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ATARASHII GAKKO! dropped its new music video accompanying “Fly High,” a track off the four-member group’s first full album in five years entitled AG! Calling. Explore Explore See latest videos, charts and news See latest videos, charts and news The first song on the group’s third full-length project released June 7, “Fly High” is being […]
Creepy Nuts, SixTONES and Mrs. GREEN APPLE lead in their respective categories on Billboard Japan’s 2024 mid-year charts, tallying the weeks from Nov. 27, 2023, through May 26, 2024.
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Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Japan Hot 100 on the mid-year roundup. The MASHLE season 2 opener was released digitally on Jan. 7, and has been streamed 348,998,877 times during the tallying period. Total streams for the hip-hop hit sailed past 300 million at the second fastest pace in Japan chart history, second only to YOASOBI’s “Idol,” the No. 1 song of the year for 2023. “BBBB” also holds the No. 1 spot on Billboard Japan’s Global Japan Songs Excl. Japan list for the first half of the year. This chart ranks songs from Japan being heard in more than 200 countries and regions worldwide.
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On “BBBB” ruling the mid-year charts, Creepy Nuts’ rapper R-shitei shares, “I wasn’t expecting it at all, so I’m surprised, or rather… It still hasn’t really hit me yet. But I’m thankful. It’s gratifying,” while DJ Matsunaga says with a laugh, “The song became a hit when I was working at my own pace, in a kind of ‘I’ll just take it slow and have fun making music’ mindset, which highlighted the unexpectedness of it all. I’m at a place where it’s all too much of a blessing and I haven’t been able to take it in.”
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Fifteen-year-old singer-songwriter tuki.’s “Bansanka” follows at No. 2 on the mid-year Japan Hot 100, and YOASOBI’s “Idol” is still going strong at No. 3.
SixTONES
Billboard Japan
On the Japan Hot Albums list, SixTONES’ fourth project THE VIBES takes the top spot, selling a total of 571,187 copies during the tallying period after being released Jan. 10, hitting No. 1 for the sales metric.
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“We’re thankful for being ranked No. 1 for the first half of this year,” says SixTONES member Jesse. “We’re very happy and full of gratitude because this is the result of our music reaching so many people. Each of our albums has its own concept, and this time we aimed to create a work that ‘boosts your vibes’ by including a wide range of songs with a focus on rock. We’re sure anyone can find a song in this set that ‘boosts their vibes,’ and that this album will make people go, ‘Such idols exist?!’ with surprise. If you haven’t listened to it yet, please give it a try! Our group will continue to take on various musical challenges, so please look forward to it!”
At No. 2 on the mid-year albums chart is SEVENTEEN’s best-of collection 17 IS RIGHT HERE, and Hikaru Utada’s all-time greatest hits album SCIENCE FICTION, celebrating the 25th anniversary of the J-pop superstar’s debut, is at No. 3.
Mrs. GREEN APPLE
Billboard Japan
Mrs. GREEN APPLE is the top artist on the mid-year Japan Artist 100 chart, compiled from the results of the Japan Hot 100 and Hot Albums charts. The three-man band has been a constant on the Japan Hot 100, with 14 tracks including “Que Sera Sera” and “Dance Hall” charting on the list.
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“We’re very honored to be ranked No. 1 on the artist chart,” says Mrs. GREEN APPLE frontman Motoki Ohmori. “We’d like to thank our JAM’S (fandom) and the many people who always support us from the bottom of our hearts. We hope to keep making the ship that is Mrs. GREEN APPLE bigger through various activities to deliver works that we ourselves can be excited about and think are good! Once again, thank you very much for this honor.”
YOASOBI follows at No. 2 on the Artist 100 tally, now one of Japan’s biggest acts whose performances at this year’s Coachella and visit to the White House made headlines in the duo’s home country. Veteran band back number comes in at No. 3, with nine songs charting in the top 100, including hits “Suiheisen” and “Takaneno Hanakosan.”
Billboard Japan Hot 100 Mid-Year Chart 2024
1. “Bling-Bang-Bang-Born” / Creepy Nuts2. “Bansanka” / tuki.3. “Idol” / YOASOBI4. “Show” / Ado5. “Que Sera Sera” / Mrs. GREEN APPLE6. “Kaiju No Hanauta” / Vaundy7. “IKUOKUKONEN” / Omoinotake8. “SPECIALZ” / King Gnu9. “The Brave” / YOASOBI10. “Be a flower” / Ryokuoushoku Shakai
Billboard Japan Hot Albums Mid-Year Chart 2024
1. THE VIBES / SixTONES2. 17 IS RIGHT HERE / SEVENTEEN3. SCIENCE FICTION / Hikaru Utada4. THE GREATEST UNKNOWN / King Gnu5. SEVENTEENTH HEAVEN / SEVENTEEN6. MATCH UP / INI7. AWARD / WEST.8. Road to A / Travis Japan9. PULL UP! / Hey! Say! JUMP10. Reboot / TREASURE
Billboard Japan Artist 100 Mid-Year Chart 2024
1. Mrs. GREEN APPLE2. YOASOBI3. back number4. Ado5. Vaundy6. Official HIGE DANdism7. King Gnu8. Creepy Nuts9. Yuuri10. Aimyon
JO1’s “Love seeker” soars to No. 1 on the Billboard Japan Hot 100, rising from No. 59 on the chart released June 5.
“Love seeker” is the lead track from the 11-member boy band’s eighth single “HITCHHIKER.” The song dropped digitally May 12 and debuted on the Japan Hot 100 at No. 48 (May 22), then dropped to No. 59 the following week before hitting the top spot this week powered by sales. The group marked its biggest first-week CD sales with 738,776 copies to rule the metric, while coming in at No. 3 for downloads (15,613 units, up approximately 2,800% from last week), No. 25 for streaming (up 157%), No. 31 for video views (up 117%), and No. 5 for radio airplay (up 688%).
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Debuting at No. 2 is Number_i’s “BON,” a track off the trio’s mini-album No.O -ring-, released May 27. The song debuts at No. 1 for downloads with 49,896 units and also rules radio and video, while coming in at No. 13 for streaming to hit No. 2 by a narrow margin on the Japan Hot 100 with no points for physical sales. The group’s former No. 1 song “GOAT” moved 64-54 due to the new release, and six of the mini-album’s tracks, including “BON,” entered the Japan Hot 100.
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Incidentally, King & Prince’s former No. 1 hits ”Tsukiyomi” and “Cinderella Girl” — made available for streaming at the end of last month — also return to the Japan Hot 100. Both songs are from the group’s five-member era — Number_i consists of three former members of King & Prince — and saw an increase in weekly streaming and video views. “Tsukiyomi” returns for the first time in about a year and three months, while “Cinderella Girl” returns for the first time in about a year.
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comdot’s “Haikei Oretachihe” bows at No. 3 on the Japan Hot 100. The first single by the five-member YouTubers sold 136,964 copies to hit No. 2 for sales, while coming in at No. 27 for downloads, No. 16 for streaming, No. 6 for radio, and No. 23 for video.
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Kenshi Yonezu’s “Mainichi” (Every Day) launches at No. 6 this week. The release of this new commercial song for Coca-Cola Japan’s “Georgia” brand has powered the hitmaker’s other songs up the charts, with “Sayonara, Mata Itsuka!” seeing an increase in downloads and “Lemon” in both streaming and downloads.
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BEYOOOOONDS’ first single in about a year and a month called “Hai to Diamond” bows at No. 7, selling 99,222 copies to hit No. 3 for sales, while coming in at No. 10 for downloads and No. 16 for radio.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 27 to June 2, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Driven by a desire to put a smile on everyone’s face, the three-piece band BRADIO just released a new, funky party album PARTY BOOSTER.
Billboard Japan recently got to interview the three-piece band, which is generating excitement worldwide, having recently put on a wildly successful show in Chile as part of SUPER JAPAN EXPO 2024. They talked to us about their new album, the musical journeys of each band member, and their band’s story.
What kind of band do you feel like BRADIO has become?
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Takaaki Shingyoji (vocals): We’re often called a “funky band,” but it’s not like we set out at the start to form a funk band. As the band’s front man, I wanted to stand out, which is the only reason I grew out this afro. It wasn’t our intention to be a leader of funk culture in Japan. But I feel like over the past few years, our own sensibilities have aligned with the public perception of us as a funky, danceable band.
Could each of you tell us a little about your own personal musical journeys?
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Ryosuke Sakai (bass): I got into music because of B’z. I started out by playing the guitar, and after about a year I picked up the bass. This was back when bands like X JAPAN and LUNA SEA were popular, and I was listening to music like that. As for Western music, I was listening to hard rock. Bands like MR. BIG or Bon Jovi. But when I started going to music school, one of my assignments was to perform Marvin Gaye’s “What’s Going On,” and that experience opened up to me this whole other world of music, and I started listening to Motown.
Soichi Ohyama (guitar): I was really influenced by hard rock and legendary guitarists. Then for a while I was got deep into pop-punk and hardcore bands. That led to me starting my own band. I got into disco and funk after becoming an adult. The biggest influence on my guitar sound in BRADIO is probably Nile Rodgers. He’s my musical idol, and always will be.
Takaaki Shingyoji: When I was in seventh grade, my English teacher loved the Beatles. That got me into the Beatles, too, which got me thinking, “Hey, I like music, why not try playing it?” After that, I started listening to a lot of Japanese bands like Hi-STANDARD and L’Arc-en-Ciel. I gained an appreciation for funk and soul in around 2010, when BRADIO formed.
How did BRADIO arrive at its current musical style?
Takaaki Shingyoji: We started out as a five-piece band, but then one of our guitarists left, so we went from having two guitars to one. We had to change our sound as a result. Through some trial-and-error, we shifted to a sound with a groovy bass and strummed guitar. People started calling us funky with our 2013 album Diamond Pops. But that’s how we arrived at our current style, and it’s why we’re not funk through-and-through. I think that’s one of BRADIO’s best features. It’s a critical part of our very identity.
Your new album, PARTY BOOSTER, is packed with everything that makes BRADIO so wonderful. What kinds of themes are you exploring with this album?
Takaaki Shingyoji: On our last album, DANCEHALL MAGIC, we were exploring just what it meant to be funky. Now, a year later, we’ve created PARTY BOOSTER, which is, in a way, like DANCEHALL MAGIC 2. But this time, the first word is “Party.” I think that really suits us. We explored this theme like only BRADIO can.
Did you have a feeling like “what we need to do now is focus on this direction”?
Takaaki Shingyoji: Yes. We felt like we needed to get to know ourselves better. We came to feel that BRADIO was a greater band than any of us had realized before. We thought about what set us apart, and found that the key words that conveyed what we were about were “party,” “funky,” and “exciting.” In the past, we’d been overthinking things. We were thinking “we have to be like this or that” or “we have to be inspiring.” But the conclusion we eventually arrived at was, “as long as in the end we’re putting smiles on people’s faces, then it’s all good, right?”
Soichi Ohyama: I think the first song, “PARTY HEAD,” really epitomizes BRADIO. With this song, it’s like we could really put anything out there, so it feels like the song set the tone for the album. For example, “EIGO DISCO” has a 32-measure guitar solo. That’s just not something bands do nowadays (laughs). We have that kind of unfettered freedom, a spirit of “if it’s fun, then go for it!” I think that’s one of BRADIO’s distinctive qualities.
Ryosuke Sakai: We have this fascinatingly steep gradation that goes from really simple to really complex, and there are a lot of places where I can show off my chops as a bassist, which is wonderful. There are bassists that make you think “wow, a new bass hero has arrived,” like America’s Joe Dart. They play bass lines that listeners can sing along to. That’s the kind of bass line that I want to play, and I think that desire is reflected in the new album.
Takaaki Shingyoji: We named the new album PARTY BOOSTER, so we want to go around putting on shows that live up to that name. Of course they’ll be parties, but the people coming to hear us have their own lives, and they’re out there in the trenches every day, so we also want our shows to be boosters, giving them a lift in their day-to-day lives. I hope we can put smiles on all their faces.
—This interview by Tetsuo Hiraga first appeared on Billboard Japan
King & Prince reign over the Billboard Japan Hot 100 with “halfmoon,” blasting in at No. 1 on the chart released May 29. The Takeshi Kobayashi-produced title track off the duo’s 15th single “halfmoon/moooove!” is being featured as the theme of the drama series Tokyo Tower starring member Ren Nagase. To celebrate the sixth anniversary […]
Hanshin Contents Link Corporation, the master licensee of the Billboard brand in Japan, has signed a new partnership agreement with Luminate Data, the U.S.-based company which aggregates music data (streaming, digital and physical sales) from hundreds of sources and provides data reflecting trends in 49 different international markets. Explore Explore See latest videos, charts and […]
Creepy Nuts’ “Bling-Bang-Bang-Born” holds at No. 1 for the 16th week on the Billboard Japan Hot 100, on the chart dated May 22.
The MASHLE season 2 opener shows signs of slowing down in all metrics except radio airplay this week, though only slightly. The viral rap banger continues to dominate multiple metrics this week — streaming, video views, and karaoke — while coming in at No. 3 for downloads and No. 37 for radio.
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Ae! group’s “《A》BEGINNING” bows at No. 2. It’s the lead track off the debut single by the five-member STARTO ENTERTAINMENT boy band, released May 15. The CD launched with 782,835 copies and hits No. 1 for sales and comes in at No. 3 for radio and No. 46 for video.
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Mrs. GREEN APPLE’s “Lilac” rises a notch to No. 3 this week. Streaming, video, and karaoke for the Oblivion Battery opener are up 102%, 105%, and 118%, respectively. Other songs by the popular three-man band continue to rise up the chart this week: “Que Sera Sera” moves 14-13, “Ao to Natsu” 24-23, and “Magic” 38-37. Points for “Boku no koto” increased 1.4 times and the track climbs 78-47.
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Juice=Juice’s “Tokyo Blur” debuts at No. 7, selling 73,185 CDs in its first week to hit No. 2 for sales. The girl group’s 18th single also comes in at No. 13 for downloads and No. 17 for radio.
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Debuting at No. 9 after being digitally released May 13 is MY FIRST STORY x HYDE’s “Mugen.” The opening theme song for the Hashira Training arc of the popular TV anime series Demon Slayer: Kimetsu no Yaiba rules downloads and hits No. 33 for streaming and No. 61 for radio.
Outside the top 10, Noa’s “Hatsukoi Killer” jumps 42-17. Points for the track increased in all the metrics of the chart’s measurement, but streaming in particular gained 1.7 times from the week before. The total is at 169% week-over-week.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 13 to 19, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Creepy Nuts is set to stream a show from its ongoing domestic tour, called Creepy Nuts ONE MAN TOUR 2024, for global audiences. The “Bling-Bang-Bang-Born” duo kicked off the tour in March and the nationwide trek is expected to draw approximately 70,000 fans total, including additional shows in June. The concert set for June 16 […]
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its stay atop the Billboard Japan Hot 100 to 15 weeks on the chart dated May 15.
Fifteen weeks at No. 1 on the Japan Hot 100 is second only to YOASOBI’s “Idol,” which holds the all-time record at 22 weeks. “BBBB” dominates four metrics this week — downloads, streaming, video views, and karaoke — and while points for each are down from the week before, the differences are slight: 91% for downloads week-over-week, 88% for streaming, 74% for radio, 87% for video and karaoke. A video of the duo’s performance of the long-running hit was recently featured on the Recording Academy’s “GRAMMYs Global Spin” segment and the hip-hop banger continues to reach global listeners. The track also continues to rule the Global Japan Songs chart.
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Bowing at No. 2 is &TEAM’s “Samidare.” It’s the nine-member global group’s first single, though the band debuted in December 2022 from HYBE LABELS JAPAN. The track comes in at No. 2 for sales with 440,615 CDs sold in its first week, No. 7 for downloads with 5,295 units, No. 21 for radio, No. 36 for video, and No. 90 for streaming, accumulating points in a balanced way though it didn’t top any of the metrics.
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At No. 3 is Hinatazaka46’s “Kimi wa Honey Dew.” The 11th single by the J-pop girl group sold 521,676 copies in its first week to hit No. 1 sales, while coming in at No. 34 for downloads, No. 15 for karaoke, and No. 89 for video.
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Mrs. GREEN APPLE’s “Lilac” slips 2-4 this week, with points for radio dropping significantly by 20% from the week before. But points for video and karaoke have increased, and while not a metric included in the methodology of the Japan Hot 100, points for User Generated Content have also gained, a trend indicating that the track could further expand its reach. Additionally, five songs by the three-man band have climbed the Japan Hot 100 this week: “Dancehall” moves 26-22, “Ao to Natsu” 31-24, “Soranji” 33-29, “Romanticism” 91-83, and “Blue Ambience (feat. asmi)” hits No. 98.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
ONE OK ROCK announced the dates for its PREMONITION WORLD TOUR 2024 kicking off with two Tokyo stadium shows in September. This global trek will be the largest ever for the “Make It Out Alive” rock band, with eight concerts in seven cities to be held in stadiums in Asia and arenas in North America […]