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Wednesday Campanella singer Utaha chatted with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai.
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Utaha began her music career under unusual circumstances, joining a successful music project as the second-generation lead singer. The 22-year-old artist is now branching out into other fields as well, such as acting. Her striking, one-of-a-kind look has been her passion since before she debuted as Wednesday Campanella’s new frontwoman. After going through a period of feeling like she couldn’t live “normally,” she decided to first change her appearance to cast off her old self, and this transformation eventually led to major changes in her life as well.
I heard you weren’t thinking of becoming a singer before joining Wednesday Campanella. What do you think you’d be doing otherwise?
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Utaha: A designer…maybe? I studied design at an art college, and shortly before Wednesday Campanella, I was looking into internships at design companies. I was also uploading my outfits and the stuff I was thinking about at the time on social media. I was asked to join the group because they saw what I was doing, so I was able to start my current career pretty freely.
So your current hair, makeup, and fashion are extensions of what you were doing before.
Yes, the prototype already existed when I was in high school. I couldn’t adapt to school life very well. I didn’t have an icon or an ideal image of what I wanted to be like, but I wanted to break away from my weak self at the time. I wanted to be strong, so I pierced my lip and buzzed my hair.
I imagine it would take courage to do something different when you’re not feeling strong. Were you trying to generate momentum to change yourself?
There was a period when I never encountered anyone who could help me when things were rough, so I had no choice but to help myself. It was really hard for me to change how I felt because of deeply ingrained values. But I realized that all I needed to do was to take a step forward to change the way I look. After realizing that, I immediately took action.
Until then, what was difficult for you or made you feel you couldn’t adapt?
I’m not sure… I was a really normal kid. There was a time when I tried my best to “live like everyone else,” but that didn’t seem to suit me very well. But because I couldn’t do what everyone else was doing normally, I was able to think about what I could do and improve on that.
What changed when you changed your appearance?
I went to a public high school in Tokyo and TikTok was all the rage. It was normal for everyone to look cute like the girls on TikTok in my school, so there were no other girls who had their hair buzzed and lip pierced. There were some who thought I was weird and expressed that sentiment, but it felt like changing my appearance created a kind of barrier around me. I didn’t become stronger on the inside right away, but it was like I had another skin around my weak self. Eventually, it made me stronger on the inside as well.
After you debuted as Wednesday Campanella, you entered a phase where you were expected to express yourself with more than your hair and makeup. Did you feel uncomfortable about that?
I’d never thought of becoming a musician, so I started out not knowing anything at all, like what would happen when I did something on stage. Plus, I debuted in the midst of the pandemic and there were a lot of restrictions like not being able to speak or raise your arms (during concerts), so we got no reactions and I couldn’t tell what the right answer was. But after about six months, a song [“Edison”] went viral. After that, I had more opportunities to be featured in the media. When you get exposure, people say stuff about you on social media. I almost lost sight of what I really wanted to value, but after going through that period, now I’m able to work without losing sight of myself.
You’re in an unusual position where you took over from a predecessor, but it looks like you’re working with a clear idea of what you want to do. Could you tell us what it is you value to not lose sight of yourself?
Obviously I wondered if people would accept me and felt pressured about that, but once I got started, it turned out people were surprisingly welcoming. After I felt that response, I began to do more and think about my strengths. By accepting myself, that I’m cute the way I am, I want the people who see me perform to think that it’s OK to accept and praise themselves for being cute and amazing. “Value the things you like, but live with respect and consideration for others” is the message I can communicate from the stage, and that’s the strength of what I do.
While diversity is being celebrated these days, it feels like society is becoming more divided and our values becoming more polarized in reality. I can see how a lot of people would be encouraged by the way you value your distinctive style of cuteness in such an environment.
When I look at TikTok and such, it really feels like the ideal of what everyone thinks is cute is becoming more and more standardized. It’s kind of strange that my idea of cute is respected in a society where lookism is still so rampant. Obviously there are people who don’t share my idea of cute, but that’s just a matter of preference so I think if I pursue what I believe in, the people who share my outlook will congregate where I end up.
I’m sure there are people out there who don’t have the courage to do what they believe in like you do. Do you think such people should just give it a try?
I’m in a position to say, “Why don’t you give it a try?” because I actually went through with it and it worked out, but I’m sure there are people who aren’t able to take the plunge because of their environment. Especially if they’re students surrounded by adults who instill rules in their lives, I’m sure many feel it’s hard to take that first step. But when you go out into the world, don’t you think, “What a tiny world I lived in when I was a student”? The world is much bigger than that, so I think you can have more fun searching for freedom if you broaden your perspective.
Do you think being a woman has affected your career?
It probably has affected me, for better or worse. Nowadays, men are freer to wear skirts and do their nails and such, but I’ve loved makeup and fashion since I was little, so I was glad to be a girl to be able to enjoy those things freely. I used to not like the shape of my body before, but thanks to fashion I’ve come to like it. Ideally, though, I want such discrepancies between men and women to disappear. People are always arguing on social media about how women are like this and men are like that, and I know there’s no easy solution, but I hope there will be less discrimination all around.
Society is gradually changing and I want to think that people in their 20s like you sense things differently and have a more unbiased outlook. Do you think this is the case?
I’m probably surrounded by people who think like I do. I say stuff like, “Let’s look at people as people and not by their genders” and “Don’t call people names based on their looks,” so the ones who discriminate don’t come near me. But when I interact with people who aren’t my fans on social media, there are so many different opinions. It feels like things are changing when I’m just looking around myself, but I’m reminded that when I look at society as a whole, not much progress is being made.
I get the impression that you’re analyzing yourself and society very calmly as you go through life. Do you have ways of coping when you feel down or when you hit a wall?
I don’t think I’ve hit any walls yet, but there are times when I feel down. When that happens, I eat and sleep! [Laughs] You know how there are things you can’t do anything about right away? Like lookism, you can’t change that right away. Although I know there’s nothing I can do even if I keep worrying about it, I feel down sometimes, so I try to eat properly and go to bed before late at night to not be overwhelmed by it all. After 22 years of living, I’ve realized I’m more energetic in the morning than at night.
That’s simple and very good. OK then, what advice would you give yourself when you were just starting out?
I think I was really tense for the first year and a half of my career. I want to say edgier, but just a lot more pointed. I don’t think it was necessarily a bad thing though, and I’m glad I didn’t take in opinions that I couldn’t agree with, so I’d like to tell myself that I’m OK the way I am. I got to where I am today because I struggled and felt conflicted about things in my own way at the time.
–This interview by Rio Hirai first appeared on Billboard Japan
Creepy Nuts’ “Bling-Bang-Bang-Born” continues to rule the Billboard Japan Hot 100, now in its 11th straight week atop the chart released April 10.
The MASHLE season 2 opener is still at No. 1 for downloads, streaming, video views and karaoke. Downloads for the hip-hop hit are down by about 4.5% from the week before at 17,122 units, while streaming is steady at 22,797,748 streams (down 1%). Total points are at 18,799, approximately 2.2 times ahead of the track at No. 2.
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ILLIT’s “Magnetic” jumps 8-3 after debuting on the chart last week. Streaming for the new HYBE group’s single is up by about 48.6% with 10,866,450 streams, moving 7-3 for the metric, and downloads are up by about 15.4% with 2,277 units, moving 23-19. Radio moves 84-24, and the total for the song is at 6,953 points this week.
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“Tokimeki UNITED” by Real Idol Project bows at No. 5. This track by the project featuring 250 men in 38 idol groups hailing from various management companies was created as the theme song for the Real Idol Festival event being held this month at the Tokyo Garden Theater. Released Apr. 2, the CD sold 150,764 copies in its first week, topping the sales metric by a wide margin.
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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 April 1 to 7, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Pop hitmaker Hikaru Utada recently dropped the first best-of collection of their career entitled SCIENCE FICTION. One of Asia’s leading pop superstars since the late 1990s, Utada released a compilation encompassing their vast catalog entitled Utada Hikaru SINGLE COLLECTION VOL. 1/VOL. 2 in the past, but this was a collection of singles and not a best-of album.
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The 41-year-old artist has always been able to grasp the fluid atmosphere existing between themselves and the times, and then deconstruct and reconfigure themselves accordingly. This means that their best-of project isn’t simply a collection of songs from the past, but is a set of works that vividly reflects who they are today. As such, songs that were first released long ago have been remixed and re-recorded, and a brand new song has also been included in the project. The album, mysteriously crowned SCIENCE FICTION, is a fresh and ambitious “new work” typical of the veteran pop artist.
It’s still hard to say that Hikaru Utada’s recent works — with origins in R&B and magically transformed over the years by their absorption of other genres including electronica — have been widely embraced outside of Asia. Fortunately, the “Pink Blood” star’s talents are gradually being discovered in the U.S. BAD MODE, their latest album featuring a meticulously detailed soundscape featuring collaborations with A.G. Cook and Floating Points, was ranked No. 31 on Pitchfork’s list of “The 50 Best Albums of 2022.” Also, “Somewhere Near Marseilles” came in at No. 10 on the online music publication’s “The 100 Best Songs of 2022” list. A new version, dubbed the “Sci-Fi Edit”, of this track is included in Utada’s latest album.
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The “First Love” singer-songwriter’s performance on the main stage at Coachella in 2022 probably helped boost their visibility in the American music scene as well. After their first-ever music festival set alongside a variety of 88rising acts, the Asian star’s music is slowly gaining traction in the U.S. market. In fact, among the songs on SCIENCE FICTION, “First Love,” “One Last Kiss,” and “Kimini Muchuu” (crazy about you) all charted on Billboard’s Global 200 and Global Excl. U.S. tallies (on the latter, at No. 61, No. 14, and No. 21, respectively), and “Face My Fears,” a collaborative track with Skrillex and Poo Bear, charted on the all-genre Hot 100 list.
All these highlights happened after 2019. Utada’s music and current environment have changed dramatically since their first album First Love became the best-selling album of all time in Japan and rewrote the history of the country’s pop music back in the late ‘90s. Now based in London, the J-pop giant is resonating with various corners of pop and left-field music being produced globally. That’s why this best-of album, SCIENCE FICTION, is the perfect opportunity to encourage further discovery of this illustrious musician’s appeal.
Seeing as this best-of set is so current that it could be considered new, let’s draw a few auxiliary lines to help listeners understand it. The first thing that catches our attention is the title of the album, SCIENCE FICTION. Since this is also the name of Utada’s upcoming concert tour set for later this year, it may be premature to try to unravel the mystery based solely on the contents of the album. But it’s a convincing concept when considering their career up to this point.
After starting out as singer-songwriter whose music leaned toward R&B, the “Automatic” artist has gradually moved further towards electronic music since their third album DEEP RIVER (2002) and has infused their songs with the physicality brought to life through computer music and enhanced by live performances. In BAD MODE, Utada experimented with more electronic sounds in collaboration with A.G. Cook and Floating Points, where the level looping rhythms and the off kilter alien-like sound processing inserted here and there strike a strange balance, although they’re contradictory. Let’s use “universality” and “discomfort” to describe these conflicting elements. When asked in an earlier interview about these two elements present in their works, they replied, “Music is a very physical thing,” and then went on to say:
“(Music) can be waveforms, it can be thought of in terms of frequency, in terms of texture, in terms of volume. I’m the kind of person who wants to achieve a very spherical shape. I think if you’re careful about the distribution of all the elements, you naturally end up with the overall balance you’re aiming for. I think about the predictable and unpredictable areas, like, ‘If it’s there only once in the song, it’ll be like I intended it,’ and consider how often and how much I should blend in that sense of discomfort down to each element. I also think about the relationship between those elements in terms of their distribution.”
Utada’s words indicate that they pursue balance with an extremely objective perspective, and their approach of expanding their sound by introducing a sense of discomfort into something universal can be said to be somewhat science fiction-like. The way the mechanicalness and physicality are precariously assembled under a tense sense of equilibrium, combined with their distinctive musical prosody through bilingual lyrics, prick our emotions every time we listen to their works.
Since revealing the name of their new best-of set, Utada has hinted that their interest in quantum mechanics and simulation hypothesis inspired the title. In “A Flower of No Color,” their latest single and included in the upcoming project, they sing, “According to renowned scholars / We are just illusions / But today / as always / I’m in love with you,” and, “But / if I can’t believe in myself / I can’t believe in anything / That’s synonymous with not existing / Only the facts that can’t be proven / Are called truths” These lyrics evoke themes such as the anthropic principle and philosophical realism — perhaps the “renowned scholar” is Nick Bostrom?
Another standout example from the album is their new song “Electricity,” released for the first time on this album. This track, with a rippling beat by Sam Shepherd aka Floating Points, again features some innovative prosody with a strange “E-E-E-E–le-e-e-e-ctri-i-city” sound, and Utada goes on to sing, “Fearing the unknown / addicted to conspiracy theories / To all such humanity / I want you to read a letter that Einstein wrote / to his daughter / Love is Light, Love is the quintessence,” referring to the much-discussed topic of fake news. In this age where fragments of meaning are endlessly propagated, the “Find Love” artist tells us that “the story engraved in our components / won’t end even if writing disappears from this planet,” offering a conclusion before disappearing into the distance with the sound of the saxophone.
While skillfully interweaving the dichotomies of pop/alternative, Japanese/English, universality/discomfort, and reality/fiction, Hikaru Utada the artist exists as the result of someone who has slipped through all such oppositions, fluidly moving between themselves and the times. Their presence shimmering just like science fiction, this lambent musician is now moving to the next phase of their career.
—This article by Tsuyachan first appeared on Billboard Japan
On March 13, LIPxLIP, the men’s idol unit produced by HoneyWorks consisting of Yujiro (voiced by Koki Uchiyama) and Aizo (voiced by Nobunaga Shimazaki), released their second album, Umarete Kita Koto Ni Kansha Shinasai! (“Be Thankful You Were Born!”).
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To commemorate this release, the unit’s first album in roughly four years, Billboard Japan interviewed HoneyWorks composer shito and illustrator/animator Yamako, who talked about the new album and what they think is even more important than buzz.
How do you usually divide up your song creation duties?
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shito: Generally, both Gom and I write our own songs, and whoever writes the song decides the theme of the lyrics. Then we both work on the lyrics together. Once we’re done with the lyrics, Yamako creates the music video. HoneyWorks is all about writing songs for specific characters, so while we’re working on the lyrics, we check them with Yamako to make sure we’re staying true to the character. We try to pick lyrics that draw on the personalities of the characters and that ensure that the song leaves a lasting impression.
Yamako: I not only do the illustrations for the songs, but also supervise most of the creation of the music videos. I check the storyboards, illustrations, video editing, and the like.
When people think of HoneyWorks, I’d venture that most of them think of songs that set listeners’ hearts fluttering and songs with a youth-focused aesthetic.
shito: I started reading shojo manga (“girls’ comics”) after I’d already become an adult, and I was like “I never knew a world like this existed!” That’s what got me into shojo manga. That’s also when we formed HoneyWorks. Yamako’s drawings had a shojo manga feel, so the decision to go in that direction, making songs about romance and youth, just felt natural.
On LIPxLIP’s second album, Umarete Kita Koto Ni Kansha Shinasai!, I feel like you were trying new things, musically.
shito: Until now, LIPxLIP’s music has been created with the concept that the duo are princes, and their fans are princesses. On this album, though, we went a little beyond that to create something more artistic. It defies fans’ expectations, in a good sense, as our concept for the new album was to produce the LIPxLIP music we truly wanted to make.
“A.B.SECRET” has an Arabian feel and “Meoto” is a rock song with traditional Japanese elements. Both of them are new styles you didn’t hear in previous LIPxLIP songs.
shito: That’s right. For “Meoto,” when I asked Yamako about what kind of song would be good, she said “Japanese rock.”
Yamako: I wanted to have LIPxLIP wearing gorgeous, fantasy-like traditional Japanese clothing, which is why the idea was to make it rock with a really Japanese feel. In my case, I come up with ideas based on the kinds of clothes I want the characters to be wearing in the music video.
shito: Yamako is the main producer for LIPxLIP, and also their biggest fan, so I trust her.
Yamako: Sometimes I create conceptual presentations for shito and GOM that reflect fans’ feelings.
In a certain sense, you’re able to create works that resonate with fans because you’re a fan yourself. Is there a reason that you decided to take a more artistic approach with LIPxLIP?
shito: I’m usually there providing direction when the voice actors for LIPxLIP (Koki Uchiyama and Nobunaga Shimazaki) do their recordings, so we’ve worked together for a long time. I feel like we’ve developed strong communication skills, based on a common understanding, that make it easy to convey what kinds of expressive approaches to use. Both Uchiyama and Shimazaki understand LIPxLIP’s expressive approach, and they’ve also both grown tremendously. In the past, we on the production side have made the decisions entirely on our own, but now we talk with the voice actors to create even better expressive approaches and nuances.
Which songs on the album especially stand out to you two?
Yamako: For me, “Meoto,” which Aizo sings differently than any of LIPxLIP’s past songs. I was surprised that he’d developed the ability to sing like that! Also, I really want people to listen to “Last Stage,” which ties into the future of the group. It conveys what LIPxLIP is feeling in a raw, true-to-life way.
shito: The standout for me is “Oshi no Maho.” I wrote it starting with the idea that I wanted to make a really crazy song. The vocal artists had broadened their range, so I wanted to try a song that was unlike anything LIPxLIP had ever done before.
It has the most shouted choral parts of any LIPxLIP song.
shito: HoneyWorks does sound production for the “real” idol groups Karen Na Ivory and Takane No Nadeshiko, so we’ve shown up for some idol events. The way the crowd shouts along, and the energy that comes from the crowd, is really fun. We wanted to put that into a LIPxLIP song.
How did you write the lyrics for the parts with the shouted sections?
shito: We used as our template the things that male fans shout at shows by female idols. There’s a certain format to it, with fans replacing parts of their favorite idols’ or groups’ names. We went to actual shows and listened in, paid close attention to what people were shouting, and looked at that template when writing the lyrics.
In “Julieta,” whose title comes from the name LIPxLIP fans call themselves, you can feel the unit’s love for their fans. I feel like the song also links to another of LIPxLIP’s iconic songs, “Romeo.”
Yamako: “Julieta” is the sequel to “Romeo,” and it has the same concept. With “Romeo,” we didn’t know how to convey that aesthetic. We had to figure it out as we went along, exploring how to depict this world of princes and princes, where to get materials to work off of, and how to decide on those aesthetics. When we wrote “Julieta,” though, we already had an image of the LIPxLIP characters and what kinds of “princes” fans would enjoy. I think we were able to project an even more finished and polished image of the two as princes.
In 2023, HoneyWorks’ “Kawaikute Gomen (feat. Kapi)” took the number 1 spot on Billboard JAPAN’s year-end “TikTok Songs Chart.” The music video features Chu-tan (Chizuru Nakamura), a character on Heroines Run the Show! The Unpopular Girl and the Secret Task, and people really liked how it showed her cheering for LIPxLIP while shining in her own way. This song is reaching global audiences. Are you thinking of turning your attention overseas as well in the future?
shito: The fundamental stance of LIPxLIP is that of creating songs that we want characters to sing, not creating songs with the aim of generating buzz. That stance hasn’t changed. Within those bounds, though, we’d love to do a virtual overseas show. They can go anywhere (laughs).
I’m sure some people discovered LIPxLIP by seeing them in the “Kawaikute Gomen” video.
shito: Ever since “Kawaikute Gomen” went viral, when making character songs, we’ve focused even more on how the characters would move and what they would think, not on buzz.
Yamako: These are, at heart, character songs, so they tell a story within the world inhabited by the characters. It’s like we’re thinking about how LIPxLIP would be successful within that world — how they would work hard in that world — and we act based on that. In the real world, Chu-tan’s song went viral, but within HoneyWorks’ world, she’s just an ordinary fan. We’re going to continue to create great works while keeping on drawing that line between the real world and the world our characters inhabit.
—This interview by Mio Komachi first appeared on Billboard Japan
Creepy Nuts’ domination of the Billboard Japan Hot 100 continues as “Bling-Bang-Bang-Born” marks its 10th week atop the Japan Hot 100, on the chart released April 3.
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The MASHLE Season 2 opener is back at No. 1 for downloads this week, though figures dropped slightly by about 9.8% from last week to 17,122 units. The hip-hop hit also continues to rule streaming for the tenth consecutive week with 22,797,748 streams, down by about 1%, and video views and karaoke for the third straight week. The song also rises 12-6 for radio airplay this week.
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Omoinotake’s “IKUOKU KONEN” rises 4-2, the highest position yet on the Japan Hot 100 for the three-man band. The theme of the drama series Eye Love You holds at No. 2 for streaming for the fourth week in a row, second only to “Bling-Bang-Bang-Born” with 12,482,594 streams. Downloads for the love song rises 4-3 with 6,818 units, increasing by 7.6%, and video moves 9-7 with 1,359,223 views, up 28%. The track also climbs in other metrics, including radio (36-18) and karaoke (56-30), possibly influenced by the airing of the final episode of the fantasy love story the song serves as the theme.
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“EDEN” by Knight A, a group produced by SutoPuri’s Nanamori, debuts at No. 5. The song is at No. 1 for sales with 124,876 copies sold in its first week, which is about 2.8 times more than the track at No. 2 for the metric.
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ILLIT’s “Magnetic” bows at No. 8. ILLIT, pronounced “I’ll-it,” is a brand-new girl group assembled from HYBE’s audition program R U Next? The group consisting of three South Korean and two Japanese members released its debut mini-album called SUPER REAL ME on Mar. 25, and “Magnetic” is the lead single off the set. The song made a spectacular debut, coming in at No. 7 for streaming with 7,308,883 streams, No. 23 for downloads with 1,973 units, No. 12 for video with 1,085,090 views, and No. 84 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 Mar. 25 to Mar. 31, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Janet Jackson returned to Japan for the first time in five years for her 2024 Together Again Tour, making stops in Nagoya, Osaka and Yokohama. At her K Arena Yokohama show on March 20, the icon treated the packed crowd to a nonstop 90-minute spectacle of her career-spanning, hits-filled set.
The concerts also featured TLC as the special guest only in Japan, and tickets were sold out in all three cities.
K-Arena Yokohama, the venue for the final night of Jackson’s Japan trek, is one of the world’s largest music-specific arenas, which opened on Sept. 29. Since it’s still a brand-new venue, many appeared to be visiting for the first time and people were snapping pictures on their phones while looking around even before the show began. In addition to the state-of-the-art sound system, all seats are positioned like a fan facing the front of the stage to allow fans to fully experience their favorite artist’s performance. The seats are also comfortable, ideal for those who want to relax and enjoy the concert, but when the lights went down for this particular show, the audience shot up from their seats in unison to greet TLC with loud cheers.
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As the DJ hyped up the crowd with a “T-L-C!” call and response, T-Boz and Chilli appeared onstage accompanied by four dancers and opened the set with their debut single “Ain’t 2 Proud 2 Beg.” With Chilli’s vocals overlapping with T-Boz’s deep voice during the chorus, the two also performed with the late Left Eye during the rap part, bringing the voice of the third member who died in a tragic accident in 2002 along for the ride. Chilli thanked fans in between songs for celebrating the 30th anniversary of the release of the group’s hit album CrazySexyCool, and after a DJ break, the two members returned to perform a few more hits including one of their biggest, “No Scrubs,” to huge cheers from the crowd. Led by a gorgeous horn arrangement, the pair closed their set with “Waterfalls,” as Chili and the dancers danced beautifully to the Left Eye’s rap. The audience cheered loudly, clapping along with the beat, and enthusiastically responded in unison to the “T-L-C!” call and response at the end of the set to express their appreciation.
The venue went dark after a brief set change and the words “50 YEARS OF ME” flashed on the huge screens set up in the center, left, and right sides of the stage. As a montage of flashback photos featuring Janet since childhood flickered by, the central screen rose to reveal the superstar standing immobile on the circular stage wrapped in a purple hooded cloak. Kicking off her set with “Damita Jo,” she sang completely still, then briefly receded to removed the cloak and returned in a sparkly gold bodysuit with a large purple ribbon around her waist. Singing to a simple beat with a heavy bass sound, she performed “Feedback” with her four dancers, the audience gleefully screaming every time they struck a pose. The band consisted of a drummer and bassist on the right side of the stage, keyboardist, guitarist, and DJ on the left. The seamless sound system had no time lag even for fans in the stands, immersing the audience in the concert experience.
The crowd went wild when Janet performed “That’s the Way Love Goes” from her eponymous hit album from 1993. Families with children could be seen here and there in the audience, and it was clear that the concert was a space where the pop icon’s timeless music was being passed down from the generation who lived through the same era as the hitmaker to the next generation of fans.
The concert was divided into four acts, and Janet took the stage in the second decked in a broad-brimmed black hat and long, ruffled black skirt. The second section consisted mostly of songs from her 1986 album Control, including “What Have You Done for Me Lately,” “Nasty,” and “The Pleasure Principle,” and the songstress captivated the audience with vocals and dynamic choreography set to the big beat and scratches by the DJ. She removed her hat and skirt and performed the majority of this act in wide pants along with four dancers dressed in white.
“Now I’m going to take you back,” she said with a grin. “Way back. Bass!” With her cue, the familiar, catchy bass line of “When I Think of You,” began, and she continued, “Back to 1986. This was my first No. 1 song. I was just a baby. But I still look good!” Towards the end of the act, she slowed things down to perform some of her most famous ballads seated on the stage, including “Come Back to Me,” “Let’s Wait Awhile,” and “Again.” Janet encouraged the Yokohama audience to sing along with her on “Again” with her mic raised towards the crowd, and seemed genuinely moved by the rousing sing-along by her fans in Japan.
Returning in a bright orange outfit, the Grammy winner began her third act with “All for You.” She went on to perform tracks including “Girlfriend/Boyfriend,” her collab with Blackstreet, and “Do It 2 Me,” singing and dancing aggressively with her dancers almost non-stop. By this point, it’s been about an hour into the show, and her performance has been phenomenal.
The fourth and final act featured songs from Rhythm Nation 1814, with Janet performing tracks such as “Miss You Much,” “Love Will Never Do (Without You),” and “Alright” rocking a casual T-shirt and jeans get-up as if she were out on the street. The hits from 1989 blending delicate melodies with edgy sounds have stood the test of time, dynamically shaking the hearts and bodies of those witnessing them live.
Then suddenly, the venue went dark and white noise filled the screens. Cued by an all-too-familiar scream, the band began rocking out as the late Michael Jackson’s voice and image appeared majestically on the screens for the brother-sister duet “Scream.” Deafening shouts erupt from the audience as Michael continues to sing his part in the Sci-Fi-inspired, black-and-white music video, later joined by his sister’s live vocals onstage. Janet faced the guitarist towards the end of the song in what looked like a tribute to her late older brother. The voltage in K Arena peaked as the band segued into “Rhythm Nation” and Janet performed the iconic choreography with her dancers surrounded by intensely flashing lighting and beats, ending the main set with an impressive shout.
The icon promptly answered the call for an encore and sang “Together Again,” the title of her tour, as the final song of the concert. Singing along with the audience while casually moving from one end of the stage to the other, she jumped up and down and encouraged everyone to do the same, bringing the audience together as one for a joyful ending to the show. “Yokohama! This is the very last show of this leg of our tour. I hope you enjoyed it,” Janet addressed her fans. “May God bless each and every one of you on your journey through the world. I love you so much, please be safe! Good night! I love you!” A breathtaking 90 minutes of almost non-stop dancing and singing, the concert left one with a sense of awe and respect for the undiminished passion for live performance by an artist who has created some of the leading music of our time.
—This article by Takayuki Okamoto first appeared on Billboard Japan
President and CEO of Shure, Christine Schyvinck spoke with Billboard Japan for its Women in Music interview series featuring female players in the entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.Beginning her career as a quality control engineer in 1989 at Shure, a leading global audio technology company with nearly 100 years of history, Schyvinck gained diverse experience and insight within the company which helps her move the organization forward to this day. In an email interview with Billboard Japan, Schyvinck shared her mission of getting more women involved in STEM to help them become the next generation of leaders and the importance of having a shared mindset within the industry when tackling gender inequality.Growing up, were there any women you looked up to? How have those ideals changed over the course of your career and life?In my much younger years, I paid attention to women in leadership roles and was quite curious about them. Female athletes, astronauts, and political leaders proved to me that women can go places and they inspired me. It was fortunate that I started my career at Shure, which had a supportive system and did not discriminate between men and women. This is a company that was led by Mrs. Shure herself from 1995 to 2016 – I got to work along-side her and understand her values and beliefs. That experience shaped how I work today, and now it’s my job to make sure women can find paths to success.We can’t leave everything to luck – help is needed along the way. Women play an important role in the future of technology and one of my missions is working with organizations to try to get more women involved in STEM so they can understand that this is a viable career path for them that could result in the next generation of leaders.You joined SHURE as an engineer and have had a successful tenure at the company for over 30 years. How has your experience in different departments and business units affected your career and life?This is now my 34th year with Shure. You will not find many global CEOs who have been with their companies that long. I firmly believe it is important to experience new things in an organization. I started at Shure as a quality control engineer and was quickly exposed to learning about the types of issues sound professionals encounter daily. My job was to help ensure that our equipment was reliable and always ready for the show. Shure’s brand reputation was built on quality products and this company remains committed to delivering the best performing products.I eventually moved from Vice President of Quality to Vice President of Operations, where I managed procurement, supply chain, and manufacturing, as well as quality. This was another essential experience because I was able to work with passionate people all around the world, dedicated to making great products that solved problems for our customers. In 2006, I moved into a role leading global marketing and sales, where I managed three business units in the Americas, Europe/Middle East/Africa, and the Asia/Pacific regions. All this experience has helped me learn more about overall company operations, the global business structure, and what we need to do to meet the evolving needs of customers.Having diverse experience within different parts of our company has given me an appreciation that not all CEOs are fortunate enough to have: I thoroughly understand the type of work that happens at various levels of the organization, and I know what our customers expect from us.You earned a master’s degree in management engineering while balancing work with your career. Are there things you are working on or mindful of in order to achieve your current goals?For me, being a strong business leader means listening. I work with so many talented people that help keep me informed of current business conditions and upcoming trends. I’ve found that having trust in your leadership and listening to customers is the best way forward. We are a customer-focused company and we’re not afraid to work shoulder to shoulder with people as they are working through problems. We like being out in the field and solving issues with certain venues or with certain performances. We’re problem-solvers and we share the end goal of having people in an audience be wowed during a performance. The only way this happens is attention to detail, attention to quality products, and attention in listening to what our customers need.It’s also been helpful for me to have been where many of our Associates have been as I’ve worked my way through this organization. There’s no one blueprint for success, but for me, the combination of listening and hands-on experience has really helped me move the organization forward.On the other hand, when faced with difficulties at work, how have you resolved them?The key to overcoming difficulties in business is to surround yourself with smart, capable people who can collaborate to find the right solutions. Many minds can come at a problem from different angles and help find solutions that perhaps weren’t obvious in the way you were thinking.Christine, you have been the CEO of SHURE since 2016, which is a rare feat in the audio and technology industry. Why do you think there are so few women executives in these fields?Shure has been very involved with our trade group AVIXA and others in promoting women in the industry, but there is more work to do too. Women play an important role in the future of technology and it’s really never too early to start thinking about that career path. In fact, I think you have to reach girls when they are in junior high or middle school. They need to start thinking about classes in high school and organizations to join. There are now so many schools and community organizations providing opportunities for all young kids to get involved with STEM (Science, Technology, Engineering, Math), but if that awareness doesn’t hit them early, they won’t sign up or they might be intimidated. As an industry, we should always be looking at ways we can be more involved in getting kids interested in our fields. Then, once they are in the industry, they need to have equal opportunities to progress in their careers and elevate into leadership roles.In terms of gender equality, what is Shure’s current stance, as well as the approaches it has taken in order to achieve it?When Mr. Shure founded the company in 1925, even in those different times, he was very attuned to diversity, equity and inclusion. This has been part of Shure’s DNA from the beginning. McKinsey did a study a few years back called “Diversity Matters.” The facts are there – companies that have more diversity on their teams perform better financially.We have been more aggressive with our Diversity, Equity, Inclusion, and Access (IDEA) efforts recently, involving our Associates in helping shape our communications efforts as we recruit, retain and celebrate a diverse workforce. Gender balance is a big part of that. Mrs. Shure led by example.Diversity in backgrounds, whether it is from the tech sector, musicians, audio engineers, etc., is also important. We embrace this diversity because it helps us better understand our diverse set of customers, which range from major television networks and movie studios, to educational institutions, to musicians and concert venues, to global businesses to individuals who use headphones and earphones. We now have Associates working in more than 30 countries around the world. This gives us a much better handle on local market needs and how to grow in those regions.In Europe and the U.S., women have more access to career development support through various programs and mentorships. Can you tell us about Shure’s women-focused initiative “WE VIBE”?At Shure, we have been making a commitment to our own internal actions around IDEA efforts. Over the past two years, we have held Inclusion Panels, which are panels with our own employees, discussing their backgrounds, their challenges, and how we can all create a better workplace. These are streamed live and via recording for our Associates to watch and ask questions.Our Associate-led resource groups or “VIBES” are each focused on Women, LGBTQIA+ and Culture/Racial Equity – and they have helped guide us in thinking about policies, activities and other support functions they would like to see from Shure. The WE VIBE provides additional resources and support for everyone within the organization who wants to contribute to a more diverse workplace and community. Within the industry, we are holding Women in Technology panels with pros from all over the world in the areas of theater, film and more.Shure is also supporting a number of organizations focusing on increased inclusion and support that reach younger students to help them encourage careers in the audio industry – specifically in areas of STEM.What do you hope to accomplish through this initiative?We have many goals with those initiatives, but our two main goals are: adding more women and diversity to this industry and celebrating and championing those who are already here.Billboard US, launched Women In Music in 2007, an annual event to honor women artists and executives who actively made a difference that year. What are some key factors when raising awareness about gender inequality issues across the industry, including Shure’s initiatives?This past year has been an empowering year for women in music. The top highest grossing concert tours in the U.S. were from Taylor Swift and Beyonce. There are so many up-and-coming female artists as well – not just in the U.S., but all over the world. We have been supporting programs globally that help women who are just getting started in music to teach them and provide them with opportunities to be successful.It is also important to note the increasing growth in the women behind the scenes in music. And we are doing what we can with our efforts to help close those gender gaps.Finally, what advice would you give yourself during the first year of your career? I think many young women who are looking to enter the music industry will be encouraged by your words.Find who your friends are and don’t be afraid to ask them for help. Oftentimes, women think they have to figure it out on their own, lest they be thought of as “weaker” or “incapable.” Asking questions and finding a network of people who can help you actually builds strength and teaches you how to become a good mentor someday. Simply put, don’t try to do it all yourself.
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Creepy Nuts’ “Bling-Bang-Bang-Born” continues to rule the Billboard Japan Hot 100 on the chart dated March 27, logging its ninth consecutive week atop the tally. The MASHLE Season 2 opener is now the record-holder for second most consecutive weeks at No. 1 on the multi-metric Japan song chart, passing Official HIGE DANdism’s “Subtitle” and steadily […]
Twenty-five years have passed since anime song singer Hiroshi Kitadani released “We Are!,” the first opening song of the ONE PIECE TV anime series and the first of many opening songs he would go on to sing for the show. “UUUUUS!” the opening theme for the Egghead Arc, with its rapid shifts and changes, is the creation of Kitadani, composer Kohei Tanaka, and lyricist Shoko Fujibayashi — the golden trio known as the “‘We Are!’ Pirates.” “UUUUUS!” means not only “us” but sounds similar to the Japanese pronunciation of “earth” and the Japanese word for “tomorrow” (Asu), pointing to the future of the series. Hiroshi Kitadani talked with Billboard Japan about what went into the creation of this stunningly densely-packed song and what lies beyond.
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You debuted “UUUUUS!” on-stage at the BANDAI CARD GAMES Fest 23-24 World Tour in Los Angeles, held in late January. What was the atmosphere like?
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Hiroshi Kitadani: I sang “We Are!” “OVER THE TOP,” and ” UUUUUS!” With “UUUUUS!” I was a bit worried about debuting it in L.A. I felt like it might be safer to start the song off with a bang in Japan first… But now, because of video streaming sites, overseas viewers can watch the latest episodes at the same time as in Japan, so the crowd went wild. On stage, we were playing the opening animation to ONE PIECE, and the lyrics were also shown on-screen, written phonetically in the English alphabet, so the audience sang along.
When we were kids, we’d learn old anime songs from reruns on TV, but now, with subscription-based streaming services and streaming sites, it’s easy to hear “We Are!” which was released 25 years ago. So not only do people who were kids back then know it, but even modern kids know it. I think that’s why people around the world love “We Are!” even 25 years later.
Why do you think ONE PIECE is so popular worldwide?
Hiroshi Kitadani: Talking with people overseas, I often hear that “In Japanese anime and manga, the main characters and their friends always get completely thrashed by their enemies, but they usually come back stronger, which really gets you in the feels.” That’s true of Luffy, and also of Goku from Dragon Ball. Overseas heroes like Batman or Superman are incredibly strong right from the start, so I think Japanese anime and comics resonate with audiences because of how the characters turn their frustration into power.
You’ve performed five of ONE PIECE‘s theme songs. Could you reflect on what each of those songs meant to you? Let’s start with “We Are!” the first opening theme song for ONE PIECE, which came out in 1999.
Hiroshi Kitadani: “We Are!” was my debut song as Hiroshi Kitadani. The director I worked with when I first debuted under a previous stage name, later joined an agency called Imagine, who Kohei Tanaka was with. Because of that connection, one day I was approached and told, “They’re going to make an anime version of the most popular manga in Weekly Shonen Jump. Kohei Tanaka is going to submit a song for the opening song competition, and we’d like you to do a temporary vocal track for it.” Then they made the decision to go with “We Are!” for the theme song, but they still hadn’t yet decided who would sing it. Due in part to Kohei’s prompting, the staff began saying “Why not just have it sung by the singer who did the temporary vocal track?” My record company had just told me that they didn’t really see a future for me with them, so I was wondering what to do, career-wise. So this “We Are!” offer came out of the blue. That was the start of my rags-to-riches story.
In 2011, 12 years after releasing “We Are!” you sang “We Go!” which was used in the Fish-Man Island arc, when the crew reaches the New World.
Hiroshi Kitadani: Kohei wrote “We Go!” as a response song to “We Are!” At the time, I was really concerned with what people thought about me, so I was reading a lot of 2channel (laughs). I was worried I’d go on there and see people saying “Hiroshi Kitadani is back, but this song is terrible.” But, instead, when “We Go!” was broadcast, there were a lot of comments like “Dani’s back!” and “Cool!” and “That’s the One Piece sound!” I was so happy I cried.
Then in 2016 you sang “We Can!” with Kishidan.
Hiroshi Kitadani: The offer from Kishidan was totally unexpected. It was the first time I’d sung with someone else as solo artist Hiroshi Kitadani, but we had great chemistry. Kishidan wrote the song, instead of the same trio that had started with “We Are!” but even now there are fans who say they love “We Can!” which makes me really happy.
Then at the start of the Wano Country arc, in 2019, you sang “OVER THE TOP.”
Hiroshi Kitadani: “We Are!” began without anyone knowing who would even sing the song. “We Go!” was a response song to “We Are!” So “OVER THE TOP” was the first song that Kohei wrote to-order, just for me. We’ve worked together a long time, so he was able to write a song with the vocal range where I do my best singing, where I could give the song a distinctive appeal and bring out its flavor. The pandemic started after I released the song, so I haven’t had many opportunities to perform it on stage, but it’s a song that I wish even more people would have chances to hear.
How did you feel when you first heard “UUUUUS!” the current opening song?
Hiroshi Kitadani: To be honest, my first response was “Huh?” Like “It’s not bad…but I prefer music more like ‘OVER THE TOP.’” But Kohei said “It grows on you,” and, sure enough, the more I heard it the better and better it sounded. The show opening is on YouTube now, and it has over 10 million views. One of the comments on the video said “It’s the best song so far.” I know Kohei must always be under a lot of pressure, so I’m amazed that he suggested this song, which is so ambitious but risky.
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I feel like “UUUUUS!” must have been harder to sing than any of the past songs. Do you have any basic advice for anyone trying to sing it?
Hiroshi Kitadani: It’s hard to come up with any kind of succinct advice (laughs). However, for all five of the ONE PIECE songs, not just “UUUUUS!” I’d say it’s important to sing it with a smile on your face. When you sing while smiling, that smile comes out in your voice, making the song brighter and more exciting. When I was recording “We Are!” there were a lot of important people in suits at the recording. It was my first time recording in that kind of atmosphere, and I got really tense. On top of that, every time I’d finish recording a take, they’d be whispering to each other. I was in the recording booth, so I had no idea what they were saying. I was starting to get into a negative mindset, thinking “Was that a bad take?” when Kohei said “This is a song that’s going to give hope and inspiration to people around the country, so smile when you sing it. When you sing with a smile, your voice will have a smile.” That snapped me out of it. I sang while smiling, and they said it was a good take. I’m really glad for the advice Kohei gave me, and it’s something I cherish in my heart even now.
—This interview by Harunoto first appeared on Billboard Japan
hololive English VTuber Hakos Baelz has released her first full album, ZODIAC. On the album, whose theme is the Chinese zodiac, she has taken on a wide range of musical styles, from rock and ballads to reggaeton and EDM. It provides a glimpse into various facets of this artist, hololive’s self-proclaimed “agent of chaos.” There are also guest appearances by veteran VTubers like Inugami Korone, Usada Pekora, and Tsunomaki Watame, and the entire album is full of little touches that keep listeners engaged to the very end. Billboard Japan talked with Hakos Baelz about the new album, ZODIAC, which represents the culmination of her musical activities.
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To start off with, could you tell us a little about how you got started as a VTuber?
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Baelz: At first, I didn’t really know that much about VTubers, but I had a few friends who were doing it, and one day, when I happened to be looking into hololive online, I saw that they were holding auditions. I decided to apply on a whim. That’s how it all started.
Were you already interested in performing music?
Baelz: I’ve been listening to music since I was little, and I was always extra fond of music that expressed my own emotions. I’ve always loved J-pop and K-pop, and I listened to Ayumi Hamasaki thanks to the influence of my family. I didn’t understand Japanese at the time, but the emotions came through in the music, which I really liked. But I didn’t have the confidence to write my own music or sing myself. I’ve never liked my own voice. So, to be honest, I didn’t really have my sights set on music back when I debuted. But I just decided, “why not, I’ll give it a shot” and released my first original song, “PLAY DICE!” I got a lot of support from the people around me, so I started thinking that I could make even more music, which turned into discussions about an EP and then an album.
You released “Play Dice!” in February 2022. What did you want to express through this song?
Baelz: It was my very first song, so I wanted to let listeners know what kind of VTuber I was. I met Camellia, who wrote the lyrics and the music, through a friend. He makes really fun music, and I thought he’d be able to create the kind of music I’d like, so I asked him to write the song for me. He’s been involved on all the EP and album work I’ve done since then, and he always creates exactly the kind of song I’m looking for, so I’m super thankful to him.
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You’re also credited as a co-writer for the lyrics on “Play Dice!” How did the writing process go?
Baelz: First, I wanted a story. I wanted it to feel like my story. I told Camellia about this, and he wrote the starting lyrics. Then I put out some of my own ideas, and we bounced ideas off each other until we’d written the lyrics for the entire song. The song’s theme is “freedom.” Each time I write music, I pick a one-word theme. I share it with the producer and have them write a song that reflects that theme.
You were a member of the special, exclusive unit of hololive members that performed at the Riot Games ONE 2023 e-sports event held in December. You put on a performance of “K/DA,” a virtual pop group made up of League of Legends characters, right?
Baelz: Last April, I covered K/DA’s “POP/STARS.” The reaction from fans was great, which may have been why I was selected to be part of the Riot Games ONE unit. I had never expected to perform at Riot Games ONE, so I was overjoyed. I’ve always been a big fan of K/DA, and I watched their choreography a lot, so I was happy to be able to practice and learn the choreography myself for the event.
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So, moving on to your album, what was your initial idea for how it would be structured?
Baelz: I’m a rat VTuber, so my first thought was that it would be fun to make an album whose theme was the Chinese zodiac. Personally, I find it easier to create an album when there’s a strong theme. When you have a theme to work with, if you ever get stuck while writing music, you can always return to that theme, you know? So that makes writing easier.
The album has all kinds of sounds and aesthetics. Which song do you think is the closest fit for you?
Baelz: The rat song, I’d say. It’s the first song, “RxRxR.” I decided to lead the album with the rat song. On my Pandæmonium EP, which I released last July, I expressed different sides of my personality. With “RxRxR,” I wanted to go with a genre and a message that wasn’t on the EP, so I wrote a pop rock song. It has the powerful spirit that I started out with.
I feel like there’s a chaotic freedom in “RxRxR” and “Play Dice!” and all of Pandæmonium, partly because you’re a rat.
Baelz: I guess so. Most of my songs have something to do with freedom. However, the kind of freedom varies from song to song. In the case of “RxRxR,” the image I had was one of a rebellious high schooler. When I was first talking to ZAQ, that was the story we were using, and the song came out just as I’d envisioned it.
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There are also a lot of collaborations on the album. “HIDE & SEEK ~Nakayoku Kenkashina~” features Usada Pekora.
Baelz: Pekora is rodent family, like me. We’ve collaborated many times, and every time it ends up with us playing fun pranks on each other and friendly competition. I thought it would be fun to have a song like that on the album. I also wanted to collaborate on a song that really fit her. A song that didn’t just match her image, but also her voice and the way she sings. In “COLOUR,” I collaborated with Tsunomaki Watame. I love Watame’s voice, because it’s soft but powerful. I wanted to do a song together with her in that style. On “BITE! KAMU! BITE!” I teamed up with Inugami Korone. I wanted to make an electro swing song. I figured it would be a good match for her voice. She has just ungodly strength. I always crack up when I watch her streams. They’re my favorite streams.
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Which songs were the hardest to record?
Baelz: Probably “GEKIRIN” and “Ohayo-EST Gozai-MASTER ♡.” The rap part in “GEKIRIN” was hard, both because the lyrics are complex and because it’s so fast. But when I heard the final product, I was happy to have created that a song that I also personally find cool. For “Ohayo-EST Gozai-MASTER ♡,” the lyrics were hard. I wanted to make a song that would fill you full of energy, like a “good morning!” to start your day. While the song was still a work-in-progress, it made a weaker impression than the other songs, but Kris helped out a lot and we made changes during the recording process, so it was a lot of fun to record.
I’m sure writing the album was a big challenge. Do you feel like you yourself grew in any way through the process?
Baelz: It gave me the confidence of knowing I can create good songs. Initially, I didn’t have any interest in making music. Whenever I was making covers, I was always really nervous, so I’d consult with my friends on what to do whether it be singing or mixing. But through the process of completing this album, I feel like I’ve learned to identify what makes a good song, what goes into making a good song, what instruments would work best and other knowledge like that.
In closing, do you have any message you’d like to share with listeners looking forward to hearing the album?
Baelz: Thanks for always listening to my music! I still have a lot to learn, but I hope you enjoy my album!