No. 38 for radio airplay.
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The 21-year-old singer’s next scheduled TV appearance will be on the FNS Music Festival Day 1 on Wednesday (Dec. 6), where she is set to perform “Show” and “Ibara,” a song written by 23-year-old J-pop hitmaker Vaundy (whose “Kaiju no Hanauta,” by the way, is at No. 7 this week). As the song continues to hit terrestrial waves during the year-end and New Year’s holidays, it’ll be interesting to keep an eye on how the exposure will be reflected on the Japan charts.
=LOVE’s “Last Note shika shiranai” debuts at No. 3 this week. It’s the 15th single by the group produced by former AKB48 member Rino Sashihara, who also wrote the lyrics of this wistful love song about the lingering notes of a perfume. The track featuring youngest member, Kiara Saito (19), in center position of the choreography achieved the group’s best first-week CD sales with 256,835 copies (No. 1), about 7 percent higher than the 239,196 copies sold in the first week of the previous single, “Natsumatope.”
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Following at No. 4 is KID PHENOMENON’s “Sonzai Shoumei” (“Proof of Existence”). The Exile Tribe boy band’s second single is featured as the ending theme for Season 2 of the new Rurouni Kenshin anime series. The track launches with 67,853 CDs — not quite reaching the 84,185 copies sold in the first week of the group’s debut single “Wheelie” — and bows at No. 2 for sales. It also hits No. 1 for radio this week.
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“Bansanka” by tuki. entered the Japan Hot 100 top 10 for the first time at No. 8, giving the 15-year-old singer-songwriter her first-ever top 10 single. Points for both downloads and streaming for the track soared by about 113 percent from last week, the former climbing to No. 7 and the latter to No. 6. Video also rose by about 11 percent to hit No. 13, and karaoke is at No. 38 after gaining 7 percent. The overall increase in points indicates that the song’s popularity is gradually on the rise.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 27 to Dec. 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Once upon a time, Rene Liu was accustomed to being an “aviator” who was constantly on the move. She used to embark on numerous flights annually, accumulating countless miles, traversing the globe to record music, film movies, attend film festivals, promote albums, and embark on concert expeditions. However, after experiencing several years of grounded days and profound moments of “off-duty,” Rene Liu finally realized that many things are not inevitable.
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The theme of Rene Liu’s “Final Call” concert tour was actually determined as early as 2019. However, due to various circumstances, it wasn’t until 2023 that the concert finally had the opportunity to meet the audience in mainland China. As the “Captain of Ying Airlines,” Rene Liu cherishes the reunion with fans she hasn’t seen in a long time or met for the first time: “Each concert bestows upon me the sensation of reuniting with old acquaintances, and anticipation is abundant in the interim.”
Flight days, akin to life itself, are replete with uncertainties. Perhaps it is these “uncertainties” that render the journey intriguing. Rene Liu has learned to embrace change: “Every time, I peruse the weather forecast several days in advance. Be it rain or shine, there are peaks and valleys. Once, there was torrential rain, and even the staff couldn’t take off, so I lodged overnight at the airport hotel. I pondered what I should do. However, on the second day, amidst the midnight hour, the staff arrived to pick me up at 5:50 am, and I embarked on an early morning flight, advancing a day ahead through a transfer.”
Hence, even when encountering extreme weather conditions such as hailstones at Nanjing Station, she opts to remain composed: “Nowadays, I exhibit greater composure in the face of uncertainties. It appears that I am not as apprehensive as before. My mood has transformed, and I seem to be more leisurely, enabling me to confront matters with equanimity.” This confidence stems from Rene Liu’s boundless trust in her longstanding team. Regardless of any unforeseen circumstances that arise on the journey, everyone collaborates to devise solutions and ensure seamless performances.
Throughout the way to present “Final Call” in various locales, Rene Liu has even experienced dashing frantically at airports with her team to catch connecting flights. “Every cog in our team is tightly fastened. The entire team operates at a velocity akin to flight when it comes to changing dozens of plane tickets overnight, makeup artists preparing in advance, and musicians readying themselves ahead of time. They will find every possible avenue for me, be it driving, sailing, or taking a high-speed train, ensuring my safe arrival at the concert venue.”
Rene Liu describes that to be part of the “Final Call” team, one must possess robust adaptability and a strong heart. On the morning of the Kaohsiung concert, Rene Liu made a spontaneous decision to include the song “Epitome” (the theme song of the TV drama “Women in Taipei”). After deliberating with colleagues from Bin-music, everything promptly sprang into action: arrangement, performance, lighting, stage design… The entire “Final Call” team operated at a velocity akin to flight.
To ensure that each “Final Call” takes off as scheduled, Rene Liu has persisted in exercising and enhancing her physical fitness. She even studies methods for skin whitening with netizens. All these unwavering efforts are undertaken to deliver an enhanced concert experience. Naturally, embarking on a world tour is an arduous undertaking: “Four-sided stages necessitate greater physical stamina since walking on stage entails more steps than three-sided stages. I must jog offstage after changing costumes.”
“An individual’s energy and focus are intertwined with their physical fitness. After all, my age has changed; one can no longer rely solely on resilience. Now, occasionally after singing ‘Love You So Much,’ I feel a slight dizziness. Perhaps it is because I haven’t eaten enough and have become suitably hungry in order to ensure a better fit for the costumes. I aspire for an improvement in my condition. This constitutes a professional performer’s duty; I must honor my work and give my utmost.”
In addition to adjusting her schedule to ensure she retires before 9:00 pm, Rene Liu also prepares her luggage in advance to swiftly transition into work mode. Apart from the “Final Call” concert tour, Rene Liu has numerous other work engagements as a singer, actress, and director. Various new projects are primed for action. Rene Liu also yearns for more opportunities for audiences to witness her diverse works.
Rene Liu
Mingsheng Chen/Billboard China
Fly to Somewhere Further Away and Meet Old Friends
“Final Call,” this year’s mainland tour, has taken flight to cities where Rene Liu rarely has the opportunity to perform. In fact, many years ago, Rene Liu personally arrived at these places. “During that time, as long as I could reach a place, no matter how far, I was willing to grace everyone with a performance. I often spent over ten hours in a car, from daytime until midnight, journeying from one province to another, witnessing even the abbreviations of the province on the license plate change to different characters…”
In the bygone era when there was no mobile network or power bank, the high-speed rail network was yet incomplete, and flight schedules were not as frequent as they are now, Rene Liu embarked on car journeys across provinces just to meet local fans: “To be honest, I often ponder… as long as I can still work and sing, I will treasure the opportunity to meet everyone in this manner. Regardless of where I go, I am filled with immense joy.”
“Some concert organizers would inform me that the equipment in smaller cities is not as impeccable, but I believe it doesn’t matter. It is not easy for fans to travel to larger cities, so I prefer to visit their cities and sing for them. I believe this also lays the groundwork for the connections I speak about on the ‘Final Call’ stage. Many small cities from the past have now blossomed into major metropolises. It seems that wherever I go, I am reuniting with old friends, and the sensation is unparalleled.”
In addition to long-awaited fans, Rene Liu’s old friends also include acquaintances who occasionally make surprise appearances at different stops and become guests of “Final Call”: “My guests and I are not the type of people who need frequent contact or appointments with each other. However, when the need arises, we will all be present. The same goes for my relationship with my fans. From guests to staff to audience members, as long as you attend our show, we will shower you with boundless love.”
When performing for old friends, it is only fitting to sing some long-forgotten songs. The B-side track “Her Gentleness” from 2002 has now become a highly sought-after staple in “Final Call.” “Life is about reaching a stage where we look back and realize that there was a song dedicated to our future friends. I express my gratitude to Jonathan Lee for preserving a song like ‘Her Gentleness’ for future Rene Liu.”
“‘Her gentleness’ is a fire that cannot be casually acquired by any young girl…” Rene Liu shared that when she was young and recording in the studio, she had only a vague understanding. It is only now, singing “Her Gentleness” once again at this moment, that Rene Liu truly comprehends: it was a letter from Jonathan Lee to her. “In this era of fast food consumption, I still hold firm in my belief that there are certain things that withstand the test of time. I am also immensely grateful to the audience at the venue for granting me five minutes to listen to this song.”
Similar success has been achieved with “Heard?” from 2004: “After the release of ‘Heard?,’ it was included in the official setlist of a concert. However, when performed live, the audience response was lukewarm. Consequently, in subsequent concerts, this song was largely excluded from the setlist. Perhaps live performances cannot capture the same atmosphere and effect as recordings, and I am uncertain where this song fits within a concert. My concerts are more fluid in nature, not confined to a single song but rather stories intertwined.”
Perhaps every song has its own destiny. Nearly twenty years later, “Heard?” finally encountered its springtime. After the audience in Shenzhen sang it together, Rene Liu ultimately transformed it into a surprise inclusion at the Hangzhou stop: “I always believed ‘Heard?’ wasn’t popular, but since Wuzhen, why have more and more audience members been shouting ‘Heard?’ at my shows? Some songs are truly shouted out by everyone; even less popular songs like ‘Immortal’ have received their share of shouts.”
Behind every less popular song lies a group of individuals who deeply cherish it. The phrase “I deeply love you” in Guangzhou became the limited edition “Light up Orange Trees” at the Chongqing stop. Rene Liu genuinely felt an overwhelming sense of being loved by everyone while singing: “Some less popular songs are not sung as frequently, so when performing them, I am unsure of where my focal point lies. I never expected everyone to sing so loudly, and it moved me deeply.”
Time Flies, but Live Performance is Improvisational
On the poster of the “Final Call” concert, there is a phrase that reads, “Time flies, are you still waiting?” After experiencing stagnant days, we realize the value of opportunities that enable us to fly. It is because of this that Rene Liu has decided to seize the moment and not wait any longer. She hopes to do everything she hasn’t had the chance to do and perform in cities she hasn’t yet visited, using “flight” as a way to race against time.
Rene Liu mentioned that she has gradually adapted to the rhythm of touring: “I actually quite like the current pace. From Monday to Friday, I take care of my family, which seems more tiring than holidays. The concert, for me, is like a comfortable respite. The moment I’m picked up by a car to go to the airport, I automatically switch to the ‘female star’ status taken care of by many staff members. I also bask in the love from fans, and then I return to my daily life.”
“Final Call,” ultimately, is about not being content with no change. “When we were young, we were often taught to be content. But as human beings, we still need a bit of restlessness. Can’t we be less reality? A concert is a small act that allows you to indulge in your emotions, bringing everyone together, reaching different atmospheres and spaces through music: we go back to the past together, imagine the future together, and sing together in the present…”
In the “Final Call” tour, the most daring thing Rene Liu did was to challenge the four-sided stage for the first time in her concert career. A four-sided stage requires considering the audience sitting in different directions and involves handling many performance details with different considerations than before. “In the past, the record company asked me to do a four-sided stage, but I never agreed because I felt insecure with an audience looking at my back.”
“But later on, I slowly realized that I have toured many times, and the three-sided stage has already showcased all possible angles to the fullest. I’m not a singer-dancer, I don’t have dance music, fancy costumes, or too many sensory stimulations.” Finally, it was CEO Zhou Youyang from B’IN Live Co., Ltd. who convinced Rene Liu to try the four-sided stage. “He said that a four-sided stage would bring more audience members closer to me, from only the first ten rows being able to see clearly to more rows being able to see.”
With multiple instances of tacit cooperation, this “Final Call” tour, under the collective wisdom of B’IN Live, has also given rise to many concert elements that have amazed the audience. “My legs are not good, so B’IN Live designed a 360-degree rotating accessible stage for me. Because this stage is rich enough, I can boldly talk about some cold things on stage without fear, even without backup dancers. I’m very grateful to B’IN Live for allowing me to make the concert exactly how I want it.”
Singers may unfortunately catch a cold before a performance, and computers may suddenly crash for no reason. Live performances, like taking a flight, can encounter various unexpected situations. Learning to face and accept them is also part of Rene Liu’s daily routine. During the “Final Call” performance process, Rene Liu is also practicing how to coexist with these anxieties in peace: “The most interesting thing about live performances is that every minute is different, very present. Some things may only happen in this particular show.”
“During each concert, I aim to connect with my audience on a deeper level and resonate with them. The process of touring can easily become monotonous; therefore, I strive to provide a unique experience for fans who attend shows many times. How can we transform the same raw materials into distinct ‘dishes’ for each performance? The live experience is never the same and every city inspires a new mood that I aim to convey through my music. Each city evokes a different set of emotions and stimulates diverse imaginations.”
Regarding the overseas performances of “Final Call,” Rene Liu expressed her intention to present more renowned songs for the overseas Chinese audience: “Some spectators may have been away from their hometowns for an extended period. On the stage, I noticed that they sang even more passionately than me, including my driver. When I step onto the stage, I want to convey to them that I know everyone is well. I am gonna take the place of your families and like to greet you.”
Each destination unveils a distinct panorama. Next on the itinerary, in 2023, “Final Call” will fly to Xi’an, and in the future, it will venture to more locations. Once “Final Call” commences, it will not stop easily. During the interview, Rene Liu disclosed: This tour will undoubtedly extend into the following year, unveiling new cities. Moreover, the “Final Call” setlist will feature additional surprises with never-before-performed songs.
Fly to The Bravest Self, Fly to Seek a Better Self
The live VCR for the concert tour was meticulously directed by Kevin Ko, the talented director who helmed the film “Incantation.” Shing-Ming Ho, the screenwriter who has collaborated closely with Rene Liu for an extended period, also contributed to the creative concept of the story. This short film, which portrays the theme of “the bravest appearance in love,” became an emotional highlight for the audience. During an interview, Rene Liu acknowledged that she is always moved when she hears these courageous lines in the short film while waiting backstage for a costume change, even if she has heard them before.
“Recently, I read some articles stating that constantly looking back implies aging. However, I realized it was not true. After I stopped being a child, I often reminisce. Therefore, I believe that by looking back at the past, we can only move forward to the future. Without those experiences, how could I have become who I am today? Our audience comprises individuals at various stages of life, and I hope they can see themselves at different points in the VCR.”
In my perspective, singers like Rene Liu not only perform popular love songs but also endeavor to sing more songs about life, which exemplifies true bravery. In Rene Liu’s recent new songs, “Each Well” is a song about entering the next stage of life and learning to let go, while “Golden Age” endeavors to explore the topic of life and death. These songs, included in the “Final Call” concert playlist, imbue the entire concert with a profound depth of life.
Rene Liu’s national hits like “Later” and “Step Aside” are songs that always lead to a collective sing-along in the audience. These songs have resonated with many people’s emotional experiences. Even after singing these songs for an extended period, Rene Liu finds it remarkable that she never tires of them. This time, after accumulating countless moments in the past, it seems that everyone wants to sing along with her even more.
Regarding “Later,” a song that cannot be overlooked, as well as those songs that belong to Milk Tea and everyone together, and the love movie “Us and Them” that moved the entire nation to tears, Rene Liu couldn’t help but feel deeply touched. “Our ‘later,’ my ‘later,’ and my ‘later’ with the present are all collective memories formed by each individual. Many scenes from the past often come to my mind, and these are given to me by the audience and fans.”
The song “We Are Not Together” from 2010 is also a great song that touched many listeners during the “Final Call” concert. The slow-burning hit from back then has become a highlight of the current “Breakup Quintet.” Rene Liu jokingly calls it the “power of heartbreak.” “A friend brought her daughter to listen to my concert. Although her daughter’s idol is not me, she still listens to my songs when she’s heartbroken. Perhaps you need some experience to understand my songs, but I don’t want everyone to always be heartbroken.”
During the Quanzhou stop of the “Final Call” tour on May 20th, Rene Liu sang the theme song “Let’s Fall in Love” from the TV series “Pink Ladies.” It was the first time in over 20 years that she performed a live version of this song and it was one of the classic moments of the concert tour. In fact, Rene Liu’s role as a “marriage maniac” in “Pink Ladies,” including the single hit “A Lifetime of Loneliness,” has brought immense comfort to many people through these works.
“What are we constantly searching for?” Rene Liu endeavors to find the answer to this question together with the audience through the “Final Call” tour. Since her debut, Rene Liu has always been in sync with her fans, and in her concert, she expresses the concept of “growing up for the third time,” which means truly fearless and brave growth. On our “Final Call” in life, let’s embark on a journey with Rene Liu to find a better version of ourselves.
–This story was written by Jifan Wang for Billboard China
Rene Liu
Mingsheng Chen/Billboard China
One afternoon, Yoga Lin went to a small eatery hidden in an alley in Taipei to have a meal. “It was around 3 or 4 in the afternoon, and many shops had already closed for rest. The boss was taking a nap, and the lights in the store were turned off.” While Yoga Lin was eating his noodles, another customer suddenly came into the store. There was only one small table left, and the man with a crewcut sat down across from Yoga Lin. Because they were sitting very close to each other, Yoga Lin saw some unforgettable moments.
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Yoga Lin couldn’t be sure whether the man was a homeless person or not, but during his meal, the man took out a plastic transparent spoon from his shabby belongings. “It was a spoon with many scratches from previous use, but the man still used it carefully.” Was he afraid of being reprimanded by the owner, or did he cherish his belongings? Yoga Lin had no idea.
At that time, Yoga Lin had just released “Wordless Groans” and was promoting his new song online. But when Yoga Lin looked at the man sitting across from him, using his own spoon, he suddenly had a new idea: Could people who don’t usually use phones, like this man, have a chance to listen to his music? The radio broadcast playing in the eatery inspired Yoga Lin to make a “more direct song.”
“At that time, the radio in the store was playing popular songs, which made me suddenly realize that even a man who seemed so different from my life scene could have a chance to listen to my songs. Perhaps, when this man comes back to this store another day, he will hear ‘Garbage Baby’ while eating.” Therefore, Yoga Lin hoped to turn “Garbage Baby” into a more straightforward song that could have a positive impact on all listeners who heard it.
Many young people have already become accustomed to the convenience of the Internet era, but when we look away from the Internet, there are still many ordinary people who are busy with their daily lives offline. Yoga Lin hopes that his work can not only influence online listeners, but also provide direct comfort to those offline people who rarely have the opportunity to hear popular music. “I think that the impact of a song like ‘Garbage Baby’ may far exceed my imagination.”
“Garbage Baby” also reunited the behind-the-scenes team of “Wake Up” in 2011, 12 years later. The composer, Subyub Lee, and the lyricist, Wyman Wong, are both musicians from Hong Kong, China. Yoga Lin, who sang “Bad and Worse,” has always had a deep affection for Cantonese songs. Therefore, the Cantonese narration “Remember,” spoken by Wyman Wong himself, conveys the key message of “Remember that you are a baby, not garbage,” regardless of where you are.
“The most important message that ‘Garbage Baby’ wants to share with everyone is love. Love is sometimes like two people exchanging garbage and tolerating each other’s shortcomings. Through ‘Garbage Baby,’ I hope to let everyone know that everyone is a beloved baby, and your flaws are adorable. Therefore, in the last verse of the song, we even deliberately designed it to emphasize this point: ‘You are a baby, not garbage,’ which is not sung but spoken.”
Yoga Lin encountered a chance to share a table with a stranger while eating noodles, which led to the creation of “Garbage Baby”. Subyub Lee, a Hong Konger living in Taiwan, also gained wonderful inspiration for creation in a foreign land. In Taiwan, garbage trucks collect household garbage from every household on the street. While Subyub Lee was rushing to deliver garbage to the garbage truck, he heard the piano pieces “Für Elise” and “A Maiden’s Prayer” playing on a loop from the garbage truck, and the melody of this song immediately came to his mind.
Wyman Wong, a legendary lyricist who has created many wonderful works for Yoga Lin, such as “China Town,” “You Are What You Eat,” “Spoiled Innocence” and “Otomen,” contributed his Yoga-style whimsical idea again in “Garbage Baby,” saying that “love is exchanging black plastic bags and opening gifts while holding your nose.” Yoga Lin, who rarely sat so close to strangers, said eating noodles with a stranger was a novel experience for him. When creators get closer to a wider audience, they can create more good songs that resonate with the times.
Yoga Lin wants to convey the most direct positive message to everyone who listens to “Garbage Baby”: “I imagine that one day, no matter who you are or what your status is, you may lack confidence at this moment, you may have suffered some setbacks, or you may have just experienced a low point in your life. … I hope that after listening to ‘Garbage Baby,’ you will remember that ‘you are a baby, not garbage.’”
At the end of the “Garbage Baby” music video, a group of white-clad men and women sing “You’re My Precious” in unison like a choir above the rainbow-painted sky. Subyub Lee is also one of them. They provide a faint light for ordinary people in their bleak daily lives, tearing open a small gap for Yoga Lin, who is dressed in a bear suit and sitting helplessly in the garbage dump, as well as for quarreling couples, tense lovers, single mothers troubled by life, and men mourning their deceased loved ones.
Encountering Obstacles in the Album, Triumphing in Life’s Trials
Because he had been caught in heavy rain, Yoga Lin wanted to help others with his umbrellas when he had the chance. This is perhaps the fundamental intention behind his song “Garbage Baby” and the production of his sixth album: to encourage fans to move forward. Since the release of his fifth album Sell Like Hot Cakes in 2016, Yoga Lin, who has been absent from the Chinese music scene for seven years, has been in a state of struggling to make progress in his music career and personal life.
During the years of preparing for his sixth album, Yoga Lin seems to have become more and more understanding of one thing: “If a person relies solely on their abilities and resources, they cannot accomplish everything.” Especially in the past three or four years, Yoga Lin has spent a lot of time that should have been used for making music to accompany “important people in his life.” When others wondered if Yoga Lin, who had not released new songs for a long time, had intentionally withdrawn from the music scene, he was actually trying to support his family and get through the most difficult period of cancer treatment.
The experience and feelings of accompanying his family to various hospitals for treatment have deeply influenced Yoga Lin’s creative attitude. He witnessed many patients in the ward who “wanted to live,” but everything seemed to be left to fate. “When my family’s cancer was diagnosed, it was already stage 3 pancreatic cancer, which was almost impossible to remove surgically. I searched for information online and found that the chance of completely recovering was very low. At that time, it was like a bolt from the blue.”
Yoga Lin described it as “a very intense challenge for me.” But at this moment, he was fortunate enough to meet a senior from his high school band. The senior was originally the lead singer of the band, but he willingly stepped aside to become the second guitarist so that Yoga Lin could join the band. This was the first time that young Yoga Lin realized the principle of “doing things that are beneficial to others.” Fortunately, this senior has now become a medical expert.
“I am very lucky to have met this senior who is both a doctor and a musician in my life. Later, my dad’s tumor shrank enough to be removed, and the senior said it was truly a miracle. This made me deeply understand that sometimes you may have money and power, but you cannot exchange them for the health of a patient with stage 3 pancreatic cancer. In the past few years, it has been a very shocking life experience for me. There is a lot of love and luck in it.”
During the time he was supporting his family in their fight against cancer, Yoga Lin also became a father for the second time. He saw this long period of “paternity leave plus cancer leave” as a chance to challenge himself and improve himself. The stress of the situation led to his developing a severe gastrointestinal illness. During a checkup, he discovered that his colon was inflamed in multiple places, and he had to limit his diet. The doctor even suggested that he try writing gratitude journals to manage his stress.
Over the past three to four years, Lin has learned the importance of maintaining a grateful attitude in life. Despite facing setbacks, he believes that gratitude has led to a series of miracles, including his father’s pancreatic cancer and his own gastrointestinal illness being cured. For him, creating this new album with a fresh perspective and new ideas is the best way to move forward.
Lin is increasingly grateful for the many beautiful songs he has had in the past and the influence he has now. He hopes to use his influence to encourage his listeners to be more gentle and brave and to make the world a better place. Looking back, Lin sees his illness as a “gift” for him and his family.
In the comments section of his new song on QQ Music, a fan named “Stars Hidden in the Night” shared that listening to Lin’s music during difficult times gave her hope. In response, Lin expressed his hope that his future music could accompany her through tough times and that they could work together to overcome them.
Lin’s experience of fighting cancer with his family has given him a new perspective. When he has the inspiration to do something, he increasingly chooses to do things that benefit others rather than just himself, like when he stepped down as lead singer to make the band better. This is a significant shift in mind-set, as people tend to be selfish when making choices and may even feel a little difficult at the time. But Lin has achieved this.
Doing Good Deeds, Doing Things That Benefit Others
After experiencing profound changes in his life, when asked about his long-awaited sixth album, Yoga Lin used the plain and simple words “keep your expectations” and hoped that everyone would continue to do so. This is also the most honest answer from Lin when facing an unpredictable future. After years without releasing an album, the rules of the game have changed, and since everything cannot be foreseen, it is better to learn to accept change. “Yoga Lin is back! But what will tomorrow bring? Let’s keep our expectations high!”
“Just like when I released an album before, I did more than 100 endorsements in a month, but besides my fans, not many people knew that I released an album. But one time, I sang a song on a variety show that I don’t usually go on, and then everyone knew that I had released an album. These are all things that cannot be predicted.” Lin was talking about his story of singing “Step Aside” on a variety show; even the original singer Rene Liu encouraged him through their mutual friend, HIM International Music executive Derek Shih.
As he has been fortunate enough to receive help from his seniors on his journey, Lin hopes to pass on the spirit of “doing good for others.” He would go to university campuses to listen to Elephant Gym’s performances before they became famous and even invite them to collaborate on “The Shape of Mouth.” Before Terence Lam became popular, Yoga Lin had already recognized the demo of “Worse comes to Worst.” When Hong Kong junior Jer Lau (a member of Mirror) invited Yoga Lin as a guest performer at his concert, Lin agreed immediately.
The polishing time for the sixth album was too long, spanning seven years from 2016 to 2023, far beyond the normal production cycle for an album. Although Yoga Lin is also anxious about when the sixth album will be completed, he believes that good things will come to fruition at the right time and hopes to complete the sixth album by the end of this year. “I think the sixth album is quite incredible, and there have been some new changes slowly happening now.”
Currently, the number of songs accumulated in Yoga Lin’s sixth album has become more than originally planned, possibly exceeding the 10 songs of a regular album. During the preparation period of the album, Yoga Lin visited people who love playing the piano everywhere to gain inspiration for creation, including an antique piano owned by a piano collector in Shilin, Taiwan, and a piano from Soda Green’s Gong Yuqi’s private collection. One of the new songs, “White,” which focuses on piano elements, was also sung by Yoga Lin in this round of concerts. What’s even more special is that the piano in “White” is played automatically by a machine.
“White” is about a serious theme of life: when loved ones pass away, which is a situation that everyone may encounter. “The reason why I chose a mechanical piano is that we always face the fact that people we love will leave this world and cannot continue to live, but I believe that there is a kind of love that will always exist. Therefore, I also want to convey this feeling to everyone. In order to convey this message, I used an unmanned mechanical piano. I hope that this message can bring some comfort to some people as well.”
Another new song, “Wordless Groans,” was written by Yoga Lin himself, and the lyrics were co-created by Yoga Lin and teacher Yao Qian. Being able to come up with the concept of “ordinary yet stubborn” really impressed Yoga Lin, who admired Yao Qian’s unique creativity: “The word ‘stubborn’ is rarely seen in Chinese songs. I think it is a very special choice. I admire Yao Qian for being able to think of such a description. Every detail we established through lyric creation together is unforgettable.”
Regarding the song title “The Song of Stubbornness,” Yoga Lin hopes that he can continue to be stubborn in the right place: “For example, only doing things that are good for others is also a kind of stubbornness. We often face choices where we have several inspirations at the same time, but time is limited. Which one should I do first? Now, I will only do things that are good for others. This value also helps me execute things more easily.”
“In the past, when I made every decision, I hoped that what I produced would be perfect and only cared about whether I looked handsome in the camera. If I carefully checked every angle after taking a photo, it might make the people around me very tired. For example, if we work until very late today, as long as the meaning conveyed by the work is positive, we should let the work team rest first—this is a decision that helps others.”
Yoga Lin used to be a perfectionist, so he inevitably became trapped in his self-set “emotional black hole” and faced negative emotions and obstacles in life. The “stone” he moved in the music video for “Wordless Groans” actually symbolizes these negative emotions and obstacles in life. Now, Yoga Lin has finally learned not to dwell on small flaws anymore. After using emotions in the right way, the pressure on his performing career has also been reduced significantly.
Applying the concept of “doing things that are good for others” to the actual operation of every specific thing has allowed Yoga Lin to receive unexpected positive feedback in real life: “In order to express yourself better when conveying messages to others, you need to become the person who can face the kind of person you are talking to. For example, when accompanying family members to fight cancer, in order to save their bodies, you need to use methods that suit them to tell them some things. This is ‘doing things that are good for others.’”
“I had an inspiration at that time, which was to find a doctor about the same age as my family member to help them. My family member is older and has some deep-rooted ideas. The effect of persuading them with a doctor in their 60s is better than that of persuading them with a young doctor. They listened carefully and absorbed what was said by doctors their age, and then made some changes.” Later, Yoga Lin also applied this “successful experience of persuading family members” to the production and promotion process of his sixth album.
“Although the progress of album production is slow, I will express good ideas more accurately each time. Like the most critical sentence in ‘Garbage Baby’ — ‘Everyone is a loved baby’ — we said it instead of singing it.” In this ever-changing era, we must speak more directly in our works to better convey what creators think and feel. This is also a learning process for Yoga Lin to live in the present.
Love Can Overflow and Help People Escape the Black Hole
After a long period of dormancy, Yoga Lin was once confused about why these experiences happened in his life, feeling like a thunderbolt on a sunny day, and decided to restart the “idol” concert and upgrade it to the “idol 2023” world tour. This is a concept about how to “escape from a black hole,” and the key core of this upgraded concert is that only love can overflow from a black hole.
In fact, as early as when they started the “idol” concert in 2018, Derek Shih, the senior executive at HIM International Music, who worked closely with Yoga Lin, gave the concert a Chinese name called “Love More” (it was just not publicly announced at the time). Looking back now, Yoga Lin suddenly realized that “Love More” was actually the best interpretation of the “idol” concert. When Love More overflows, we who are trapped in the black hole can have a chance to be truly saved by love.
Regarding “escaping from a black hole,” Yoga Lin understands it this way: “Sometimes we encounter great difficulties, but it is also possible that we will receive more abundant blessings in the future. However, people usually cannot see things in the future. In my past difficult experiences, I learned a very important thing: We must always maintain hope, which is very important and what I want to share with my fans. What makes you feel desperate now may be a blessing in disguise.”
Being able to invite Ryuichi Sakamoto before he passed away to authorize cooperation, combined with various wonderful stage visual effects, made “idol” described by the industry as Yoga Lin’s career masterpiece. But in Yoga Lin’s eyes, the 1.0 version of “idol” was just a process of seeking answers without reaching a conclusion. Yoga Lin tried to use his current understanding of life and his own life experience to add new colors to the 2.0 version of the “idol 2023” concert.
“After three years of precipitation, the whole earth stopped. When I hadn’t worked on the ‘idol’ concert for a long time and had the opportunity to restart it again, I went back to look at this performance three years later and discovered that the first part of the concert was so shocking, like a ‘black hole.’ I seem to feel how I was at that time: he was always pursuing a big goal and achievement, but at the same time, he may also be looking for direction.”
At that time, although Yoga Lin had done the critically acclaimed “idol” concert, he still seemed to be trapped in a “black hole” and couldn’t get out: “At that time, I didn’t know which kind of life was right. What a person thinks will be reflected in every action he takes. All behaviors are closely related to your inner-motivation. In this concert, I also saw my most true inner-world at that time, confused and still looking for who I am.”
Yoga Lin’s thoughts at the time were infinitely magnified by the “idol” concert stage: “At that time, I wanted to have greater achievements. In other words, I put ambition first. This is endless, just like an insatiable desire black hole.” Life has countless black holes, and only overflowing love can fill these voids. The past three or four years have made the overall concept of the “idol 2023” concert more complete and allowed Yoga Lin to hear his own voice from the bottom of his heart.
Yoga Lin incorporated all the life setbacks he had experienced over the years, the life answers he had been seeking, and the taste of life he perceived in the “black hole” into every detail of the concert: “The ‘idol’ concert is a very good structure, combined with the cooperation of a work team that may be one of the top Chinese concerts, allowing me to put what I now understand into the concert again through this ‘idol 2023’ concert and go deeper into explaining some things.”
When singing “The Tightrope Walker” in the “idol 2023” concert, Yoga Lin had such a talk: “I believe that like me, everyone has many wonderful things worth cherishing in their daily lives, and there will also be some terrible challenges that happen in our lives. Every person will have moments of despair. I hope my songs can give you some encouragement and let you know that when every blow comes, besides feeling despair, we still need to maintain hope.”
Yoga Lin gradually realized that no one in this world knows what will happen in the next second, nor can anyone predict how their life will go next. Faced with various sudden “black holes,” the only thing Yoga Lin can do is give each listener a gentle hug with music. He hopes to always maintain this gentle and brave state to convey the warmth and love he wants to convey to fans, flowing into the ears of every audience member on-site and even into everyone’s hearts.
In the Cantonese-speaking region, Yoga Lin will sing his Cantonese song “Bad and Worse.” “Everything is bad, but we can still be happy.” This is Yoga Lin’s blessing to fans and himself: “There will always be some sudden challenges in life that we cannot know. But we still need to be grateful for having five fingers, heartbeats, breathing… For many things, we can still maintain hope. I also hope that fans can maintain a good attitude when facing different challenges.”
Becoming a Person Who Loves Others as Much as Oneself
Through the “idol 2023” concert, Yoga Lin upgraded his value of “doing only things that benefit others” in recent years to “always choose the decision that benefits others, which is the right decision to escape the black hole.” Yoga Lin almost tirelessly repeated this sentence at every stop of the tour, hoping to remind more audiences to understand and accept this reminder and thus be able to break free from the “black holes” in their lives.
“The ‘idol 2023’ concert is about how to escape from the black hole. This value actually affects my way of doing things in life and creation. Every day we have all kinds of inspirations, but now when I have to make decisions, I will choose the inspirations that are worth my time and energy and can mobilize the whole team to execute things. Any decision and inspiration that has a positive impact on others is worth my full effort to do.”
Regarding “loving others as oneself,” Yoga Lin also gave a very vivid description of a realistic scenario. “Suppose one day I am in a bad mood and have already had a big fight with my family before going out. When driving, I encounter another hot-tempered driver next door. I may be stimulated and get angry, roll down the window, and argue with him… There are many similar explosive ‘black hole’ moments in life. When you embrace the mentality of ‘loving others as oneself’ and think it over, the result will be completely different.”
The person who can avoid being swallowed by the “black hole” is the person who can share the burden with others. Yoga Lin, who has walked out of the “black hole,” now hopes to work with fans and friends throughout his life to become a person who loves others as much as he loves himself. Then, when the audience leaves the concert venue, they can remember Yoga Lin’s words at the concert: “Love others as you love yourself.” When more and more people become like this, this imperfect world will quietly undergo new changes.
“Love is mutual. Whether you have loved others or others have loved you, whether there is love flowing between on and off stage, that state of love can be fully felt. Fans sincerely support a singer they like, and I hope to give back to them through music, including the positive messages and values that I want to convey in music. This is what I think is the best feedback.”
One Great Show Can Change The World
Can a perfect concert make the world a better place? After going through many difficulties and finally returning to the stage, Yoga Lin has a very firm answer to this: One Great Show Can Change the World! “We can’t really change the world, and many things can’t be controlled by individuals. But that doesn’t mean that, as human beings, we can’t make an effort. We still need to love others more, just like we love ourselves.”
In his early years, Yoga Lin was also lost in the constant comparison with others. Later, he slowly learned that “it is natural and healthy to see the better qualities in others.” As in “Garbage Baby,” when you realize that everyone is a unique treasure, it will give you more courage. “In the past, when I saw that others were excellent, I wanted to become even better. This idea is not a problem. The key may be whether you can know that everyone is a treasure, including yourself.”
“My heart reflects in my music, written works, and interactions with colleagues. This is an important factor that has influenced my behavior in the past. Because I want to become stronger, I expect myself not to lose balance or create invisible pressure on the work team. If the motive is not good, it may lead to bad results in the end and may also bring heavy burdens to oneself and others – these burdens will eventually become a ‘black hole.’ I hope I can stay away from such ‘black holes.’”
Another way Yoga Lin wants to change the world is by using only black support flags that are given away for free at his concerts instead of all the glowing support items. This black concert, like a “black hole scene,” with its deep black reflection, is distinct from other concerts that sparkle with various fluorescent sticks. The line on the support flag, “Only Love Can Overflow Black Holes,” is also what Yoga Lin wants to say to his fans: only love can overflow black holes.
Yoga Lin, who loves environmental protection, admits that he has even considered whether to recycle the black support flags and flagpoles separately: “I care about environmental protection very much. Not only do I want to protect the earth, but we also need to manage and maintain this earth well. Everyone shoulders responsibility.”
Every decision Yoga Lin makes receives maximum support from his fans and friends. At the “idol 2023” concert, you will hardly see any audience members bringing fluorescent sticks into the venue in order to present the best performance effect. This reminds me of Yoga Lin’s famous saying at his concerts: “To convey positive ideas, face whoever you want to be!” When idols practice what they preach by doing things that benefit others, fans also follow suit. This is what it truly means to “impact lives with your life.”
At this stage of his life, Yoga Lin hopes that he has no negative thoughts about work. He is practicing a new attitude to face his future career in the performing arts. “I deeply understand the motivation for change. My entire state of mind is completely different. After doing this, I have a new understanding of working hard. What I do is no longer for better results or higher status but only to do things that benefit others. I hope to maintain this positive motivation first before achieving any additional success.”
In the era of short videos and hit singles, Yoga Lin has to consider how not to blindly follow trends but instead make healthy judgments about whether he should do something or not. “I hope to adjust myself in this way, only choosing things that benefit and help others. I don’t know if there will be any additional bonuses in my career during this process. If there are, it’s great; if not, I will still do things with this motivation.”
Yoga Lin hopes that his music can help listeners solve their life problems when they encounter an unbearable “black hole.” When they hear the values conveyed in works like “Garbage Baby,” they may have a chance to save their lives. “So now my motivation for work has changed. As long as it’s a city where I haven’t performed before, my life can bear it, and I can still sing, I will go there. No matter where it is, I can go.”
In order for the philosophy of “Garbage Baby” to influence more people, Yoga Lin has copied and pasted the sentence “Please remember that love is exchanging garbage with each other and tolerating each other’s shortcomings; also remember that you are a beloved treasure, not garbage” on different social media platforms countless times just to deepen everyone’s memory effect. As long as it’s something that benefits others, he will try his best to do it. The eight words “Do good deeds without asking about future prospects” are very suitable to describe Yoga Lin, who is overflowing with love at this moment.
–This story was written for Billboard China by Jifan Wang
Yoga Lin
Mr.triangle/Billboard China
While NewJeans‘ brand of easy-listening K-pop minimalism has earned the girl group both a No. 1 album on the Billboard 200 as well as a Billboard Music Award, the quintet shook up their formula when it came to recording League of Legends‘ annual world-championship anthem “Gods.”
For the musical collaboration alongside Riot Games set to one of the world’s most popular video games (League of Legends reports 80 million average monthly players), NewJeans bring a booming, maximalist electronic-pop epic fully in English where an ominous full choir accompanies members Minji, Hanni, Danielle, Haerin and Hyein.
According to NewJeans, bringing “Gods” to life meant delivering their most elaborate live performance to date when the quintet took the stage at LoL‘s World Championship Finals on Nov. 19. Along with dancers and actors joining NewJeans, the performance included virtual-reality, computer-generated imagery and guest appearances from the top competing teams in eventual 2023 champs T1 from South Korea as well as Weibo Gaming from China.
Talking to Billboard exclusively after a big weekend where they not only performed and won at the 2023 BBMAs but helped open League‘s 2023 Worlds, NewJeans discuss recording and preparing “Gods” for the big stage, meeting T1 and Weibo Gaming, favorite Riot Games’ musical collaborations and more.
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Congratulations on a huge weekend. Not only did you perform and win at the 2023 Billboard Music Awards, but you also performed “Gods” for the first time live at Worlds. How are you all feeling?
DANIELLE: The whole experience felt surreal to me! Performing for the Worlds Finals as well as the Billboard Music Awards alongside artists we deeply respect and admire was incredibly surreal! Even looking back now the scale was unbelievable and we are so grateful and honored for the experience.
The Worlds performance looked and felt very massive. How do you prepare for such a big performance with different elements like dancers, actors, VR and more?
MINJI: It felt like the stage with the most diverse range of creative elements we had so far. It was truly enjoyable going through the process of coordinating with the dancers and actors through numerous rehearsals, aligning the timing and virtual reality aspects! [Laughs]
Those VR and CGI elements are very cool to watch on YouTube. As performers, do you need to imagine the effects while you’re singing?
MINJI: I was aware that there were numerous stage setups, but when we actually rehearsed on stage, everyone was quite mesmerized. In particular, seeing the part where the video effects seamlessly transitioned into reality left everyone in awe. It was truly an honor to be able to participate in a performance of the scale!
How was making the live premiere of “Gods,” your first song in English, at Worlds? Take us through how this song was conceptualized and eventually came to life on stage.
MINJI: “GODS” was a new challenge for us as NewJeans. It has a different vocal and choreographic style from what we usually do, so we invested a lot of time and effort into it! I recall rehearsing it over and over again for a flawless and dynamic live performance on the grand stage.
HAERIN: Since it’s the anthem for a game and a tournament that is so widely loved on a global level, we thought the lyrics in English would help fans around the world immerse themselves better in the surge of emotions associated with the song.
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Are any of you League of Legends fans or players yourselves? Was anyone excited to see parts of the game like Leona and Mordekaiser’s character represented during the performance?
HANNI: I enjoy playing League of Legends every now and then, and because there are so many champions, I’ve become curious about all their different abilities. It was amazing to see the performance we practiced being brought to life on stage alongside such amazing dancers, actors, and all the special effects and CGI. I remember being in awe while we watched the playback of our performance backstage. Also, our outfits and styling were inspired by the champion Leona! Looking back, having Leona appear on stage with us was definitely cool to watch.
So, even your fashion had connections to LoL too?
DANIELLE: Yes!! In fact, our whole outfits were based around Leona, who is a holy warrior in League. Our accessories were specifically designed to resemble her armors of gold and shimmer!
HAERIN: Our wardrobe had a chic feel to it and was put together based on a palette of neutral tones. We wanted an attire suitable for portraying the song effectively!
Finalist teams T1 and Weibo Gaming (WBG) also joined on stage. T1 members have shared that they’re NewJeans fans. Are any of you fans of the teams or players? Did you meet at the event?
HANNI: We had the pleasure of meeting both T1 and WBG backstage on the media conference day! It was a few days before the Finals, and I can’t imagine how nervous they would’ve been, but they greeted us all very warmly. It was nice to have time to meet them! Up until then, we had seen all the small references they made about us and our music, so I really wanted to mention it to them and thank them. But, out of the excitement of meeting them, I forgot to mention it!
HYEIN: We had a lot of rehearsals to perfect our performance for the Finals. During one of the rehearsals, I turned around briefly and was surprised but also fascinated to see the players there! Also, before the stage, we had a moment to greet the players, and it was so gratifying to be able to tell the players from both teams that we’ll be cheering for them.
One of my favorite parts was the montage with people from the LoL community’s photos, like players, casters, announcers, owners and more. How does it feel to be part of this diverse community?
HANNI: The fact that we were able to take part in such a globally loved occasion and engage with such a big community still feels surreal. We were so honored to be a part of it, and we were also grateful to everyone who made it possible. Being there in person and witnessing how such a wide community shares the same love and passion, including all the staff and fans there alike, was an amazing experience. It really was the icing on the cake for this whole process.
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You’re now joining LoL and Riot Games’ history of musical collaborations. Imagine Dragons, Becky G, Marshmello, Kim Petras and more have participated, while Riot Games has created virtual bands like K/DA, HEARTSTEEL and True Damage. Have you listened to these collabs?
HANNI: I’ve listened to nearly all of the musical collaborations with Riot Games Music and watched all the amazing accompanying performances. I think K/DA’s “POP/STARS” was just so iconic and massive. I remember it blew up in popularity back when I still lived in Australia! Personally, “Warriors” by Imagine Dragons, the first-ever Worlds Anthem, possesses a very deep emotional sound that is captivating, and I loved immersing myself in the emotion it conveys and the expression of it itself. While we were rehearsing and preparing for the opening ceremony performance, we got to watch the other performances, and HEARTSTEEL was such a blast to watch! The song is not only fun to listen to, but the artists’ individual characteristics and personality were showcased really well on stage, while effortlessly complimenting each other!
As artists, in what ways do you see music and gaming connecting?
DANIELLE: From my perspective, I think music can enhance the storytelling aspect, enriching the whole experience of the game. I think it helps to heighten the overall immersive quality of the experience, which leads to a stronger connection between the player and the visual elements within League!
NewJeans had a massive 2023. Is anything significant still planned for the end of this year? Or any spoilers about what to expect for 2024?
HYEIN: Certainly there were many exciting events in 2023, including our music releases. I want to deliver many fulfilling and amazing performances for the remainder of 2023! I hope our fans, Bunnies, will enjoy our upcoming performances too!
NewJeans performs at League of Legends World Championship 2023 Finals Opening Ceremony at Gocheok Sky Dome on November 19, 2023 in Seoul, South Korea.
Colin Young-Wolff/Riot Games
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