Japan
Hailing from both Japan and Chicago, Issei Uno Fifth is more than just another name in hip-hop and R&B—he’s a force of raw talent and authenticity. Bursting onto the scene in 2021, he quickly grabbed attention by winning a TikTok Spotlight music competition. But it was his breakout moment with Outta Time (feat. JP THE WAVY), a collaboration with Rodeo that landed in a commercial, that truly turned heads.
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Despite his growing success, Issei’s journey wasn’t always smooth. He spent his formative years in Chicago before moving back to Japan, where he faced resistance from his own family about pursuing music. But with sheer determination, he transformed his passion into reality. On February 19, he dropped his first full-length album, Dear Mama, a deeply personal project that serves as both a love letter to his mother and a bold declaration of his place in the industry.
Billboard Japan sat down with him to talk about his inspiration, the struggles behind his artistry, and why he’s all about staying true to himself.
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Congrats on your debut album! I heard that it’s an oath to your mom. What inspired you to make something so personal?
I spent my teenage years in Chicago, but when I moved back to Japan at the end of 2023, that’s when I really committed to music. At first, my parents were completely against it. My entire family, extended relatives included, all work in healthcare. It was like an unspoken rule that I’d follow the same path.
So when you told them about your dream, how did they react?
I was 17, sitting at the dinner table, and just blurted out, “I’m quitting school. I’m gonna make a living off music.” (laughs) My parents froze. The room went completely silent—like they couldn’t even process what I had just said.
For three years, they fought me on it. They couldn’t understand why I would throw away stability to chase something so uncertain. But over time, they saw how serious I was—I wasn’t just dreaming, I was putting in the work. And eventually, they came around. Now, they’re fully on board.
So when it came time to create my first album, I wanted it to be a statement—not just to my mom, but to the world. This is my way of saying, “My journey as an artist starts here.”
So nobody in your family expected you to become an artist.
Not at all. The first time I ever even mentioned making music was when I wrote my first song, “Could do better,” at 17. That was the moment I first challenged the unspoken rule in my family—everyone was expected to follow a “normal” path, especially in healthcare.
At that dinner table, when I told them my decision, they were stunned. For the next three years, they refused to accept it. But I was relentless—I kept making music, kept proving that this wasn’t just a phase. Eventually, they saw that I wasn’t giving up, and now they fully support me.
So when I was making this album, I asked myself: “What do I want to say with my first full-length project?” And the answer was clear—I wanted to make an oath to my mother, a declaration that this is the beginning of my career.
I see. So that’s what led to the oath. What was life like for you as a small child?
As a kid, I was always searching for the right answer—like everything had to be perfect. My parents never said it outright, but there was this pressure to live up to a certain standard.
This album is the embodiment of my resolve to be myself. Music gave me the freedom I never had growing up, and that’s why this message is so important to me. Seeing how listeners connect with my music—that reassures me that I made the right choice.
And that’s exactly what this album represents.
Looking at the different songs on the album, you’re not just singing about different kinds of love, but also about your growth, struggles, and resolve as an artist. Did your values or way of thinking change at all through the creation process?
Yeah, definitely. Before, I used to think that love only exists when it’s acknowledged by someone else—like, if nobody sees it, then it’s not real. But through the process of making this album, I realized love isn’t something that needs validation. Even if no one’s there to receive it, you can still put love into the world. That shift in perspective was a huge step forward for me, both as a person and as an artist.
One of the songs on the album, “CHA CHA AI feat. LEX, JP THE WAVY (Prod. A.G.O)” is already streaming. When did you come up with the phrase “CHA CHA AI”?
When I was working on this song, I started noticing that a lot of people were suddenly trying to get close to me—and not all of them had good intentions. It made me think about the difference between real love and fake love. At first, I considered calling the song something like “Fake Love” or “Plastic Love,” but those phrases felt too predictable, too expected. They didn’t really match my creative instincts. While I was listening to the melody over and over, the phrase “cha cha” popped into my head. In Japanese, “cha cha” is a playful term that means teasing or joking. Pairing it with “ai” (love) gave it a unique twist—it kept the song’s message about questioning love, but in a way that felt lighthearted and fun instead of overly serious. It was the perfect balance.
It’s perfectly balanced. I heard you did the art for “CHA CHA AI” yourself?
Yeah! Since the theme was “love,” I wanted to create something personal and hands-on, something that felt truly mine. But at the same time, I didn’t want to go the typical route—I wanted to do something that other artists wouldn’t think of doing. One day, I was at a team member’s house, and out of nowhere, they handed me a box with twelve different colors of clay and said, “Make something.” So I just went for it—no sketches, no overthinking—just pure creativity in the moment. That’s how the artwork came to life, completely spontaneous and unfiltered.
The love really comes through in “CHA CHA AI.” You collaborated on this song with LEX and JP THE WAVY. What led to that collaboration?
JP THE WAVY had gotten involved in on an event by Takashi Murakami by making the theme song. He reached out to LEX and I and we put on a show. It all started when the three of us came together. Then right after that, JP THE WAVY invited us to a writing camp, and the three of us were all together again. That’s when I felt, intuitively, that the three of us should work on my next song. I thought, “If all three of us work on a song together, we’ll create something wonderful.”
You worked with an illustrious group of producers on the album. How did you feel when you found out they would be producing it?
Honestly, I was just grateful to have the opportunity to work with such incredible producers. Before we even started working on Dear Mama, I flew to South Korea to meet with all of them in person. We didn’t just talk about music—we hung out, got to know each other, and made sure we really vibed on a personal level. They’re all amazing people, and from the moment we connected, I knew I wanted to start creating with them right away. When I shared my vision for the album and the kind of songs I wanted to make, they sent back tracks that were beyond perfect—they captured exactly what I had in mind, sometimes even before I put it into words. The whole production process was surprisingly smooth, and it felt like each of us brought something unique to the table. In the end, all these different talents and influences came together to create something even deeper than I had imagined.
Now, I’d like to ask you a little bit about yourself. I gather that you’ve listened to all kinds of music since you were very young, and music has always been close to you. What led you to start making music yourself?
During the pandemic, I got stuck in Japan and couldn’t go back to the U.S. For about three months, I was completely cooped up at home, unable to do much of anything. I had so much time on my hands, and at some point, I just thought, “Okay, I’ll write a song.” That moment led to me writing my first track ever—”Could do better.” Looking back, that was the turning point.
Since “Could do better,” you’ve written a lot of hip-hop tracks. What do you see as hip-hop’s appeal?
For me, hip-hop is all about freedom—there’s no single right answer, no strict formula. You can say anything, be completely raw and honest, and that’s what makes it so powerful. Before I got into hip-hop, I mostly listened to highly polished pop music—everything was clean, structured, and carefully crafted. But when I moved to Chicago and really experienced hip-hop for the first time, it shook me. I remember thinking, “Wait… you can actually say stuff like that in a song?” It left a huge impact on me—seeing how artists could expose their emotions, struggles, and thoughts without holding back. That kind of realness was something I had never experienced before in music, and it made me want to create hip-hop myself.
You’ve experienced both Japan and the U.S. What differences do you find in the Japanese and overseas hip-hop scenes?
In Chicago, hip-hop is more than just music—it’s survival. People are hustling like their lives depend on it, doing whatever it takes to make a living. Sometimes, that even means turning to the streets. There’s this intense, unshakable mindset of “I have to do this. This is my way to survive.” Being around that energy made me respect the grind, but it also made me reflect. I thought, “I’m influenced by this world, but I don’t need to take it to that extreme.”
As for Japan’s hip-hop scene, I’ve only been back for about a year, so I’m still discovering things. But one major difference I’ve noticed is the fine line between imitation and inspiration. Some artists here are still figuring out how to make hip-hop their own, rather than just replicating what’s happening overseas.
For me, it’s about inspiration—taking the essence of hip-hop and making something that’s truly mine. I think it’s crucial to find that balance between respecting the culture and staying true to your own vision.
Be yourself, and don’t be afraid to take action. I used to overthink everything before making a move. I’d get caught up in doubts, second-guessing myself, and that fear would slow me down. But looking back, I realize—I should’ve just trusted myself from the start.
The world is massive, and somewhere out there, there’s a place where you’ll be accepted exactly as you are. You don’t need to fit into someone else’s expectations—just focus on being the real you.
I want to create music that feels like a safe space for people who are struggling to find where they belong. If you’ve ever felt lost, just know—I see you, I hear you, and I’m right here with you.
So let’s move forward together. I got you. Let’s do this together.
–This interview by Azusa Takahashi first appeared on Billboard Japan
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
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This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Feb. 5, 2024 to Jan. 26, 2025. The entries for each category were announced in March and the nominees for each category last week.
The fourth installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the Best Vocaloid Culture Song entries that recognizes the Vocaloid song with the most outstanding musical creativity and artistry. Music created using Vocaloid software has developed in a unique way in Japan and we’ll assess how it’s currently being listened to around the world by breaking down various data of the category’s entries. In this article, songs using voice synthesizer software other than Yamaha’s Vocaloid products, such as CeVIO and Synthesizer V, will also be collectively referred to as “Vocaloid.”
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Trends Differ in Japan and Other Countries
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We first calculated the share of each virtual singer software (voicebank) used for each song entered in the Best Vocaloid Culture Song category, based on the number of global streams excluding Japan. The graph shows Hatsune Miku is featured in more than half the Vocaloid songs being listened to overseas. The share of songs using Miku’s voice in Japan is 34%, so she’s more popular outside the country.
During the tallying period, the top 3 Vocaloid tracks being listened to outside of Japan all featured Hatsune Miku. Furthermore, six of the top 10 songs use her virtual voice. On the other hand, only three tracks featuring Miku made it into the top 10 in Japan, falling short of the five featuring Kasane Teto.
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The above shows the percentage of the kinds of voicebank being used for each song entered in the category (when multiple kinds were used, such as in a duet, both were counted). The voicebank used the most was Hatsune Miku, accounting for 37% of all songs. Additionally, since the release of Kasane Teto for Synthesizer V AI in April 2023, the number of songs using her virtual voice has increased, making it the second most used after Miku’s. The top 5 were followed by Kagamine Len, Megurine Luka, IA, Kaai Yuki, and KAFU all tied at No. 6, and Zundamon and Adachi Rei tied at No. 11.
Vocaloid Music is Being Listened to Globally
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59% of the streaming shares of the entries in the Best Vocaloid Culture Song category came from outside Japan. 25% of the streams of the entries in the Song of the Year (SOTY) category, which honors outstanding songs from both Japan and abroad, came from overseas, so this indicates Vocaloid is a genre that is particularly popular in other countries among Japanese songs.
Billboard Japan
The graph above shows the streaming shares for all entries in the Best Vocaloid Culture Song category during the tallying period, broken down by country/region excluding Japan. The top four countries—the United States, South Korea, Indonesia, and Taiwan— are the same as the Top Global Hits from Japan category that recognizes domestic songs that have become global hits. Compared to that award, the ratio of Southeast Asian countries is slightly lower, and that of South American countries is slightly higher. Also, while the share of entries ranked No. 11 and below in Top Global Hits from Japan was 32%, the same share for Best Vocaloid Culture Song was 42%, suggesting that Vocaloid music is being listened to in more countries/regions than the predominant Japanese songs being listened to outside of the country.
South America Leads Miku’s Popularity while East Asia Shows Diversity
Billboard Japan
From here, we’ll explore trends by country/region. The chart above shows the shares of voicebanks by country for the entries in the category. Because DECO*27’s “Rabbit Hole” (Hatsune Miku) and Satsuki’s “Mesmerizer” (Hatsune Miku & Kasane Teto) dominate the top 2 spots in many countries/regions, Miku accounts for over half the total streams in almost all countries/regions, and in particular, the shares in Latin American countries such as Mexico, Chile, and Brazil exceed 60%. Songs emphasizing rhythm and feel of the lyrics are more likely to gain popularity in these countries, such as MARETU’s “Binomi” (Hatsune Miku) and Nunununununununu’s “Mimukauwa Nice Try” (Hatsune Miku).
Meanwhile, Asian countries such as South Korea, Taiwan, and Indonesia have relatively lower percentage of Miku tracks. Songs using other voicebanks, such as Kanaria’s “KING” (GUMI), Sasuke Haraguchi’s “Hito Mania” (Kasane Teto), and Iyowa’s “Kyukurarin” (KAFU) are popular in these countries as well. In particular, South Korea has over 20% of songs using voicebanks other than Miku, GUMI, and Teto. Due to its cultural proximity to Japan, other East Asian countries have relatively mature markets for Vocaloid music, which is probably why the preferences for songs using different virtual voices diversified faster than in other regions.
But countries in North and Central/South America aren’t simply following in the footsteps of Asia’s Vocaloid music scene. The popularity of Hatsune Miku’s character and differences in national characteristics, such as “melody-oriented” or “rhythm-oriented” preferences, are contributing to the differences in how Vocaloid music is being received.
Vocaloid music is steadily spreading across countries and languages. Because the genre isn’t bound by a specific musical style, MAJ’s Best Vocaloid Culture Song category serves as a significant metric. The nominees for this award this year are Sasuke Haraguchi’s “Igaku,” Yoshida Yasei’s “Override,” Kurousa P’s “Senbonzakura,” Hiiragi Magnetite’s “Tetoris,” and Satsuki’s “Mesmerizer.” The winner will be announced at the award ceremony in May, and we look forward to seeing how the award develops in the coming years.
Billboard JAPAN’s “MONTHLY FEATURE” series highlights standout artists and works making an impact. This month’s spotlight is on LiSA, who is approaching the 14th anniversary of her debut.
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In January, she released her new song, “ReawakeR (feat. Felix of Stray Kids),” the opening theme of the anime Solo Leveling Season 2 – Arise from the Shadow, which also began airing in January. On the song, she was joined by guest vocalist Felix from Stray Kids, a group that has gained global popularity beyond its home country of Korea. The song was written and arranged by renowned producer Hiroyuki SAWANO known for his musical work on hit anime such as Attack on Titan and Mobile Suit Gundam UC.
Fueled by the growing popularity of anime, which continues to make waves worldwide, “ReawakeR (feat. Felix of Stray Kids)” once again took the No. 1 spot on the “Global Japan Songs Excl. Japan” chart, which ranks the most popular Japanese music outside of Japan. This made it the seventh week that it has ruled the chart.
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On March 5, LiSA released a CD single with “ReawakeR (feat. Felix of Stray Kids)” as its title track. Billboard JAPAN caught up with her to discuss the release and the new territory she explored on the single’s three songs.
Your new song, “ReawakeR (feat. Felix of Stray Kids),” is the opening theme of the anime Solo Leveling Season 2 – Arise from the Shadow. What did you think when they first reached out to you about the tie-in?
It was before Season 1 had even started airing, so first I read the manhwa (Korean comics). Then the show started, and, to put it simply, it was like new life had been blown into the manhwa It was like the anime depicted all kinds of things, like the personalities of the characters and their strengths, in even greater depth.
When you read the manhwa, what part of it drew you in?
The main character, Shun Mizushino, isn’t a hunter because it’s fun. There’s a bit more of a sense of desperation to him, a feeling that this is a job he has to do. He starts out as a weak hunter, and he faces all kinds of struggles before he’s reawakened and takes on a new destiny. It depicts a world that has a very different feel than what you usually see in Japan.
Were there any parts that resonated with you personally?
Yes, actually. The way he gets stronger because of the scars he bears. That sense that he has to keep pushing forward because of his difficult circumstances. I feel like, in my music, I’m also trying to reach that level of resolve.
The song was written and arranged by Hiroyuki SAWANO, and Felix from Stray Kids does guest vocals. Stray Kids’ first Japanese EP includes “Social Path (feat. LiSA),” which you performed on. What led to the idea for this collaboration?
I always had the idea of working with the two of them again, but I didn’t have any specific timing in mind. Hiroyuki was responsible for the theme song and the soundtrack for Season 1, too, so I wanted to take the baton for Season 2 without damaging the aesthetic that Hiroyuki had created.
And what about Felix?
For Season 1, Hiroyuki worked with TOMORROW X TOGETHER (SawanoHiroyuki[nZk]:TOMORROW X TOGETHER “LEveL”), the anime is based on a Korean comic, and Stray Kids had invited me to work with them in the past, so I thought if there was ever a time to return the invitation, this just might be it. My upper register vocals and Felix’s deep bass vocals created a wonderful contrast that gave the song just the right flavor.
How do you see Hiroyuki as a music producer?
When I worked with him for the first time on “narrative” (SawanoHiroyuki[nZk]:LiSA), he used real instruments to create dark rock with a heavy sound. Now, seven years later, I feel like he’s started using dance music and digital sounds in his music, and it feels very natural. He’s evolved a lot. At the same time, he carefully tailors his music to the spirit of the works he’s writing for. In a sense, he’s actually shaping those works.
So he’s a creator with his own signature sound. “ReawakeR (feat. Felix of Stray Kids)” also combines heavy bass with a danceable beat, so it’s a bit of a departure for a LiSA song.
Rock is an important, fundamental part of Hiroyuki’s music. He doesn’t just slap in digital elements, but instead creates dance music that could only come from someone who has the spirit of rock in his heart. I think Hiroyuki’s great at taking music in that direction.
From my understanding, rock is an important part of your own roots, too. With the musical approach you’ve taken on the new single, you’ve added other elements, as well. What led you to go in this direction?
Of course, trends are one part of it, but speaking for myself, I love rock. I love the sound of rock, and I’m confident in the rock music I’ve been creating for the past 13 years. In a sense, I’ve already created the “ultimate” rock, so instead of trying to discover rock that goes above and beyond that, I wanted to apply that spirit of rock to the creation of something a little different. That budding ambition was a big factor in taking this new approach.
What kinds of new experiences and discoveries did you have during the course of the collaboration?
I rediscovered how well it works to have a male voice mixed in. On top of that, Felix is more of a rapper than a singer, and this was my first time doing this kind of collaboration on a song I put out under my own name. But I discovered that even with rap, you can feel that rock vibe, and that you can make a song that really matches the anime itself.
I’d imagine you envisioned Felix’s vocal parts when you were doing the recording. Did you use any different approaches than usual, and were there any areas where you took special care?
It wasn’t so much that I paid special care to something in particular, but I’m usually a solo singer, so having another vocalist by my side to perform together with me was very reassuring.
You’ve also released a music video, which you shot in Korea, right?
Felix is really beautiful in it. He’s like an angel. When the cameras weren’t rolling, he was like this cute young kid. He’s cheerful and friendly, and very considerate of others. He was also very respectful, calling me “LiSA sempai.” But he has a deep voice, so when he starts singing, the impression he makes totally changes. I think part of his appeal is in that gap.
The song has performed really well in the charts, too. As of March 27, it’s been number one on Billboard JAPAN’s “Global Japan Songs Excl. Japan” chart for four consecutive weeks. What has the overseas response been like?
The overseas reaction has been very strong starting back when Solo Leveling was first announced. I’ve performed overseas quite a few times myself, and Hiroyuki and Stray Kids are also very internationally active, so it feels like we’ve really reached the rest of the world.
I’d like to ask you about the B-sides. The second song, “RED ZONE,” is also credited to TOMOKO IDA and TSUGUMI. TOMOKO IDA performed on Tainy’s debut album, DATA, which was nominated for the Best Música Urbana Album at the 66th Grammy Awards. What led to your collaboration with her?
One of the things I wanted to explore was the power of women. I was looking around for someone who could help me with that when I met TOMOKO. TSUGUMI was also one of the artists in SOULHEAD, so when I was doing my vocals, it really felt like I had this passion passed on to me by these artists who had gone before me.
I know you were once in a band and performed mainly at small concert venues. I’m sure it was a primarily male-oriented scene at the time. How did you fit into it, or did you take it head on?
Back when I was a little kid, I found femininity to be kind of oppressive. I was more drawn to women who had a hidden coolness and sexiness, like Avril Lavigne. But when I finally accepted myself as a woman, I found it so much fun to express the power that women have, though I didn’t go out of my way to show it off. Those feelings grew stronger the more I performed. That’s one of the things I talked to TOMOKO about.
How did you make this song, including the rap part, a part of yourself as an artist?
Whenever I take on new challenges, I focus less on putting myself out there than on going out there to soak in new influences. For example, when I started my solo career, I debuted with a mini-album (Letters to U) which I made with a Vocaloid producer. I had my own core essence, and I tried to put that essence into that music. That process shaped a new facet of me. Looking back on it, this is something I’d been experiencing since my time in Girls Dead Monster, and “RED ZONE” was a lot like that.
So it’s not like you’re completely adopting a new character, but more like you’re letting your voice ring out in a world that’s not your usual world.
Yes, but as a vocalist, no matter what I do, it’s always my own voice, and no matter what I sing, it always becomes a LiSA song, so I have faith in that. I believe in my own voice, so when I sing on a song, I feel like I’m laying myself bare and jumping right in.
All three songs, including the other B-side, “Witchcraft,” are very challenging, and I feel that with this single, listeners will discover a new LiSA. 2025 is also the 14th anniversary of your solo debut, and I hear that you’ve decided the theme for the year is “PATCHWORK.”
This is the 14th anniversary, which means next year will be the 15th. That’s a big occasion, so as it draws near, I plan to spend this year meeting more new people and taking on more new challenges, stitching them together in a patchwork.
—This interview by Takuto Ueda first appeared on Billboard Japan
MUSIC AWARDS JAPAN has unveiled the nominees for all 50 categories to be honored at the inaugural event set for May 21 and 22 in Kyoto.
The finalists were selected from the approximately 3,000 entries revealed in March, through a preliminary vote by artists, creatives, media-related and other music industry professionals, with some awards open to general listeners. After a final vote including overseas voting members, the winners will be announced at the award ceremony next month.
In the six main categories — Song of the Year, Album of the Year, Artist of the Year, New Artist of the Year, Top Global Hit from Japan, Best Song Asia — artists and acts that have graced the charts and excited music listeners are up for awards: Creepy Nuts (“Bling-Bang-Bang-Born”), YOASOBI (“Idol”), Mrs. GREEN APPLE (“Lilac,” ANTENNA), Fujii Kaze (“Michi Teyu Ku (Overflowing),” LOVE ALL SERVE ALL), Rosé & Bruno Mars (“APT.”), Kenshi Yonezu (LOST CORNER), FRUITS ZIPPER, Kocchi no Kento, Number_i, and aespa (“Supernova”), to name just a few.
Kazutoyo Koyabu, Asuka Kijima, Ko Matsushima, the Founder of arne inc. and music critic Tomonori Shiba took to the stage at the event announcing the nominees. Koyabu, a popular comedian and musician, noted, “These are artists that even an old guy like me has heard of,” while Kijima, a model and actress, said, “Everyone will be satisfied no matter who wins, because they’re all outstanding artists.” The nominees in the Top Global Hit from Japan category selected by overseas listeners include a diverse range of tracks, such as songs featured in games, anime show openers, songs familiar from TikTok, and tracks by artists with a notable global presence. Check out all the nominees at the official MUSIC AWARDS JAPAN website.
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Find the nominees of the six main categories below:
Song of the Year
(Recognition for the song with the most outstanding musical creativity and artistry.)
Rosé & Bruno Mars “APT.”
Creepy Nuts “Bling-Bang-Bang-Born”
YOASOBI “Idol”
Fujii Kaze “Michi Teyu Ku (Overflowing)”
Mrs. GREEN APPLE “Lilac”
Album of the Year
(Recognition for the album with the most outstanding musical creativity and artistry.)
Mrs. GREEN APPLE, ANTENNA
Kenshi Yonezu, LOST CORNER
Fujii Kaze, LOVE ALL SERVE ALL
Vaundy, replica
Hikaru Utada, SCIENCE FICTION
Artist of the Year
(Recognition for the artist with the most outstanding musical creativity and artistry.)
Creepy Nuts
Mrs. GREEN APPLE
Vaundy
YOASOBI
Fujii Kaze
New Artist of the Year
Recognition for the new artist who demonstrated outstanding musical creativity and artistry.
FRUITS ZIPPER
Number_i
Omoinotake
tuki.
Kocchi no Kento
Top Global Hit From Japan
(Recognition for the Japanese song that became a global hit.)
Lotus Juice/Azumi Takahashi “It’s Going Down Now”
XG “WOKE UP”
YOASOBI “Idol”
Fujii Kaze “Shinunoga E-wa”
Miki Matsubara “Mayonaka no Door – stay with me”
Best Song Asia
(Recognition for the Asian hit song that was popular across Asian countries.)
Bernadya “Satu Bulan” (Indonesia)
REGINA SONG “the cutest pair” (Singapore)
aespa “Supernova” (South Korea)
PLAVE “WAY 4 LUV” (South Korea)
JEFF SATUR “GHOST” (Thailand)
MUSIC AWARDS JAPAN 2025 KYOTO
Date of the ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Domestic live broadcast of May 22 event on NHK; global stream of events on both days on YouTube scheduled (some regions excluded).
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Jan. 29, 2024 to Jan. 26, 2025. The entries for each category were announced last month and the nominees for each category was revealed Thursday (Apr. 17).
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The third installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the entries in the Best Cross-Border Collaboration Song category that honors songs written in collaboration between domestic and overseas artists. Let’s take a look at how Japanese music interacts with the world, using data of the entries for this award.
The Artists’ Involvement in the Creative Process is Key
We divided the 50 entries into five types and calculated the percentage of songs in each. “JOINT PERFORMANCE” refers to co-writing as well as joint performances, and “FEATURING” refers to guest appearances (remixes of existing songs fall under “REMIX”). More than half the entries fall under JOINT PERFORMANCE or FEATURING.
“PRODUCE” refers to tracks where artists from overseas participate as producers in songs by Japanese artists, and accounts for 24% of the total. This includes Fujii Kaze’s “Feelin’ Go(o)d”, f5ve’s “UFO” (both produced by A.G. Cook), and ONE OR EIGHT’s “Don’t Tell Nobody” (produced by Ryan Tedder of One Republic).
For many of the songs that fall under JOINT PERFORMANCE, FEATURING and PRODUCE, the artists themselves participated in the creative process, such as writing the lyrics and composing the music. In the second installment of this series, we noted that the entries in the Top Global Hits from Japan category seem to be slightly more oriented towards artists who write and perform their own works compared to those up for the Song of the Year award, which honors songs popular in Japan. The same can be said for collaborative works that span countries and regions. It seems that, compared to within Japan, it’s more important for artists to be actively involved in the creative process overseas, both from the perspective of listeners and creators.
Affinity With the Collaborators’ Nationalities
The above shows the share of each country/region excluding Japan, calculated by adding up the number of streams of all entries in the Best Cross-Border Collaboration Song category during the tallying period. The country with the highest share was the United States, and it also leads the list of the collaborators’ nationalities, which we’ll touch on later, but the order below second place didn’t match the collaborators’ nationalities at all. This shows that the collaborators’ nationalities and the countries/regions where the songs are actually listened to do not necessarily match.
For example, “Bekhauf,” the collab between BABYMETAL and the Indian metal band Bloodywood, accounted for 1% of the streaming numbers in India. Meanwhile, “RATATATA,” the collab between BABYMETAL and the German metal band Electric Callboy, accounted for 49% of the streaming numbers in Germany. One reason for this difference is that the market for metal music in Germany is more mature than in India. From this trend, we can see that affinity with the collaborators’ nationality is also an important factor in maximizing the effect of collaborations.
Countries/regions Interested in Collabs Between Japanese and Foreign Acts
Megan Thee Stallion’s “Mamushi (feat. Yuki Chiba)” was the collaborative number with the most streams among this year’s entries, with an large share in multiple countries/regions including the U.S. (68%), the Philippines (79%), India and South Africa (both 87%). When there’s a song with such an overwhelming share, the overall share is greatly influenced by the trend of that song.
So to identify countries/regions with high interest in collaborative songs in general, rather than a specific one, we extracted the top 10 countries/regions for each song’s streaming numbers and compiled the number of songs that charted in the top 10 by country/region. Countries/regions ranked multiple times in the top 10 of each song’s list likely have strong tendencies to consistently support collabs between Japanese and overseas artists.
Top Countries Excl. Japan by Streams According to Luminate
Total Number of Entry Songs in Top 10 by Country/Region
Canada, Indonesia, and Taiwan came in at Nos. 2, 3, and 4. These are all countries/regions that didn’t rank high in terms of collaborators’ nationalities and streaming numbers. These countries/regions are considered to have high interest in songs featuring Japanese artists, regardless of who they collaborate with. Taiwan, in particular, had 32 songs in the top 10 despite its relatively small population.
The Properties of Collaborative Songs
Next, looking at the domestic and international streaming shares of the entries in the Best Cross-Border Collaboration Song category during the tallying period, 78% of the total streaming count for all 50 songs combined came from outside Japan. This is higher than the percentage of overseas streams for the entries in the Top Global Hits from Japan category, an award for Japanese music being listened to outside the country (59%), indicating that collaborative songs are more actively listened to overseas. Approximately 80% of the songs weren’t linked to other works or products, suggesting that whether or not a collaborative song is a tie-in doesn’t influence its popularity.
The chart above shows the genre breakdown of the entries. Soul/R&B accounts for 22% of the total, largely due to the six songs by SIRUP that made the list. Hip-Hop/Rap accounts for 20%, and here, all tracks except for two by Chanmina are by different artists. Notably, the share in this genre is 15% more than the 5% in Top Global Hits from Japan.
The percentage of the collaborators’ nationalities was calculated based on the number of artists. The United States (27%) had the highest percentage, with many collaborations with rappers such as Megan Thee Stallion and Big Sean. The United Kingdom (18%) featured artists associated with Hikaru Utada, such as Sam Smith and A.G. Cook.
South Korea has entries featuring rappers such as ASH ISLAND and Zion.T, as well as collaborative tracks with dance and vocal groups like ATEEZ. Three songs have entered from Thailand: BALLISTIK BOYZ from EXILE TRIBE’s “Meant to be feat. F.HERO & BOOM BOOM CASH,” ATARASHII GAKKO!’s “Drama (feat. MILLI),” and HYBS x SIRUP’s “I’m Blessed.”
Cross-border collaborations are becoming an important channel connecting Japanese music with the world, and the Best Cross-Border Collaboration Song award is a symbolic category that captures this global trend. We hope this award will serve as an opportunity to further enhance the presence of Japanese artists in the international music scene.
Mrs. GREEN APPLE’s “KUSUSHIKI” rises 6-1 on the Billboard Japan Hot 100, on the chart released April 16.
The three-man band’s latest single is being featured as the opener for the anime series The Apothecary Diaries Season 2 Part 2. The song was digitally released on April 5 and debuted on the chart last week at No. 6 despite having only two days to count towards the chart week. Looking at each metric, the track rules streaming (313% week-over-week) and comes in at No. 2 for downloads (92%) and video views (275%), and No. 4 for radio airplay. Other songs by the hitmakers also only saw slight decreases in points and 17 continue to chart on the Japan Hot 100.
HANA’s “ROSE” drops a notch to No. 2 after bowing atop the chart last week. Downloads and video views for the brand-new girl group’s debut single are down to 42% and 78%, respectively, but streaming and radio have gained to 131% and 168% week-over-week. Perhaps due to the impact of its debut at No. 1 last week, the track is spreading across various platforms.
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Mrs. GREEN APPLE’s “Lilac” slips to No. 3. Logging its 53rd week on the Japan Hot 100, downloads for the Oblivion Battery opener have gained to 112% and only show slight decreases in other metrics: streaming at 99%, radio at 73%, video at 94%, and karaoke at 87% compared to the week before.
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NMB48’s “Chu Strike” bows at No. 4. The group’s 31st single launches with 253,080 CDs, more than its predecessor, to rule sales this week and comes in at No. 63 for radio.
Sakanaction’s “Kaiju” follows at No. 5. Radio airplay for the track is up to 114% compared to last week and karaoke to 118%. The Orb: On the Movements of the Earth opener comes in at No. 14 for downloads, No. 5 for streaming, No. 22 for radio, No. 4 for video, and No. 18 for karaoke.
Snow Man unleashed its catalog on digital platforms during the chart week (April 7) and six tracks by the popular boy band have charted. “Brother Beat” currently leads the pack, hitting No. 48 on the Japan Hot 100 (No. 12 for downloads, No. 51 for streaming), “Tapestry” is at No. 52 (No. 8 for downloads, No. 62 for streaming, No. 93 for video), “Dangerholic” is at No. 64 (No. 23 for downloads, No. 66 for streaming), “D.D.” is at No. 77 (No. 26 for downloads, No. 79 for streaming), “EMPIRE” is at No. 87 (No. 19 for downloads, No. 88 for streaming), and “SBY” is at No. 98 (No. 21 for downloads, No. 57 for streaming).
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 April 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Yu Sakai has recently released his eighth album, PASADENA. The album’s title comes from Pasadena, a city on the outskirts of Los Angeles where he lived when he moved on his own to the U.S. to become a musician. Four of the songs on the album were recorded in L.A., which he has such fond memories of, and the other four songs on the album were created in Tokyo and produced by Shingo Suzuki (Ovall), a musician whom Yu engaged in friendly rivalry after returning to Japan. There are also three bonus tracks, which he recorded in New York last year and which have only been available on streaming until now.
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In October of last year, Yu celebrated the 15th anniversary of his debut. Billboard JAPAN talked to him about his hopes for his new album, which represents a return to his roots. He also spoke about his recent performance on Tiny Desk Concerts in Washington D.C.
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What led you to start working on the new album, and when did you begin?
It was after we’d finished all of our work on my best hits album (Yu Sakai’s Playlist [White and Black]). I finished the album tour in March of last year, and then beginning in the summer, I starting recording in both L.A. and Japan.
Could you start by talking a bit about recording in L.A.? The producers and songwriters on the new album have worked with world-famous artists like John Legend, Usher, TLC, and Anderson .Paak. Did you co-write the songs?
We co-wrote everything from scratch.
So it started with you going into the studio and playing the piano?
Right. Maybe I shouldn’t say this, but the tracks that they’d prepared for me just weren’t what I was looking for, so I ended up rejecting all of them. They’d created the songs with me in mind. They were all really cool songs, but they didn’t have clear features that shouted “Yu Sakai.” Trying to add those features to the songs they’d already made would have just resulted in a confusing jumble, so I thought it would be faster to start from scratch. We co-wrote the four songs from the ground up.
Were there any creators involved in the L.A. recordings that particularly stood out?
Sam Barsh, who co-wrote “Amakunai Kikenna Kaori,” is a great pianist. I just wanted to hang out with him for a whole day, playing piano, just the two of us. His good qualities really come across in the song. It has this funky, jazzy, urban harmony with a solid beat.
What kind of song were you going for with “PASADENA,” which you digitally released as a single?
L.A. It’s not the kind of song you could make in New York (laughs).
So it has that crisp, fresh groove because you wrote it in L.A.
Exactly. From the start, I’d decided three things: I wanted the listener to be able to picture the scene the moment they heard the music, I wanted this song to be the first song on the album, and I wanted to end the album with a ballad. I decided on the album title, PASADENA, on the same day when we co-wrote the song. I was like, “This album’s got to be called PASADENA!”
You released the song “PASADENA” last December, and this January, the city of Pasadena was hit by wildfires.
I never expected to see anything like that.
The whole situation is so heart-breaking. But the song “Pasadena” starts with the line “I’m back,” and then in the chorus, you’re singing “Pasadena Beautiful,” so it’s also like a song of encouragement for the city.
Yeah, you’re right. I’m still worried about Pasadena, and my heart goes out to everyone affected by the fires. It’s become an unforgettable song for me.
What is the theme of “What About You?”
Politics. It’s asking “What are you going to do?” My own stance is one of active resignation, and my way of thinking can be summed up with “Amakunai Kikenna Kaori” and “Gotta Get Up.”
So the message you were trying to convey was that people should get actively involved with politics?
Yes. Even if you choose to have no interest in politics, you can’t choose to live a life unaffected by politics. Both “What About You” and “Gotta Get Up” have the same message. I think there are a lot of people who are faced by this impossibly huge foe and can’t imagine any way to solve the problems we face, so they feel powerless and they give up engaging with politics. They feel that there’s nothing that ordinary people like us can do. But even if politicians lie, I don’t think government data lies, so one thing we can do is keep a close watch on the data and speak up. Even simply doing that will shine a little light on them.
What were you thinking about when you wrote “Amakunai Kikenna Kaori?”
I wrote about all the nonsense in the world, putting it in song form for people to have fun with. There’s this strange smell all around us, you know? Something you can smell, but you just can’t see. But people are fighting about it. “Look, I told you you could see it!” “What?! Why can’t you see it?!” That’s what the song is about. Arguing is fine, but they’re creating division so we fight each other. We’ve all got to come together.
That ties into “Understanding” and its theme of mutual understanding.
Exactly. “Understanding” is also about politics and history. I guess that’s the mindset I was in with this album.
Changing topics, this March you recorded a Tiny Desk Concert in Washington D.C. Honestly, how was it?
It was and will always be one of the most fun trips I’ve ever taken. It was three nights and six days, though, so it was hard (laughs). I was so nervous and excited that I didn’t catch a wink of sleep the night before. I wanted to keep my vocal cords in good condition, so I didn’t talk to anyone. I just lay in bed thinking, “I’m looking so forward to this. I wonder what it’s going to be like. It’s an office, so does that mean the sound is going to be deadened? Whatever, I get to sing along to Nate Smith’s drumming. I can’t wait.”
Which songs did you perform?
“Get it together,” which is a song I recorded in L.A. a while ago. It’s a laid-back song, but we upped the tempo a bit to make it a good fit for a set opener. I also wanted to do a J-pop medley, so we performed a medley of “Story,” “Gaze, Daydream,” and “Rose & Rhodes,” featuring about a minute and a half of each song, and then we ended with “Sinatra, The Darkness Of Cherry Blossom.” The song is about New York, but Washington is famous for its cherry blossoms, so I wanted to perform it. It was like a 20 minute show. Those 20 minutes went by in the blink of an eye, though.
Yu Sakai
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What should people watch out for when they see your Tiny Desk Concert?
Playing J-pop in an office right there in Washington D.C. I hope true music fans in America will feel the joy of listening to J-pop.
You started recording overseas around 10 years after your debut, and you began doing more collaborations with overseas musicians. What aspects of you, as an artist, do you think this brings out?
It’s hard to put into words, but it’s not like I think that anything that’s foreign is superior. Japan has its own distinct sound. I like American music, but I’m not a fan of just one specific nationality. If I was head over heels for American music, I’d move to New Orleans, like guitarist June Yamagishi. I’d live over there and make it my base of operations. But I prefer Cape Ashizuri (in Kochi Prefecture) to America. It’s more like when an opportunity arises and the stars are aligned, I’ll go and jam, weaving the tapestry of my own music.
—This interview by Takashi Inomata first appeared on Billboard Japan
Awich dropped a new song called “Butcher Shop feat. FERG” on digital platforms last Friday (April 11) at midnight Japan time.
RZA, founding member of Wu-Tang Clan who has greatly influenced hip-hop history, produced the track, the first single from Awich’s album that he produced in full. The collaborative track is a bold number with a global and classic hip-hop feel.
The “Bad B***h Bigaku” rapper and Gravediggaz artist first met when the latter visited Japan a few years ago. They felt a deep resonance both musically and spiritually from the beginning and hit it off immediately. For RZA, who has incorporated Asian culture into his work with Wu-Tang Clan, and for Awich, who was preparing to make her U.S. debut, it was a natural progression from there to start collaborating. The YENTOWN MC spent time at RZA’s base, Wu Mansion, to take in his ideas and sound approach, and over time she built the foundation for her new album.
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Awich had been interacting with FERG, the featured artist on her new release, since before, when she performed at music festivals overseas and visited New York. At a live event hosted by Jordan Brand earlier this year, the rapper made a surprise appearance on stage with Awich and the two performed this song for the first time. Awich and FERG’s the backgrounds and skills clash in the mic relay of this track, thrillingly developed by RZA’s precise and cinematic production.
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“Butcher Shop is a place where the three realities of Okinawa, where I was born and raised, Tokyo, where I live now, and New York intersect,” says Awich about this single. “Together with the legendary RZA and FERG, a supreme artist who embodies the streets, we’ve carved out today’s borderless atmosphere with cutting words and beats. This song is a crossroads where everything collides: Japan and New York, culture, fashion, luxury, fun, sin and its price. Everyone brings their own ‘meat’ and carves up the truth. Welcome to our Butcher Shop.”
The accompanying music video, which the press release says is immersive like a short film featuring performances by Awich and FERG set to RZA’s signature dark and majestic worldview, was unveiled Monday (April 14) at 8 p.m. Japan time.
Awich’s new single follows her recent collaborative track called “ASIAN STATE OF MIND” featuring South Korea’s Jay Park, India’s KR$NA, Masiwei, the leader of the Chinese group Higher Brothers, and Cambodia’s VannDa released at the end of February.
The rapper has also been giving back to the community, organizing the Know The World – Awich Global Education Project – (Study Abroad in Atlanta & Study Abroad in the City) program for the second year in a row. This project reflects her wish to contribute towards solving the issues of child poverty, experience discrepancy and education in her home prefecture of Okinawa by providing free English learning opportunities to young people.
The program aims to foster a spirit of “turning adversity into strength” through international exchange experiences and studying abroad. 100 young people from low-income households in Okinawa, from first year high school to those aged 22, will be provided with free “study abroad in the city” homestay experiences with foreign families in the prefecture, and three people will be provided with free short-term study abroad experiences in Atlanta, where Awich studied, after the local homestay stint.
“What is rightness? What is stupidity? I’ll show you what they are!”
Ado’s song “Usseewa” that begins with these lyrics made a huge impact not only on the Japanese music scene but also on society as a whole at the time. The explosive vocals of the then-17-year-old, the way she led a kind of rebellion on behalf of the people by voicing their frustrations, and her style of never showing her face were all new to listeners, and the mystery singer shot to superstardom. The now-22-year-old songstress voiced the songs for the character Uta in the blockbuster anime movie ONE PIECE FILM RED in 2022, which recorded 31.9 billion yen (approx. $214 million) in global box office revenue, and the film’s theme song “New Genesis” became another domestic mega-hit that later spread around the world.
The enigmatic vocalist, who has quickly grown to become one of Japan‘s leading acts, is set to unleash her first greatest-hits album, aptly titled Ado’s Best Adobum, an exhaustive collection featuring songs from her electrifying debut in October 2020 to the present day. Ado is also about to kick off an unprecedented tour that will take her to 33 cities around the world and draw over 500,000 fans, the biggest global trek by a Japanese artist ever. For more information on the tour, click here.
What has left the biggest impression on you since your major label debut?
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I remember so many things, but I think my show at the Saitama Super Arena in 2022 was definitely a highlight. Performing there had been a dream of mine, so that day made big impact on my life.
Ado’s Best Adobum includes two new tracks, “Bouquet for Me” and “ROCKSTAR.” Could you tell us a bit about them?
“Bouquet for Me” is a song written by HoneyWorks as a collaboration with Georgia (Coca-Cola Japan). I’d like you to listen to it in the morning, before going to work or school, when you want a little oomph. It’s a lovely song full of energy that’s sure to encourage you, and I hope people of all ages will listen to it.
The other song, “ROCKSTAR”, was written by a music producer I’ve worked with a lot, jon-YAKITORY. This one was a collaboration with Marubeni, and is still being featured in the corporation’s commercials. jon-YAKITORY has written songs for me in the past and I’ve been featured in theirs, and I’m so grateful to work with him again because when I think of rock music, I think of jon-YAKITORY. There’s a scene in the commercial where I sing “ROCKSTAR” onstage, and it’s a cool song that looks great performed live that will fill your heart with excitement when you listen to it. I’m really looking forward to performing it live one day.
What do you feel has changed or that you’ve grown over the past five years in terms of music production and live performances?
My way of thinking has changed a lot. I’ve become more objective about myself and my career. I have a wider perspective now, and recently have had more opportunities to re-evaluate not only myself but also my fans, the staff who support me, and the environment I am in, and to work through my activities and the many opinions I receive from everyone. I think I’m a lot more put-together now than I used to be.
I also think that my live performances have improved. I feel like I was a bit more awkward when I first debuted. Thankfully, I’ve been able to do a lot of shows and have grown through my experiences. I think my concerts are more impressive now. On the other hand, there are elements of youth and inexperience that can only be felt in my shows in the past, perhaps my fans can find entertainment in my growth as well.
Which of the songs on the album you would like to share with yourself from back when you first made your major-label debut and why?
It’s quite hard to choose, but the 20th track on Disc 2 called “Sakura Biyori and Time Machine with Hatsune Miku” is one I’d like to share with myself when I was just starting out. It’s that kind of special song for me. Mafumafu, one of my favorite “utaite” (cover artists), wrote it for me, and I’d never be where I am without the Vocaloid songs that have supported me, so singing it with my idol Hatsune Miku was like returning to my roots. If I were to listen to it back then, it would blow me away. I might keel over from the thrill.
How has your attitude towards singing changed?
Around the time I made my major-label debut—and even before then—I really wanted people to listen to my songs and see my thoughts, ideas, and who I am. I used to express emotions like anger very directly, but as I sang more and more songs, I began to notice that each one felt different depending on the lyrics and how much I empathized with them. Now, there are more moments when I confront various emotions by reflecting on my own views on life or by applying my personal experiences to the songs. While I still value both input and output, lately I’ve been feeling more and more drawn to singing a variety of songs in different kinds of “languages”. “Elf,” in particular, is sung in a way that invites more people to enjoy Ado’s music.
What’s your current dream?
My current dream and concrete goal is to win a Grammy. Another goal and dream of mine is to someday do a world tour that will be even bigger than my upcoming Hibana tour.
And you’ll be kicking off that Ado WORLD TOUR 2025 “Hibana” Powered by Crunchyroll, from April.
It’ll be my second world tour, and will also be an unprecedented scale as a Japanese artist, so I’m really looking forward to it. As a Japanese “utaite” and artist, I want to convey the appeal and culture of Japan and the strength of Japanese music to people around the world through performances in over 30 cities. I hope that this world tour will be like its title, “Hibana” (spark), like a small flame that sparks a bigger fire.
Tell us what you’re looking forward to on this tour and what you remember from your previous one, Ado THE FIRST WORLD TOUR “Wish.”
I’m particularly looking forward to Italy on this tour. I really look forward to seeing with my own eyes the scenery that I’ve only seen in books, films and textbooks. I had time to do some sightseeing in Europe on my last world tour, and really enjoyed France. I visited the Sainte-Chapelle in Paris, then walked to the river Seine, and after visiting the Louvre, I went to the Chanel flagship store. I have a lot of respect for Coco Chanel, and after seeing the famous staircase where fashion shows were held, I walked along the main street to the Arc de Triomphe. I was wearing stylish boots with heels, so it was hard work climbing the hundreds of steps at the Arc de Triomphe. I remember walking a total of 30,000 to 40,000 steps that day.
Send a message to your fans.
It’s a bit of a shock to think that five years have passed since I made my debut with “Usseewa.” Five years may not be such a long time, but I’m truly grateful that I’ve been able to continue my activities for so long and that so many people know about Ado. I’m supported by everyone who listens to my music, as well as the media that features me and staff who work with me. Thank you all so much.
—This interview first appeared on Billboard Japan
HANA‘s “ROSE” blasts in at No. 1 on the Billboard Japan Hot 100, on the chart released April 9.
HANA is the seven-member group born from the BMSG x Chanmina girl group audition No No Girls. The brand-new group’s major-label debut single launched with 12,870 downloads (No. 2 for the metric) and 8,781,853 streams (also No. 2), while topping video views and coming in at No. 17 for radio airplay. Also, HANA’s pre-debut song “Drop” jumped 68-29 as a result of this release.
Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2. The Oblivion Battery opener has charted for 52 consecutive weeks (a year), and marks its 37th week in the top 3. The three-man band’s new single “KUSUSHIKI,” the opening theme song for the anime series The Apothecary Diaries Season 2 Part 2 debuts at No. 6 on the Japan Hot 100 this week, ruling downloads and coming in at No. 14 for streaming and No. 4 for video. The hitmakers continue to make their presence felt, taking up half the top 10 this week — “Darling” at No. 5, “Que Sera Sera” at No. 8, “Soranji” at No. 10 — and charting 18 songs in the top 100.
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AKB48’s “Masaka no Confession” bows at No. 3. The 65th single by the long-running girl group celebrating its 20th anniversary sold 512,791 copies in its first week to rule physical sales and came in at No. 45 for radio.
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Sakanaction’s “Kaiju” drops a notch to No. 4. The previous record for longest consecutive run in the top 10 by the three-man, two-woman band led by frontman Ichiro Yamaguchi was seven weeks with “Shintakarajima,” and “Kaiju” has now tied this record. “Shintakarajima,” the band’s hit from 2019, has re-entered the Japan Hot 100 for the first time in about 4 years and 10 months, with streams up to 101% compared to the previous week, radio to 239%, and video to 104%.
The No. 1 song for the radio metric this week is BILLY BOO’s “Rhapsody,” featured as the ending theme song for the anime show The Dinner Table Detective, and the track debuts at No. 77 on the Japan Hot 100. Meanwhile, as songs about cherry blossoms continue to climb the charts, Aimyon’s “Sakura ga Furu Yoru wa” re-enters after a year with streams gaining by 111%, radio by 308%, karaoke by 107%, and video also showing increase from the week before.
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 Mar. 31 to April 6, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.