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INI’s “Present” soars to No. 1. on this week’s Billboard Japan Hot 100, on the chart dated Nov. 26, halting Kenshi Yonezu’s nine-week reign over the tally.
“Present” serves as the lead track off INI’s new single THE WINTER MAGIC, released Nov. 19. The CD launched with 1,213,001 copies to become the eleven-member boy band’s first million seller, and moved 15,230 downloads to rule the metric. It also hits No. 2 for radio airplay, No. 44 for streaming, and No. 80 for video views. The group earns its fifth No. 1 hit with “Present,” following “CALL 119,” “Password,” “LOUD,” and “WMDA (Where My Drums At).”
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Kenshi Yonezu’s “IRIS OUT” slips to No. 2 after dominating the Japan Hot 100 for the past nine weeks. Though it falls a notch on the list, the Chainsaw Man – The Movie: Reze Arc theme continues to hold atop the streaming and video tallies for the tenth straight week since its debut, and extends its streak on karaoke to seven weeks.
Four tracks from the RADWIMPS tribute album Dear Jubilee -RADWIMPS TRIBUTE- land inside the top 10: Mrs. GREEN APPLE’s “Kyoshinsho” at No. 4, Vaundy’s “Zenzenzense” at No. 5, Kenshi Yonezu’s “Tremolo” at No. 6, and My Hair is Bad’s “Iindesuka?” at No. 7. 13 of the album’s 14 tracks have entered the chart. The original songs by the band are also resurging, with titles such as “Sokkenai,” “Kaishin no Ichigeki,” “Kyoshinsho,” and “Iindesuka?” rising primarily on streaming.
Meanwhile, Gen Hoshino’s “Ikidomari” jumps 22-8 this week, boosted by radio (up 773% from last week) and streaming (up 142%).
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. 17 to 23, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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In 2025, Universal Music Japan‘s president and CEO, Naoshi Fujikura, was chosen for inclusion in Billboard‘s Global Power Players list for a fifth consecutive time, making this his sixth appearance. In this year’s interview, he talked about the potential that Universal Music companies in other countries see in the Japanese market, the challenges Japan faces, and hits from artists such as Mrs. GREEN APPLE and Fujii Kaze.
According to IFPI, master recording revenue rose worldwide in 2024 for the 10th consecutive year, but in Japan it fell from last year’s level. This was due to declines in CD album and music video sales that weren’t made up for by digital sales. How do you feel about this?
To start off with, the fact that the global music market has grown for ten consecutive years is not something to be taken for granted. It’s a wonderful achievement. In 2025, the amount of growth in some of the more developed markets was slower, but the number of subscribers in China grew materially. I think it’s wonderful that we’re seeing continuous worldwide growth, even if the rate of growth varies by country.
People have pointed out that Japan has been slow to adopt streaming, but attending global conferences, what I’ve seen is that people aren’t looking at the Japanese market as some sort of anomalous far-Eastern market, but instead they’ve started talking about it as a business model that offers valuable insights for the rest of the world. In many countries, streaming is the main revenue source, and companies are competing for market share, but in Japan, physical accounts for 60% of revenue. Streaming co-exists alongside this. So the situation isn’t gloomy, we have also been cultivating a superfan culture for many years. Looking at our artist roster, Mrs. GREEN APPLE is the first artist in Japan whose songs have broken a total of 10 billion streams, but their best hits album, 10, sold over 770,000 copies in its first week. timelesz, who gained a massive buzz from their auditions program ‘timlesz AUDITION PROJECT’ on Netflix and sold roughly 650,000 copies of their album FAM in its first week. I don’t think you can make the sweeping generalization that Japan has been slow in shifting to digital media.
Another of the pressing issues facing Japan is strengthening its exports. According to the “Export Power” ranking announced by Luminate, in 2024 the No. 1 country was the U.S., followed by the U.K. at No. 2, Canada at No. 3, and South Korea at No. 4. Japan was ranked in 14th place. What difficulties do you think Japan faces with respect to exports?
I think there has traditionally been a lack of resources and experience in marketing to overseas audiences. There aren’t enough people who can share great artists or pieces of music in an appealing way, using language that resonates with the local markets. We have few experiences of success in creating overseas hits, and I think we need to be more ambitious. But what’s really important is to present songs and artists with universal appeal that transcends language barriers. I think if we do that, it will fling open the door for us. We believe it is only a matter of time though for more Japanese artists to break through globally, and at UMJ we are already turning this into reality with artists like Fujii Kaze, Ado and others.
Ado appeared in a Billboard US’ podcast, and has also been covered in several articles, right?
In 2025, Ado went on a tour of 33 countries, bringing a total of over 500,000 people to her shows. Her merchandise is also extremely popular, so her influence on the industry is incalculable. Thanks to the movie ONE PIECE FILM RED, she crossed the language barrier to be an artist that people around the world wanted to hear in person at least once. At her overseas shows, almost all of the audiences were made up of local fans. That impressed on me the fact that global success could be seen not only in winning awards or taking top positions in the charts, but also through this kind of success.
Right, it can be another kind of record for artists to aim for. On the topic of awards, they’ve announced that the MUSIC AWARDS JAPAN will be held again in 2026.
We’ve worked with Japanese artists, like Joe Hisaishi, Tomoyasu Hotei, Perfume, and MIYAVI, on their overseas activities. I’m glad to see how the Japanese music industry is coming together now, across company and organization lines, to hold these awards, even receiving government support. The other day, in New York, I met with the representatives of Universal Music Group in different countries, and one of our colleagues from Germany was surprised that this idea became a reality.
When the winner of the Artist of the Year award was announced, you could be seen cheering behind Mrs. GREEN APPLE.
I’d actually been watching from the balcony at first. But as the announcement of different winners went on, Mrs. GREEN APPLE’s name wasn’t coming up, so I started to get worried. So when there was a break, I knew I just couldn’t stay up there in the balcony, and I moved near the band. When they announced that Mrs. GREEN APPLE won, I was so surprised and overjoyed that I sprang out of my seat. It was apparently caught on camera. The results are determined by voting, so I couldn’t even guess who might win until right before the results were announced. All that worry just made my happiness all the greater.
The smile on your face, and the look of relief on the faces of everyone in the band, was really striking. This year Mrs. GREEN APPLE and Fujii Kaze are making big stirs in the charts. In addition to putting out new releases for five straight months, Mrs. GREEN APPLE’s been getting a lot of mass media exposure through an NHK TV series and through movies. Fujii Kaze released a hit album that’s entirely in English. These two artists are using totally different approaches, but they’ve both created hits. What are your feelings on that?
Fujikura: There’s something that Motoki Ohmori and Fujii Kaze both have in common, which is that they both want to sing where they’re needed. That’s what motivates them. I’m always telling employees to maximize the value of artists.
As a result of that, for Fujii Kaze, instead of us in Japan approaching overseas labels, we had multiple labels approaching Fujii Kaze and asking to work with him, which led to an agreement being signed.
In September, Fujii Kaze’s Prema, which is all in English, became a hit with sales of around 200,000 copies. His songs are also all getting heavy streaming plays. It’s been a wonderful success. One of the issues in Japan is a decline in the number of people who listen to international music. I think it’s really significant how he’s opened up a new market, and I’m looking forward to seeing where he goes in the future.
Fujii Kaze has a lot of fans outside Japan, in Southeast Asia. Was a lot of attention paid to these overseas markets when promoting the new album?
When “Hachikō” was released on streaming, we held an event, but we held it in Thailand, not Japan. That led to it being shared not only in Thailand but around the world. In the past, not being in Japan on the day of a song’s release would have been unthinkable. But with this many fans now accessible around the world, where you need to be and what you need to do to generate excitement has changed.
We’re already in the second half of the year. What do you think it will be like?
I may be repeating myself from previous years, but without good artists, you can’t generate excitement, and you can’t create hit songs. So it’s important not to just get caught up in techniques and monetization. At the heart of it all, you have to have great artists and great music. I want to keep maintaining that philosophy moving forward, as well.
—This interview by Seiji Isozaki and Naoko Takashima first appeared on Billboard Japan
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Kenshi Yonezu’s “IRIS OUT” extends its domination over the Billboard Japan Hot 100 to nine weeks, on the chart released Nov. 19.
Downloads and streams for the Chainsaw Man – The Movie: Reze Arc theme declined this week, but karaoke jumped to 109% of the previous frame. It leads streaming and video views for a ninth consecutive week, and holds at No. 1 on karaoke for the sixth week in a row.
Debuting at No. 2 is timelesz’s “Steal The Show.” The title track of the group’s first single under its new lineup, released Nov. 12, sold 520,300 copies in its opening week to launch at No. 1 for sales, and enters at No. 17 for radio airplay. At No. 3, also new this week, is NMB48’s “Seishun no Deadline,” which sold 197,490 copies to bow at No. 2 for sales.
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Kenshi Yonezu and Hikaru Utada’s “JANE DOE” slips two spots to No. 4. The ending theme of the Reze Arc movie holds at No. 2 for streaming for the eighth straight week while remaining inside the top 10 for both video and downloads. At No. 5 is HANA’s “Blue Jeans,” which enters its 18th chart week with gains in video — up 105% from last week — and a slight uptick in karaoke.
Elsewhere on the Japan Hot 100, Gen Hoshino’s “Ikidomari” debuts at No. 22. The theme song for the film Hiraba no Tsuki opens at No. 1 for downloads, No. 22 for radio, No. 48 for streaming, and No. 83 for video.
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. 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Uketsu’s horror-mystery novel Strange Pictures has been shortlisted for Waterstones’ 2025 Book of the Year.
Originally published by Futabasha in 2022, Strange Pictures is an interactive horror-mystery in which readers unravel the story through clues scattered across “nine bizarre paintings” that feel subtly off. Since its release, the novel has garnered a broad following, selling over 1.2 million copies in Japan and surpassing 2 million copies worldwide.
Waterstones, the U.K.’s largest bookstore chain with nearly 300 locations across the U.K. and Ireland, selects its annual Book of the Year based on titles that booksellers most want to recommend to readers. The award draws significant attention in the U.K. publishing scene and is also widely followed by general readers. The chain described Uketsu’s work as “a horror novel by a Japanese author originating on social media, gaining attention even in the English-speaking world — an unconventional pick.”
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The novel has also been recognized internationally: In France, it was named FNAC’s Book of the Month, while in Germany it topped the May 2025 Krimibestenliste — Deutschlandfunk and Deutschlandfunk Kultur’s mystery list — as the best crime novel of the month. In Thailand, it debuted at number one in a major book event shortly after its release, and translation rights have now been secured in 36 countries and regions across five continents, including the U.S., South Korea, China, Brazil, and Morocco.
The enigmatic, masked writer and YouTuber’s latest installment in the “Strange” series called Strange Maps is currently available in Japan, and recently claimed the top spot on Billboard Japan’s new book chart, the Japan Book Hot 100. See Uketsu’s reaction to being nominated in the U.K. in full below.
I’m deeply honored and truly grateful. I lived in Surrey, England, as a child. The overcast skies, the scent of rain, and the serene yet slightly uncanny culture were formative experiences for my writing. I’m thrilled to reconnect with readers in the U.K. in this way.
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Billboard Japan‘s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
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This edition features Kanata Okajima, a songwriter and music producer whose extensive body of work spans numerous artists and genres. Balancing motherhood and a thriving career, she’s arrived at a place where she can truly “create music with joy.” Writer Rio Hirai spoke with the 41-year-old creative about what it means to be a woman working in Japan’s music industry today — and the hopes she carries for the next generation.
Looking back on your career so far, what has changed, and what remains most important to you?
In the beginning, I was creating music with this fierce determination, driven by the dream of becoming a musician, of making it as a successful songwriter. I pushed myself relentlessly, determined to achieve results no matter what. These days, though, I feel so much more joy simply getting to collaborate with wonderful people and incredibly talented artists. That sense of happiness has become much stronger.
What hasn’t changed is my commitment to giving 200 percent to every project I take on. For the artists, each song becomes a lasting part of their legacy and being trusted to contribute to that is something I take very seriously. Once I agree to do a project, I want to approach it with everything I have — no regrets, no holding back. That back-and-forth exchange of energy is something I always want to give my all to.
Was there a particular moment that made creating music start to feel more enjoyable or freeing for you?
A major turning point was the first songwriting camp I attended in Sweden. It’s like a creative retreat where songwriters, composers, and artists from around the world gather in one studio, form groups, and create songs together.
Up until then, I’d been making music in a very solitary, almost ascetic way — constantly questioning myself and driving forward on my own. I’d worked with band members in the studio before, but I’d never experienced the kind of collaborative writing where multiple songwriters sit in the same room, bounce ideas off one another, and challenge each other creatively.
That experience was electrifying, like being struck by lightning. Until then, I’d been balancing both performing as an artist and writing songs for others, but that camp made me realize, “If I can do something this fun every day, I’d be completely happy focusing on songwriting and production.” The whole process of connecting with people from different countries and cultures, writing songs together for the first time, and bonding through the shared language of music was truly eye-opening.
In Japan, there seem to be far fewer female music producers compared to men. What was the gender balance like at those international writing camps?
Even on a global scale, there are still relatively few women in those spaces. I’ve gotten so used to that imbalance that when there are a lot of women, it actually surprises me. There tend to be more female artists and topliners, but when it comes to producers, the numbers are still quite low.
Why do you think there are so few female music producers?
I think there are a few reasons. One is that being a music producer actually requires a lot of physical stamina. You’re often racing against the clock — producing backing tracks, editing vocals, mixing. There’s constant deadline pressure, and long hours in the studio are just part of the job. It definitely requires a certain level of endurance.
Another factor might be the level of interest in the technical side of production. There are quite a few female topliners, but when it comes to producing, there’s this image that you have to be hands-on with all the equipment, and that can feel like a barrier for some.
I’m often called a music producer myself, but in many cases my role is closer to that of an executive producer — overseeing the bigger picture of a project or song, deciding who to work with and how to bring everything together. Even so, women in that kind of position are still rare, so I’d love to see that number grow from now on.
That makes sense. Limited opportunities to handle equipment might also lead to fewer chances to take on production roles. What’s something you’ve consistently valued throughout your work?
What I value most is listening — understanding where the artist’s mind is at, what kind of world they want to convey through this song, and what the label or management hopes to express as well. I try to approach that process as carefully as possible, because that’s where individuality and artistry truly come through. If that understanding is off, even if we make something great, we can’t genuinely share in the joy of it.
Is there anything you’re mindful of when it comes to self-care in sustaining such a long career?
When I get home and see my family and kids, it’s like I snap back to reality and it grounds me. In the studio, I almost feel like I’m inside a bubble. I lose track of time, forget to eat, and get completely absorbed in listening and creating. That kind of deep immersion is exhilarating, but it can also be draining. By the time I’m done, I often realize how much energy I’ve spent.
But when I come home and see my family’s faces, it’s like something inside me suddenly releases. I try to let go of whatever I’ve been holding onto and unwind before going to sleep.
It sounds like having a family has had a really positive impact on the way you work.
I’ve been able to keep going thanks to my family. Before I had one, I worked nonstop, with no real distinction between weekdays and weekends or even holidays. Now that my kids’ daycare is closed on weekends, I make sure to take those days off too. Having that limit forces me to pause, which has been good for me. It’s helped me create a healthy rhythm, knowing when to focus completely and when to step away from work.
When you became pregnant, did you have any fears or anxieties about how your life might change?
Yes, very much so. At first, I actually kept my pregnancy a secret. I was worried that people might start to treat me differently or stop offering me work out of concern, so I decided not to tell anyone until I was about eight months along.
When it finally became impossible to hide, someone said to me, “So you’re finally going to slow down, huh?” That really hit me hard. I remember thinking, Do I have to slow down? At the time, I was even more driven than I am now, so I took it as a kind of mission, to prove that I could keep going without slowing down.
In a way, I was lucky that I gave birth during the pandemic, because everything shifted online. I could nurse off-camera, or rock the cradle with my foot during meetings. With so much moving to virtual work, I was able to come back after only about a week and a half.
That’s incredible! Has becoming a mother influenced your creative work or artistic expression in any way?
After having my children, I’ve felt a much stronger sense of love and affection for all living things. Before, I think my focus was mostly on myself and the people close to me or those I cared about deeply. Now, my curiosity and concern extend more broadly. Even other people’s children feel adorable to me, and I find myself thinking, “I hope they grow up healthy.” Small things move me emotionally in ways they didn’t before, and I think that sense of being emotionally stirred has naturally flowed into my expression and creative work.
As a songwriter and composer, do you have any personal guiding principles or things you hold dear when creating music?
Music has saved me many times in my life. When I was a child, there were periods when I felt very strongly that I didn’t want to live anymore. In those moments, listening to music somehow gave me the strength to think, “Maybe I’ll try living tomorrow, too.”
So when I make music, I want it to be something that helps someone think, “Maybe I can keep going tomorrow,” or “Maybe the future isn’t so bad.” Sometimes that takes the form of an obvious, uplifting song, and sometimes it might be something much darker — but I don’t want to write anything that shuts down the idea of a future. I hope my songs can offer a bit of comfort, or support someone in their moment of need.
Have you ever felt the effects of gender discrepancies, or experienced moments of discomfort related to gender in your work and creative life?
I think I’ve been relatively free to work in my own way, but there are still times when I feel left out, like not being invited to late-night gatherings that are mostly male-led. And when I hear stories like, “I landed this project because I got close to the director at one of those events,” I just kind of have to take it in. I used to think, “What would my life have been like if I were a man?” a lot when I was younger.
I also hear a lot from younger colleagues about their struggles. Many talk about the pressures and burdens they feel because they’re women, and how tough that can be. I hope we can gradually work toward making the industry a better space.
What message would you like to share with young people aiming to become musicians or simply wanting to live life on their own terms?
You only live once, so I hope everyone can live true to themselves. Of course, daily life comes with all sorts of responsibilities, so the time you have to be fully yourself may be limited, but even that struggle has its own beauty.
There will be times when you have to fight, clash, or speak up for what you believe. Those moments may feel difficult, but beyond them lies a world that’s easier to live in. Step by step, you’re shaping a life and a world that works better for you.
Self-expression is a right we all share, and the more each person expresses themselves, the more colorful the world becomes. I hope everyone keeps expressing themselves boldly and freely.
–This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
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Billboard Japan‘s Women in Music initiative launched in 2022 to celebrate artists, producers, and executives who have made significant contributions to music and entertainment, and who inspire other women through their work — following in the footsteps of Billboard’s annual Women in Music honors. This interview series spotlighting female players across the Japanese entertainment industry is one of the key pillars of Japan’s WIM project.
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This installment features Maki Goto, who marks the 25th anniversary of her debut this year. The singer joined Morning Musume at just 13 and has continued to chart her own course as a solo artist after graduating from the wildly popular J-pop girl group. Now, looking back on the past 25 years of her career — guided by the belief that she didn’t need to play the “good girl” — the 40-year-old performer shares the unexpected message she would offer her younger self today. She also reflects on the mindset that has sustained her throughout her life in the spotlight.
Congratulations on your 25th anniversary. How are you feeling as you reach this milestone?
It really feels like the time flew by. Through performing live and all the different kinds of work I’ve done, I’ve gained so many tools and experiences to draw from. When I look back on my younger self now, I think I’d be able to give her some pretty good advice, like, “There might be a better way to approach this.”
Your new album COLLECTION includes solo versions of songs from your Morning Musume days. When you compare who you were then to who you are now, what do you feel has changed?
I think a lot has changed. I mean, I was only 13 — a second-year middle schooler. I might have looked the part with the bleached hair, but inside I was still very much a kid. I’m more conscious now of the shift from being a child to being an adult, and my approach to work has really evolved over these 25 years. Back in the Morning Musume days, Tsunku-san was producing us, and I was just doing my best to take on the tasks I was given and figure out how to carry them out. Now, I’m more in a place where I think for myself and shape who I am as an artist from within.
And what about the things that haven’t changed?
I think my personality is pretty much the same as it’s always been. I’ve lived in my hometown, where I was born and raised, for most of my life. While people might assume that celebrities all live in the city, I’ve deliberately chosen not to move, and maybe because of that, my values, my temperament, and the things that bring me peace have stayed pretty much unchanged. Being in the town where I grew up also makes it easier to switch clearly between my “on” and “off” modes when it comes to work.
Your work shifted from being part of a group to performing solo. How did you motivate yourself through that transition?
When I first went solo, I was really anxious. I realized just how much I had relied on my fellow members and the people around me. But once I became a solo artist, thinking about the people who support me and how I want to show up for them became something that encouraged me. It’s an awareness of wanting to show everyone the best version of myself.
Looking back at past interviews, there’s a strong sense of pride in your identity as an “idol” performer. When and how did that take shape for you?
When we were in Morning Musume, being an idol had a very spirited, almost athletic culture to it. It wasn’t about conforming to something, but rather about showing who you were and letting your individuality shine. We communicated directly with fans, balanced what we personally wanted to do with what was being asked of us, and were given the chance to try new approaches that still felt true to who we were. I think that environment is what shaped my own sense of what it means to be an idol.
Were your individuality and uniqueness recognized and supported mainly by fans and the staff around you?
It wasn’t quite that simple. Back then, social media didn’t exist like it does now, and the only place people could see us was on TV. It was actually pretty hard to get people to understand our individualities. We could show a bit of who we were through talk segments on music shows, but it wasn’t just about TV. I think the fact that we had so many opportunities to meet people directly through concerts and events, where they could really get to know us, is what allowed each of our strong personalities to become a strength.
As the one and only new member added at the time, you made a striking debut when you joined Morning Musume at 13. Looking back, is there anything you’d like to say to your younger self?
One thing I think now, after everything I’ve experienced, is: “You don’t have to be the good girl.” Being the model student or the “good kid” can feel like a safe position within a group or an organization. But if you get too used to that, taking on something new makes you stand out more — sometimes in a good way, sometimes in a not-so-good way. By not settling into that “good girl” role, you’re able to speak clearly about what you want to do, and actually pursue it. I think I’d tell my younger self to keep going with that kind of attitude.
I’m sure many young women feel afraid to stand out or think it’s safer to be obedient. That’s why your message of “you’re fine the way you are” is so empowering. What kind of woman do you admire?
Someone who can genuinely shine with a bright, sparkling smile — the kind that makes your heart feel light and happy. Our expressions show our feelings right away, and that can make the people around us worry or think too much. I really admire people who can take a moment to reset their feelings on their own and still show a warm, bright expression.
What helps you maintain your smile in daily life, and how do you encourage yourself when you feel worn down emotionally?
I’ve always had this habit of stepping back and looking at things from a distance. When something unpleasant or sad happens, seeing it from that wider perspective usually makes me realize it’s actually not as overwhelming as it felt in the moment. And when I’m feeling down, if I just take a moment to breathe and think things through, I end up telling myself that this isn’t worth dwelling over. I think giving yourself that small pause to let your emotions settle is really important.
When did you develop that mindset?
Honestly, I’ve had that habit since I was very young.
You were able to get through that whirlwind era with that wider perspective. Joining the group at 13 — without that viewpoint, it would’ve been easy to be overwhelmed.
Exactly. If I’d tried to take everything head-on all the time, I wouldn’t have been able to keep up, and my feelings wouldn’t have lasted. After my debut, that habit of stepping back, taking a breath, and looking at things calmly became even stronger.
What do you think is important for women to really shine?
I think people are the most alive when they’re doing something they genuinely want to do. When you want to try something new, instead of thinking, “I probably can’t,” it’s better to just go for it first. If it doesn’t work out, you can rethink it then. By continuing to pick up the things you want to do like that, I think your own potential naturally expands. That kind of attitude matters.
So you’re someone who actively dives into things you’re curious about.
I am. When something interests me, I look into it right away and really throw myself into it.
What are some things you’d like to take on moving forward?
I’ve always been interested in beauty, and it’s something I really enjoy, so I’d love to do something in that area that could be helpful to people. I also held a live show and events this September to mark my 25th anniversary, and the response from everyone meant so much to me. It became something I can lean on as I look toward my next steps. I want to think about new stages and try things people wouldn’t expect.
To be honest, I’m still surprised that after 25 years in this industry, I’m able to keep performing like this. Continuing something for that long is really not easy. But once you have a dream, the important thing is to keep going. If it’s something you truly love, then no matter what happens, you’ll find a way to continue. I want to hold onto that feeling and keep doing my best every day.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
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Earlier this July, Mrs. GREEN APPLE surpassed 10 billion cumulative domestic streams across their entire catalog, becoming the first artist in J-pop history to reach the milestone. To commemorate the achievement, Billboard Japan presented the band with a special plaque, and the trio shared words of appreciation to everyone who has listened to their music.
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The band has released a long list of hits that have accumulated 100 million domestic streams each, including “Ao to Natsu” (their most-streamed track with over 900 million streams), “Tenbyo no Uta (feat. Sonoko Inoue),” “Dancehall,” “Que Sera Sera,” and “Lilac.” As of November 2025, they hold a record-setting 31 songs that have surpassed this milestone — the most of any artist on record (according to Billboard Japan). This year alone, new releases such as “Darling,” “KUSUSHIKI,” “Heaven,” and “breakfast” have all passed the 100-million mark.
2025 marks the group’s 10th anniversary, and under the banner of “MGA MAGICAL 10 YEARS,” they’ve been celebrating alongside their fanbase (JAM’S) and listeners nationwide. They’ve made a strong impact this year, with their anniversary concert, MGA MAGICAL 10 YEARS ANNIVERSARY LIVE ～FJORD～, drawing a total of 100,000 attendees in two days, and a range of initiatives launched nationwide to highlight their anniversary best-of album 10. Meanwhile, each member has also expanded into individual activities such as acting and hosting work, earning wide support that extends from music to variety entertainment.
Now in the midst of the largest tour of their career, the five-dome run entitled DOME TOUR 2025 “BABEL no TOH,” the three members — Motoki Omori (vocals and guitar), Hiloto Wakai (guitar), and Ryoka Fujisawa (keyboards) — made time between an exceptionally packed schedule to chat with Billboard Japan, to express their gratitude to reach 10 billion streams.
You’ve become the first act to surpass 10 billion domestic streams in Japan. Congratulations!
Motoki Omori: The number is so massive that it still doesn’t quite feel real, but knowing that so many people are listening truly motivates us in what we do. We’re genuinely grateful.
Ryoka Fujisawa: None of us have ever even seen a number like 10 billion. There’s still a part of me that can’t fully grasp it, but we’ve been hearing from so many listeners across different generations who are enjoying Mrs. GREEN APPLE right now. That means everything. Thank you so much.
Hiloto Wakai: I feel the same as the other two — the number 10 billion is overwhelming. But more than anything, the fact that our music is truly reaching each and every person who listens makes me incredibly happy.
This year, you celebrated your 10th anniversary with events across Japan and a series of six consecutive monthly releases. There was so much excitement on the charts and across social media. What kinds of messages have you heard from listeners?
Fujisawa: We approached everything with the hope that people could enjoy our 10th anniversary in many different ways, so we put out a lot of things and organized various projects. We heard from families, from friends who went together, and from people who came alone — so many different kinds of listeners were able to enjoy it. Receiving those messages made us really happy.
Your dome tour “BABEL no TOH” has only just begun, but how does it feel so far?
Wakai: For us, this tour is a real challenge, so we were honestly a bit nervous (before it started). But seeing how much everyone is enjoying it has put us at ease, and it feels like we’re on a tour that’s incredibly rewarding.
In November, you’ll become the first Japanese act to release two films simultaneously along with an IMAX® screening of your concert film. And in December, the 10th-anniversary exhibition MGA MAGICAL 10 YEARS EXHIBITION Wonder Museum is coming up as well. What would you like visitors to take away from these projects?
Omori: In the past few years, a lot of people have discovered us for the first time. So both for those who have supported us from the beginning and those who just recently started listening, this is a chance to share the essential part of what Mrs. GREEN APPLE values. Whether it’s the concert film, the documentary, or the exhibition, each one is entertainment — but they’re also things made from who we are at our core, something genuinely alive. So more than anything, we just want as many people as possible to see them.
The announcement that Phase 2 will conclude within the year came as a big surprise to many. With the time remaining, what do you hope to continue expressing through the end of this phase?
Fujisawa: Phase 2 has really been driven by the desire to meet as many people as possible and to bring Mrs. GREEN APPLE to many listeners. So through the end of the year, we want to continue delivering a bright, energetic Mrs. GREEN APPLE — both in who we are and in our music.
Wakai: We still have the tour ahead, so I hope everyone continues to enjoy Mrs. GREEN APPLE’s Phase 2 in different forms.
Omori: In the new year, we’ll shift into Phase 3 — but that doesn’t mean some drastic change is coming. It’s simply one of our own markers, a way of organizing our direction. So just like always, we’ll keep making music in a way that people can enjoy. And we hope to spend the rest of our 10th anniversary expressing our gratitude to as many people as possible.
–This interview by Mariko Ikitake first appeared on Billboard Japan
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Kenshi Yonezu’s “IRIS OUT” stays atop the Billboard JAPAN Hot 100 for the eighth straight week, on the chart released Nov. 12.
Across individual metrics, the Chainsaw Man – The Movie: Reze Arc theme continues to dominate streaming, video views, and karaoke, while coming in at No. 3 for both radio airplay and downloads, and No. 15 for CD sales. Radio impressions saw a 168% increase from the previous week.
Until now, Yonezu’s longest-running No. 1 was “Lemon,” which led for a total of seven weeks. “IRIS OUT” has now surpassed this record with eight weeks at the summit. Among all artists, the track now ties for the sixth-most total weeks at No. 1 in Japan Hot 100 chart history.
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List of All-Time Total Weeks at No. 1 on the Billboard Japan Hot 100
YOASOBI “Idol” 22 weeks
Creepy Nuts “Bling-Bang-Bang-Born” 19 weeks
Ado “Show” 13 weeks
Official Hige Dandism “Subtitle” 13 weeks
Aimer “Zankyosanka” 9 weeks
LiSA “Homura” 8 weeks
Kenshi Yonezu “IRIS OUT” 8 weeks
Official Hige Dandism “Pretender” 7 weeks
Mrs. GREEN APPLE “Lilac” 7 weeks
Official Hige Dandism “I LOVE…” 7 weeks
Kenshi Yonezu “Lemon” 7 weeks
Yonezu and Hikaru Utada’s “JANE DOE” returns to No. 2. Though overall points for the ending theme of the same movie declined, the track rises from No. 5 last week. Yonezu also scores multiple entries this week: “1991” climbs from No. 9 to No. 5, while “Plazma” comes in at No. 50, “KICK BACK” at No. 70, and “BOW AND ARROW” at No. 89.
HANA’s “Blue Jeans” rises 11-3 this week, while the group’s “My Body” lands at No. 6 — one of seven songs the girls have on the chart this week. AiNA THE END’s “On the Way” rebounds from No. 12 to No. 4, marking her first return to the top five in about two months.
MAZZEL’s “Only You” debuts at No. 8. The lead track from their upcoming single of the same name, due out Nov. 26, leads downloads and hits No. 3 for video views and No. 27 for streaming with its advance digital release. Outside the top 10, Tatsuro Yamashita’s “MOVE ON” bows at No. 12. Featured in Daihatsu’s TV commercial for its kei-type vehicle MOVE, the song from the veteran singer-songwriter’s first single in two years earns the week’s No. 1 in radio.
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. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Kanye West might be on a redemption tour. Travis Scott brought out the old Ye at his show in Japan, and the crowd went crazy.
According to Hip Hop N More, Travis Scott was in the Land of the Rising Sun for his Circus Maximus Stadium Tour. His performance was well-received as soon as he started his first song. Cactus Jack took ticket holders through a medley of his biggest hits and even tracks that only hardcore fans could probably sing line by line.
Midway into the evening, the stage lighting was turned off and the music stopped. Out of nowhere, the opening keys from “Runaway” started playing, which sent the crowd into a frenzy. Shortly after Kanye West came out wearing an all black outfit with his face covered.
Needless to say, the surprise electrified everyone at the Belluna Dome in Tokyo. He proceeded to perform a mini-set of his tracks, which included “Stronger” and “All of the Lights,” all the while being backed up by Travis Scott. Kanye then proceeded to add yet another memorable moment to the surprise appearance when he took off his mask at the end of “Can’t Tell Me Nothing.”
In recent weeks, the world has been treated to a more intentional Kanye West. Not long ago, the Chicago native sat down with Israeli Rabbi Yoshiyahu Yosef Pinto and apologized for his antisemitic behavior.
“It’s a big deal for me as a man to come and take accountability for all the things that I’ve said,” Ye said. “And I really just appreciate you embracing me with open arms and allowing me to make amends. And this is the beginning and the first steps, and the first brick by brick to build back the strong walls.”
You can view Kanye West’s surprise performance with Travis Scott below.
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Photo: Getty
Trending on Billboard
Billboard honors leaders driving the success of the music business outside the U.S. through its Billboard Global Power Players list. Among the industry figures recognized this year is Taeko Saito, Senior VP of business development and strategies, Asia Pacific at EMPIRE, marking her first appearance on the list. To commemorate the achievement, Billboard Japan spoke with Saito about EMPIRE’s business strategy, the growth of streaming markets across different countries, and the challenges facing Japan’s music industry today.
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Could you tell us a bit about your background?
Taeko Saito: I spent most of my childhood in the U.S., and after graduating from university, I began my career as an assistant at AAM, a music producer management company. I later joined the publishing company SONGS Music Publishing as an A&R, where I handled deals with artists like Diplo, Lorde, and The Weeknd. After that, I moved to Downtown Music Publishing, where I helped establish its Japan office, and since 2023, I’ve been working at EMPIRE.
Tell us about EMPIRE’s business operations.
EMPIRE was founded in 2010 as a music distribution company. At the time, there were very few distributors specializing in specific genres, but we focused on hip-hop from the start. From there, the company expanded into label and publishing operations, leading to where we are today.
What led EMPIRE to focus on hip-hop?
It comes from a desire to share music from underrepresented communities with the world. Our CEO, Ghazi (Shami), comes from an immigrant background, which may have influenced that vision. He grew up in San Francisco surrounded by street culture, so in many ways, the focus on hip-hop was a natural extension of that. These days, though, we’re not limited to hip-hop — we’ve expanded into regions like Africa and Asia. One of the fastest-rising artists on our roster right now is Shaboozey, a Black country artist.
With streaming now the dominant form of music consumption, artists no longer need to be signed to a record label to release their work. They can do everything independently, though many still don’t fully understand the options available to them or the finer details of how to navigate that process. That’s where we come in: we offer independent artists a range of contract structures and opportunities tailored to their needs. Our goal is to show that there’s more than one way to succeed, and that artists can take flight in ways beyond the traditional system.
Your work focuses on the Asia-Pacific region, is that right?
Yes, mainly Asia. Aside from myself, we have staff based in Singapore and Indonesia, and we work closely together. Also, EMPIRE’s workforce is culturally diverse, with people from many different countries. This mix of cultures makes it reassuring to have headquarters collaborating with us as part of the same team.
The streaming market is slowing but still growing, with particular attention on Asia, Africa, and South America. How does EMPIRE view this situation?
Expectations for growth in Asia are very high. For example, a recent deal I handled was with a label in Cambodia. Spotify only became available there four years ago, in 2021.
That’s quite recent.
Yes. The music business there is still very young. Among the labels we’ve signed, the most successful artist is VannDa, whose videos have racked up hundreds of millions of views on YouTube and who’s seen remarkable growth just over the past year. Countries like Myanmar and Laos also have predominantly young populations, which makes them especially eager to embrace new services.
That said, there are still challenges on the business side in that royalty rates remain low. Japan has the highest rates in Asia, but in other countries, they’re significantly lower compared to regions outside Asia. It’s a complex issue that involves negotiations between nations, but I believe continued dialogue will help drive further growth.
Japan is often seen as a rare example of a country where CD sales and streaming coexist in its music market. What are your thoughts on this situation?
I think it’s wonderful how Japanese artists place such great importance on quality and on treating each fan with genuine care. However, I’m not sure the same approach would necessarily be accepted in the U.S. in exactly the same way. There are cultural differences and what people embrace or don’t, what they find easy or difficult to digest. That’s why I feel the way music is presented varies greatly from country to country.
I also think that what “success” means can differ from artist to artist. For example, say an artist wants to go global and win a Grammy. But is the goal simply to win a Grammy, or to earn the recognition of the Recording Academy members and to have them feel that this artist deserves a Grammy? Those may sound similar, but the narratives are very different.
And if the goal is to top the Billboard charts, that’s another story altogether. Grammy-nominated artists or works aren’t always those with the greatest commercial success — cultural impact, musicality, and message often carry more weight. So sometimes, winning a Grammy and achieving commercial success don’t necessarily go hand in hand.
So in terms of differences between Japan and other countries, I think the definition of success itself is different. In Japan, there’s a strong focus on nurturing lifelong bonds with each fan — the kind of fan who will buy CDs and cherish that artist for years. The approach is completely different overseas, and I think that gap is part of why the two worlds haven’t always connected. Still, many have continued to take on new challenges, and with the precedent set by K-pop, there’s now a growing sense of optimism across Japan’s music industry. I think what’s most important going forward is to stay adaptable and keep pushing forward with that spirit of challenge.
Have you noticed any major changes in the U.S. music scene over the past ten to twenty years?
The biggest shift has been in the independent music scene. Twenty years ago, “independent label” mostly brought to mind alternative bands, but now artists of all kinds own their rights and release their music on their own. Seeing that change makes me think Japan can move in the same direction. For idol groups and similar acts, where producers lead the projects, it’s natural for those producers to claim ownership of the rights. But for singer-songwriters, bands, or rappers who write their own material, I’m not sure that same structure always fits. Some artists may thrive under that traditional setup, while others might prefer to manage their own work and release independently. I believe that the latter market will only continue to grow, and when that happens, it’ll be crucial for major labels and agencies to adapt accordingly.
When you look at organic reactions online, you often see artists who go viral once but fade quickly afterward. In those moments, what really matters is an artist’s ability to build their brand and develop a lasting fan base. Today’s younger audiences move fast and shift to the next trend almost instantly. In that kind of environment, understanding what makes an artist someone you want to keep following is where labels and management teams can really make a difference.
And because artists now have the right to choose their own path, I want them to think carefully about what approach best suits them. When I sign an artist, I always make it clear that EMPIRE isn’t a one-size-fits-all label. The artists we work with are business owners in their own right — people who can think about how to evolve and expand their own ventures. Only a small number of artists are truly the right fit for EMPIRE, but for those who are, we’re confident we can help them grow more than anywhere else.
Are there any Japanese artists currently signed to EMPIRE?
Yes, we recently signed an artist named Litty. She only began releasing music last year, so she’s been active for about a year now. She also took part in a songwriting camp we hosted recently, where she collaborated with overseas artists for the first time. She absorbed everything like a sponge, and it was inspiring to see.
Billboard recently launched in Africa, signaling growing global attention on music scenes outside the West. What are your thoughts on that trend?
It’s hard to say definitively why African music has become so deeply rooted in the U.S., but I think part of it comes from a desire within the Black community to reconnect with their roots. Looking at trending charts, there are moments when I sense a similar response among Asian listeners in America — almost as if they’re reacting to how Asian artists haven’t always been fully recognized in the past. Seeing the global success of artists who weren’t traditionally part of the mainstream, especially in K-pop, feels like a reflection of more people embracing their own roots and identities.
The U.S. is the world’s largest music market and a multicultural nation. Do you think it’s because of that diversity that music from so many different countries is being heard there and spreading globally through social media and streaming?
Exactly. The music industry is undergoing a fascinating transformation right now. Music is being heard across borders more than ever, and listeners have become increasingly open to that diversity. For us, Asia still has so much untapped potential. Going forward, we want to build on EMPIRE’s strengths while exploring how best to adapt them to each country’s unique landscape.
—This interview by Naoko Takashima first appeared on Billboard Japan
