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Singer-songwriter Mariya Takeuchi sat down with Billboard Japan for its Monthly Feature interview series highlighting today’s leading artists and works. The veteran artist recently released her first studio album in a decade called Precious Days.
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The 18-track set illuminates the daily lives of her listeners from different angles through a wide variety of musical styles. Billboard Japan asked Takeuchi to share her thoughts on her recent project, and also to comment on the “city pop” revival in recent years, which has launched her vintage hit song “Plastic Love” from 1984, among others, into the global limelight.
As the title Precious Days suggests, the mood that runs throughout the album as one of its themes is the value of each irreplaceable day in our lives.
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When I do tie-ins, I write songs based on the themes I’m given, and recently I’ve been getting a lot of requests for songs with themes like encouraging people or cheering them up. I guess that reflects the times to some extent. It’s a time of uncertainty, so people are feeling uneasy and want to be cheered up, you know?
So as a result, it became an album that’s in tune with the times.
That’s what happened. I’ve always wanted to sing songs that are irrelevant to age, and I think I’ve been able to achieve that.
It seems to me you’ve been delivering music to a wide range of listeners throughout your career. Why did you focus on that sentiment again this time?
I didn’t particularly think about generations write writing the songs, but I do think there are certain emotions that are commonly sought after. I want to make music that is universal, both the words and the sound, and won’t be considered old even after 20 or 30 years. That’s what Tatsuro Yamashita (co-producer of the album) is most careful about. He does the same when making his own music, and he does it when producing mine.
That aesthetic is probably connected to the revival of city pop. Regarding the rediscovery both in Japan and abroad of ‘80s and ‘90s retro Japanese pop music, have you had opportunities to personally experience that movement?
A lot recently, yes. When I was checking to see who was listening to “Plastic Love,” I saw comments written in Russian and Korean and more. I have a niece who lives in Canada, and she says that people are surprised when she tells them the singer on “Plastic Love” is her aunt. Also, I studied abroad in Illinois long ago, and apparently the grandchild of my host sister at the time went to an electrical appliance store where they kept playing songs by Tatsuro and me. When they said, “That person was at my grandma’s house for a year,” the people at the store were surprised. I’m just so grateful, because those songs are 40 years old.
Why do you think city pop music is loved by people of all ages and nationalities?
I think maybe people find it unusual, in that it’s not the uniform sound of machines and that Japanese players were doing something that sounded like Western music by hand in the analog ‘80s. I imagine people were surprised to discover that young people in Asia they didn’t know about at the time were doing something like this with an awareness of the real thing, including Tatsuro’s arranging prowess.
We were certainly aiming to make something good and to create a sound influenced by Western music, but we weren’t trying to sell it in the Western music market. It was more like, “That sounds cool, doesn’t it?” But you know, it had power. The studio musicians were highly proficient, and above all, Tatsuro’s arrangements were perfect. I think that’s why it held up over time. It proves that the players’ performances were good enough to go out into the world, so it’s a really happy phenomenon.
Did the city pop revival also lead to the universality of your latest album?
Universality has been the starting point from the very beginning. From the time I made my debut, pop music, in whatever form it takes, has always been about aiming to create something that people will listen to and sing for a long time, and that could become a standard. I’ve always kept that in mind and tried to do my best. It’s fun to listen to music while thinking about what’s popular at the moment, but there are many other artists who make that kind of music, so I’m always trying to figure out what people want from me.
Could you tell us why you named your project Precious Days?
When a few songs were ready, it occurred to me that I was singing about “irreplaceable days.” At the same time, I happened to have a number of songs with the word day in them, like “Brighten up your day!,” “Days of Love,” and “Smiling Days,” so I figured if I was going to name the album “something Day,” then it would be “Precious.”
“Have a Good Time Here” was written as the theme song for Pokémon Concierge on Netflix and must have reached a wide range of listeners.
I had a lot of fun making that song, too. If I hadn’t been tapped to write it, I probably wouldn’t have thought to make a track in the style of samba. It was inspired by the Pokémon Resort. I was asked to write a song that would encourage the main character Haru and the Pokémon.
“Watching Over You” is a collaboration with singer-songwriter Anri. You both made your debut in the same year, class of ’78.
Yes, we made our debut around the same time. I talk to Anri on the phone from time to time. A long time ago, I happened to run into her in L.A. Bruce Springsteen was swimming in the hotel pool, and we were both young, so we went up to him and asked him things like, “Aren’t you coming to Japan to do shows?” and so on. [Laughs]
When artists like you continue to make new studio albums, regardless of the length of their careers, it must be reassuring and encouraging for both their fans and other artists.
I think you have to keep doing that to stay relevant. It’s possible to keep going just by singing old songs, but you have to keep creating new things. For example, I’m a huge Beatles fan and if I were to go to a Paul McCartney concert, I’d want him to do Beatles songs for sure. But I’m pretty certain he definitely wants you to listen to his new releases, too. Maybe “Yesterday” is the song that really gets you, but there’s significance in artists performing new ones, and that’s what makes the classics shine too.
It’s about how many songs I can create that make people think, “I want her to do that one.” They’ll become the density of time that I can share with everyone as we grow older, so I try not to stand still and think, “I’ll just play those songs.” Accumulating new songs while mixing in some old favorites for people to hear. I think that’s the most beautiful way to be, though it’s hard. And because that’s something I can only do if I’m in good physical condition, I hope I can stay healthy for a long time, thinking, “I want to write a song like that” and keep plugging away.
On Oct. 4, the digital maxi-single VORTEX was released. This single, which contains three songs, features vocalist Setsuko of Kuhaku Gokko.
The songs “VORTEX” and “karma” are the opening and ending themes of the TV anime series Mechanical Arms. In the show, protagonist Hikaru Amatsuga meets Alma, a mechanical life-form shaped like an arm, and becomes embroiled in a series of incidents. Billboard Japan spoke with Setsuko, Okamoto (the original planner and director of Mechanical Arms), and Hiroyuki Sawano (the songs’ composer, arranger, and producer) about their impressions of “VORTEX” and “karma” and the creation of these songs.
Setsuko and Hiroyuki, what are your impressions of each other’s music? What kinds of things did you think about during your musical collaboration?
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Setsuko (Kuhaku Gokko): When it comes to Hiroyuki, I’ve listened to his work as SawanoHiroyuki[nZk] more than his soundtrack work. [nZk]’s songs have the same musical foundation, but the impression they make changes a lot depending on the vocalist. I feel like that’s because when he writes the music, he makes space for the vocals. So then the question becomes, what should I do in that space set aside for me? To be honest, I wasn’t feeling very confident when he first reached out to me.
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Hiroyuki Sawano: My impression of Kuhaku Gokko, which Setsuko’s a member of, is that their sound has an edge to it. “VORTEX,” (the anime’s opening theme song) in particular, has a rock-like rhythm, so I was looking forward to see how Setsuko would express herself. I’m more interested in how vocalists’ voices will sound within my songs than in the sound of the vocalists’ voices themselves. In that sense, I was dealing with the unknown, but that’s part of what makes it interesting.
Okamoto, you’re the original planner and director of Mechanical Arms. What were your expectations for the collaboration between Setsuko and Hiroyuki?
Okamoto: I was hoping that with the opening theme, they’d make something that depicted the work at the surface level, and with the ending theme, they’d delve deeper inside it. I’ve listened to Hiroyuki’s music before, in my everyday life, but I’m embarrassed to admit that I didn’t know much about Setsuko’s Kuhaku Gokko project. But precisely because of that, I was really looking forward to hearing what kind of world the two would create when they combined their musical sensibilities. Both the opening and the ending themes far surpassed my expectations. I feel like they’ve expressed things that we weren’t even able to express in the anime’s art and scenarios.
Hiroyuki, you said that there were rock elements to “VORTEX,” the opening theme. To me, it feels more like dance music. It feels to me like you tried to give it a straightforward feel.
Sawano: It has a dance music-like groove, as you said, and I also tried to mix in some rock and electro elements. Depending on how you look at it, this anime has parts that can be seen as comical, but I feel like the real highlights are the stylish battle scenes. I wanted to express that coolness in the sound of the song.
Setsuko: My first impression when I heard the demo was also that it was simple and cool. That came as a big surprise. What I mean by that is that my own impression of Mechanical Arms was that it’s a very comical anime. Of course, the battle scenes are really stylish, but the everyday scenes have a comedic pace to them, and there’s a certain cuteness to the shapes of the mechanical elements and way people move. So my overall impression was pretty much the same as Hiroyuki’s. I didn’t expect the music to be so solid, so I was like, “What kind of vocals should I be adding to this?”
The instrumentals in “VORTEX” are straightforward and a little inorganic, but your vocals, Setsuko, passionately wind through the song. I think the elements are incredibly well-balanced.
Sawano: I wanted the vocals to have a bit of heat to them, a bit of energy. But it’s not like I was initially trying to go for a gap between the heat of the vocals and the coolness of the music. That was just the result of leaving the singing up to Setsuko. She’s the one responsible for creating that balance.
Setsuko: At first, I used a cold tone in everything leading up to the chorus, and then ratcheted it up when I hit the chorus. But then Tsubasa Harihara, another member of Kuhaku Gokko who’s an ardent fan of Hiroyuki, said “Even if you go with a cold approach, give it the feel of wearing an oversized hoodie, with the hood pulled low so you can’t see your face, walking quickly with your eyes downturned.” That got me thinking that the song would work better if I approached it with more of a hip-hop mindset, which is why I ended up singing it with a rap battle feel.
Okamoto, what did you think upon hearing the completed “VORTEX?”
Okamoto: Like everyone says, it’s a simple and stylish song, but that also made it hard to put pictures to. As Hiroyuki mentioned, this song focuses on the cool aspects of Mechanical Arms, as epitomized by its battle scenes, so when I worked on the video, I also approached it with a rap battle feel. But Mechanical Arms also has comical elements, so I wanted to be a bit playful, too. I tried putting in some comical scenes in the opening video, and they ended up also going really well with the song. The song is simple, but I could also feel a lot of depth to it.
What about the ending theme, “karma?”
Sawano: I handle the incidental music in Mechanical Arms, too, so to tie in the incidental music with the theme song, I wanted to synchronize the main theme of the show with either the opening or ending themes. Ultimately, I decided to use the main theme melody in the ending theme, “karma.” As far as the lyrics, the opening’s mainly in English, but I wanted the ending to be in Japanese. SennaRin wrote the lyrics for “karma,” and I’ve long found her Japanese lyrics to have a unique and interesting aesthetic. She’s pretty close in age to Setsuko, too, and I thought it would be best to have someone of similar age sing it.
Setsuko: Partly because “karma” is a ballad, I was able to sing in the way I usually sing, and going into pre-production, I found it easy to put emotion into my singing. I didn’t struggle as much as I did with “VORTEX.” I was also able to sing the way I wanted when we did the main recording.
Okamoto: I found “karma” to be hard to create animation for, in its own way. I wasn’t in charge of the ending video. Other staff was responsible for that, but I have a vivid memory of the staff thinking about the meaning of the lyrics, getting totally stuck, and saying “I just can’t do it.” I told them “Don’t think so hard about it. On the surface, it’s a simple song, so why not focus on the simple parts?” I remember the whole thing really threw them for a loop.
Okamoto, as the original planner and director of Mechanical Arms, how did you interpret the lyrics to “VORTEX” and “karma”?
Okamoto: I thought trying to analyze them too deeply would be a bad choice, so I try not to think about them too hard (laughs). That said, it’s hard not to think about them. For example, both in terms of its sound and its lyrics, “VORTEX” gets the listener amped up, and then suddenly leaves you feeling empty. Hikaru, the main character in Mechanical Arms, has a lot of internal struggles, and is kind of a negatively-minded character. Alma, on the other hand, is extremely bubbly, and she supports Hikaru, but it sometimes seems there’s just nothing really to him. I think the song expresses these characters really well. It’s very impressive. With “karma,” once you start thinking about the lyrics you could just go on forever, so I’d rather leave their interpretation up to the viewers. I don’t really like when creators push their interpretations, so I chose not to think about it too much myself.
Setsuko: “VORTEX” and “karma” are opposites, but there’s a very strong feeling of connection between them. I think that connection reflects the connection between the characters of Hikaru and Alma. As Okamoto said just now, Hikaru and Alma complement each other, and it feels like “VORTEX” and “karma” do, too, while at the same time mirroring the story of Mechanical Arms.
Okamoto: The two songs convey the essence of Mechanical Arms really clearly. Like, if someone were to ask me “What kind of anime is Mechanical Arms?” I could just tell them “listen to the opening and ending themes and you’ll understand.” The simple-but-complicated, or the complicated-but-simple nature of the songs, in particular. I put a lot of thought into the creation of Mechanical Arms, but I tried to keep the ultimate finished product simple. To me, it feels like Setsuko and Hiroyuki have expressed that same thing directly, through their music.
—This interview by Hikaru Sudo first appeared on Billboard Japan
YOASOBI celebrated its fifth anniversary on Oct. 1. The J-pop duo, consisting of composer Ayase and singer ikura, launched its career in 2019 as a group that turns creative writing into music. The “Idol” hitmakers have since released numerous hit songs and gained popularity that transcends generations and borders, expanding their reach worldwide as one of the biggest breakout J-pop acts in recent years. How did YOASOBI cement its current position as a musical sensation like no other? Let’s take a look back at their journey.
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YOASOBI originally formed for a project by the online creative writing site “monogatary.com,” run by Sony Music. The pair’s debut single, “Yoru ni Kakeru” (“Into the Night”) is based on an original short story by Mayo Hoshino entitled “Thanatos no yuuwaku” (“Seduction of Thanatos”) that won the grand prize in the Monocon 2019 competition hosted by the site. At the time, Ayase was a songwriter who released music online as a “vocaloid producer” (vocalo-p), and ikura was a solo singer-songwriter releasing music under the name Lilas Ikuta. The two artists got together for the YOASOBI project and released the music video accompanying their debut track on YouTube in November 2019.
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As the above introduction suggests, the members of YOASOBI initially had no idea they would become as successful as they are now, since the unit formed as part of the online website’s project. At first, they didn’t even know whether they would continue to work as a duo in the long term. But the appeal of their music spread naturally and the music video for “Yoru ni Kakeru” sailed past a million views in just a month after it was released. This is an exceptional number for a new, unknown act.
The YOASOBI phenomenon kicked into full swing the following year. The reaction that had spread rapidly online was also picked up by television and other media from around April, and the buzz expanded into the mainstream. “Yoru ni Kakeru” made it into the top 10 of the all-genre Billboard Japan Hot 100 song chart for the first time on the list released Apr. 29, 2020. It continued to stay in the upper ranks throughout the year and also took the top spot on the year-end Japan Hot 100. The breakout duo also performed for the first time on NHK’s Kohaku Uta Gassen, the prestigious annual New Year’s Eve live music extravaganza.
One of the reasons why the duo’s music gained popularity so quickly was probably the atmosphere of the times. Many people were spending time at home due to the pandemic and the number of those enjoying online entertainment increased. The distinctive animated music videos were also a factor. But it goes without saying that the biggest factor in their success was the power of the music itself. In 2020, YOASOBI released five songs in quick succession, including “Tabun” and “Gunjo.” The songs varied in taste, but Ayase’s signature, catchy melodies and ikura’s vivid vocal expression were demonstrated in each, and the group established its unmistakable pop style.
YOASOBI’s breakout success continued. In 2021, they moved beyond the buzz around a single release and focused on showcasing their appeal as artists. The group worked on high-profile tie-ins including including the dark, electro-pop number “Monster,” featured as the opening theme of the anime series BEASTARS Season 2, and released a number of singles that expanded their musical range. In July that year, they dropped the English version of “Yoru ni Kakeru” called “Into The Night,” which fans noticed had lyrics that sounded like Japanese in places.
YOASOBI’s live performance debut was also a major turning point for the duo whose activities initially took place mainly online. In February 2021, the pair held their first live show — entitled KEEP OUT THEATER — at a building under construction in Shinjuku, Tokyo (the current Tokyu Kabukicho Tower), filmed without an audience and livestreamed for viewers at home. Their headlining solo concert at the historic Nippon Budokan in Tokyo in December that year, called NICE TO MEET YOU, became the duo’s first show in front of a live audience.
The hitmakers further expanded their activities in real-world settings the following year. In August 2022, they took the stage as headliners at their first summer music festival, ROCK IN JAPAN. In December, they performed for the first time outside of Japan at 88rising’s Head In The Clouds festivals held in Indonesia and the Philippines. That same year, they collaborated with four Naoki Prize-winning authors for a project called Hajimete no (“…for the first time”), and their song “The Blessing,” released in October, was featured as the opener for Mobile Suit Gundam: The Witch from Mercury Season 1 and became a huge hit.
In 2023, YOASOBI scored its biggest hit to date with “Idol,” featured as the opener for the anime Oshi no Ko. Released in April, this single quickly became a sensation immediately after its release. It held the No. 1 spot on the Japan Hot 100 for a whopping 22 weeks, with 21 of those weeks in succession from the chart dated April 19 to September 6, 2023. This is an all-time record for any act in the history of Billboard Japan’s song chart, and naturally the track also topped the year-end list for 2023. The song’s popularity spread to countries around the world, and it reached No. 1 on Billboard’s Global Excl. U.S. chart dated June 10, becoming the first Japanese-language song to top this list.
The duo followed up that hit with another, releasing “The Brave,” the opener for the TV anime series Frieren, in September that year, and the momentum of YOASOBI’s rise to superstardom reached its peak when the group’s debut track “Yoru ni Kakeru” became the first Japanese song to collect a billion streams (it later reached 1.1 billion on May 29, 2024).
The pair also grew remarkably as artists through their powerful performances on stage. In May 2023, they hit the road for their first headlining domestic arena tour, and in August, they performed for fans in the U.S. for the first time at Head In The Clouds Los Angeles. From December 2023 to January 2024, the group toured other Asian countries. The enthusiastic reaction from the crowds in each city must have given the two artists a great deal of confidence.
This year, YOASOBI continues to take on new challenges. In April, they took the stage at Coachella, and also held their first headlining show in the U.S. In August. They also performed at Lollapalooza, steadily expanding their reach in North America. YOASOBI’s first headlining dome concerts in Tokyo and Osaka are planned for October and November, and another run through Asia is set for December to February next year. Music-wise, they released a new song called “UNDEAD” in July. Featured as the theme for the anime Monogatari Series: Off & Monster Season, the latest track’s musical style is even more aggressive and chaotic than before, showcasing a new musical direction for the pair.
YOASOBI’s five-year journey has been unprecedented, and their success has ushered in a new era in J-pop culture. The hitmakers have adhered to the initial concept of turning creative writing into music, meaning all of their songs, including ones written as tie-ins, continue to be based on original narratives. Each song has its own story, organically linking with other works including anime and films, and can be enjoyed in many ways from different angles. This is one of the true joys of YOASOBI’s music, and the breakout duo will surely show fans new horizons in the future.
—This article by Tomonori Shiba first appeared on Billboard Japan
Creepy Nuts’ “Otonoke” hits No. 1 on the Billboard Japan Hot 100, climbing 4-1 on the chart dated Oct. 23.
The opener for the anime series Dandadan dropped digitally on Oct. 4 and debuted at No. 32 on the chart dated Oct. 9. After shooting to No. 4 last week, the track becomes the hip-hop duo’s second No. 1 hit in its third week on the tally.
The accompanying music video for the track boosted its position on the chart. The distinctive visuals, which sees R-Shitei and DJ Matsunaga of Creepy Nuts appearing in countless numbers, made a splash after being released Oct. 18 and hit No. 2 for video views. Streaming for the track also increased by 109% compared to the week before.
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“Otonoke” also topped Billboard Japan’s Global Japan Songs Excl. Japan chart dated Oct. 17. The track is currently the song from Japan being listened to the most in Singapore, France, the U.K., South Africa, the U.S. and Brazil, and is quickly becoming Creepy Nuts’ next hit both domestically and globally, following the long-running mega-hit “Bling-Bang-Bang-Born.”
Snow Man’s “One” follows at No. 2. Featured as the ending theme song for the anime Blue Lock VS. U-20 JAPAN, the track was pre-released from the boy band’s fourth album RAYS, set to drop Oct. 30. The song rules downloads and hits No. 5 for video this week.
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Mrs. GREEN APPLE’s “Lilac” holds at No. 3. The former No. 1 hit is now in its 28th week on the Japan Hot 100 with only slight decreases in all the metrics of the chart’s methodology.
“Hatsukoi Cinderella” by ≒JOY (Nearly Equal Joy) debuts at No. 4. Produced by AKB48 alum Rino Sashihara, ≒JOY is a group formed in collaboration with Yoyogi Animation Academy. The six-member girl group’s second single sold 130,708 copies to rule physical sales this week.
MISAMO’s “NEW LOOK” jumps 21-8 to break into the top 10. MISAMO consists of TWICE’s MINA, SANA and MOMO, and the track is off the group’s upcoming mini album HAUTE COUTURE slated for release Nov. 6. Streaming for the Namie Amuro cover increased by 170% compared to the previous week, and radio increased by 325%.
AKASAKI’s “Bunny Girl” also rises 14-10, giving the 18-year-old singer-songwriter his first top 10 hit. “Bunny Girl” dropped Oct. 2 after a portion of the song went viral on TikTok. The track has steadily climbed up the Japan Hot 100 from No. 40 to No. 14 to No. 10.
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 Oct. 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Billboard’s “International Power Players” list recognizes leaders who are driving the success of the music business in countries outside the United States. Universal Music Japan’s president and CEO, Naoshi Fujikura, was chosen from the music industry leaders of the world for inclusion in the list a fourth consecutive time, making this his fifth appearance. Billboard Japan interviewed Fujikura in recognition of his selection in which he looked back on his decade as the company’s president and the challenges it faces in its global expansion.
This is your tenth year as president of Universal Music Japan. During your time in office, the company has recorded record profits. Looking back, what are your impressions of this past decade?
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A lot of things happened, but the one thing they all share in common is “connection.” When I was first appointed, Japan had less visibility within the industry as part of its global music strategy, so coming into UMG it was always important to me to push the narrative forward around the overall importance and commercial scale of the Japanese music market.
Working under the leadership of Sir Lucian Grainge definitely helped with this, as before he took over as global Chairman & CEO, Lucian had run UMG’s international business for many years and he was very familiar and supportive of our dynamic physical-led market. One of the major benefits of working very closely with UMG’s leadership team in Santa Monica and around the world has been that we have had access to strategic insights around the broader shifts in the global industry, helping us to shape our own path over the last decade to stay ahead of the curve, navigating the arrival of streaming in the marketplace, and maintaining our physical business.
At the time, industry people would say things like, “Physical product sales are going to continue to decline, so we should just get rid of that whole segment.” I felt the need to strengthen our connections with the head office in various areas of my work. Back then, in 2014, Apple Music had yet to arrive in Japan, and CDs accounted for 80% of sales. Japan also had a price maintenance system, so products could be sold at set prices. That’s why I told people that in Japan, we were going to put our weight behind both growing our digital business for the future and continuing to support the traditional physical sales market. When I first took this position, I was traveling to the US on what felt like a monthly basis, taking advantage of every opportunity to explain the Japanese market to my new colleagues, introduce our artists, and integrate our vision for the future of the market into UMG’s global plans.
You were trying to help them understand the situation in Japan?
Right. My English wasn’t the best, but I would meet directly with overseas colleagues and reiterate that in Japan, unlike the rest of the world, there was still high demand for physical products, so we weren’t going to switch over completely to streaming, but instead advance on both fronts. Ultimately, we put out multiple million-sellers, like DREAMS COME TRUE THE BEST! Watashi no Dorikamu in 2015 and Hikaru Utada’s Fantôme and RADWIMPS’s Your Name in 2016. Thanks to successes like these, they came to understand that our approach was the right one. I think these successes also led to us signing new artists such as BTS (for Japanese language recordings) in 2017 and King & Prince in 2018.
What do you mean?
We are a global company, and we’re often seen as being focused on digital sales, but our track record of successes showed artists that we also still place importance on physical sales and we have the power to move significant physical units for our artists. I think that helped us connect with new artists and make UMJ an attractive home for Japanese domestic and Korean K-Pop talent, with broader ambitions for both regional and global success.
Spotify was launched overseas in 2008, but Japan was a latecomer, with Apple Music and LINE MUSIC becoming available in 2015 and Spotify arriving in 2016. You took office during a time when the situation in the U.S. was very different than the situation in Japan.
Right, so I think the fact that we had that kind of success is connected to our efforts to grow for the future. Universal Music Japan and the former EMI Music Japan merged in 2013, the year before I became president. Every aspect of how these companies did business was different, so when they merged there were initially a few voices of frustration and confusion, and the company needed to find better ways to “connect” with employees. When I took office, I wanted to remember everyone’s faces and names, so I made a chart in my office with photos of every employee alongside their names.
How many employees did the company have at the time?
I think it was around 500 or 600. Thinking back on it now, there were probably some more efficient approaches I could have used, like putting them on magnets, but at the time I did it by putting the photos on four sheets of butcher paper and writing their names directly on the paper (laughs). I thought it would truly be a waste to end up with the company divided between two antagonistic “ex-EMI” and “ex-UMJ” factions, so whenever I met someone in the elevator, or anywhere in the office, I tried to address them by name.
One of the major initiatives we conducted over the past ten years was having the employees become full employees. Previously, the majority of our staff were contract employees, and because of that it felt like everyone was focused on playing it safe, avoiding any potential failure, in order to keep their contracts from being terminated. I was one of them, and I sometimes felt like I was applying a short-term perspective in my work. Furthermore, starting in 2015, the business of the music industry was on the brink of a major shift as the rise of streaming began to increase consumption and access to music globally, even though this came later to Japan.
For physical CDs, the sales peak for a product is when the CD is released, but with streaming, the number of streams will rise over the course of several months. In some cases, people will continue to listen to a song or album years after it’s released, sometimes even decades if it is a catalog song or album from an artist. Because hits can take all kinds of different shapes, I didn’t think our approach of having employees rotate every year or two and focusing exclusively on single fiscal year periods was a good match for our long-term growth as a company, or for us to innovate and help lead UMJ and the industry into the streaming age.
Did changing over to full employees have a major effect on the atmosphere in the company?
There was a huge change in the year when we switched over to full employee status (in 2017). We held an all-company meeting where we announced that anyone who had been working at the company for a year or longer that wanted to become a full employee could do so. I expected there to be huge cheers from the audience, but it was surprisingly quiet (laughs). I thought people would show their happiness right there on the spot, but I heard later that, after the meeting, those in attendance were happy to be able to tell their families and partners the good news.
At the same time, I didn’t want people to lose their drive upon becoming full employees, so we reviewed and revised our HR evaluation system and established a multi-label system to grow our domestic business. Employees on the same label would compete with each other and help each other reach new heights, and I think that is what helped us to produce all of these different hit artists.
And the last important “connection” is the one we’ve been establishing with listeners and fans. Our business is a B-to-B-to-C business. We provide people with music through retail shops and streaming services. However, the nature of fandom has changed over the last decade. That is why we opened the world’s first Universal Music Group concept store, UNIVERSAL MUSIC STORE HARAJUKU, as a place where fans can come together. Last year, we worked to bring music to people using experiential events, other than just traditional live shows, such as producing shows that combine fireworks with Disney music and music from diverse artists like King & Prince. We have also done these experiential events with international acts including Queen and Bon Jovi.
Just like the rest of UMG, we always strive to be the company of choice for artists, and with our successes in breaking new artists, embracing streaming technology ahead of the curve, as well as nurturing the traditional lucrative physical business here in Japan, our market share has also grown consistently. I think we’ve now been able to achieve ten consecutive years of market growth because of our track record in breaking new artists and also because our artists recognize our commitment to helping them have long careers, connecting them to the world outside of Japan as part of the world’s leading music company. This has made them want to stay with Universal Music Japan for the long-term..
Is there any advice you give to employees about how to remain the company of choice for artists?
UMJ’s creed is “Love People, Love Music, and Deliver Excitement.” I always tell employees that, no matter what department they are in, it’s important that they never forget that they joined our company out of a love for people and music. At the global level, as well, UMG places great importance on its message: “We are the home for music’s greatest artists, songwriters, innovators, and entrepreneurs.” It’s important that we continue to focus our efforts on putting our artists, labels and businesses first so that we continue to push the entire industry forward for the benefit of our artists.
Mrs. GREEN APPLE has demonstrated a tremendous presence in this year’s Billboard JAPAN Hot 100. What do you think is the key to their hits?
It may seem like a trite answer, compared to the kind of answer you might be hoping for, but, at the end of the day, it just really comes down to their talent. First and foremost, we’ve kept on believing in the great music written by Motoki Ohmori and the talent of the whole band. I think that’s what’s led to this success.
They did two days of shows at Yokohama Stadium in July, and later this month (October) they’ll be playing eight days of shows at K-Arena. They don’t set aside time as “input time” to create new work. They don’t stop. They just keep on going, and looking at them, you know you’re looking at a new superstar phenomenon that will continue to grow and inspire fans in this new era.
In September 2023, we launched the Global Japan Songs excl. Japan chart, which ranks Japanese music that’s become a hit overseas. I feel like the Japanese music industry has kicked it into higher gear as we can now see the global success of hits by artists like Fujii Kaze and imase. Physical media sales still account for a lot in Japan. Do you think there’s any potential for physical media sales in the global market?
I do. We’re now exporting CDs and vinyl records of the Japanese versions of albums by the Beatles and the Rolling Stones to the U.S. and the U.K. I think there’s more demand for physical media. Fujii Kaze, Joe Hisaishi and Ado have toured the U.S. in the last year, selling out large venues and arenas and as discovery and demand grows, there will hopefully be opportunities to reach those fans with physical media too, like K-Pop artists have experienced.
In July, the Ministry of Economy, Trade and Industry released its Report on Music Industry Business Models for a New Era. Do you think that collaborations with the national government are going to be accelerating going forward?
In April, as a member of the music industry, we gave a presentation to the LDP’s Special Committee for the Promotion of the Cool Japan Strategy. We want to keep on taking on new challenges, and working together with diverse artists, so it’s very reassuring to know that people in various positions are supporting the sharing of Japanese talent and culture with overseas audiences.
Japanese anime and games have achieved some degree of market share worldwide, but for music, there’s still a long way to go. What challenges do you think the Japanese music industry still faces?
Maintaining a high level of originality. There’s no substitute for ONE PIECE. There’s no substitute for Jujutsu Kaisen. There’s no substitute for BTS. It’s extremely important that you can’t just swap out an artist or collaborate with someone else to make a hit. K-pop has an originality, such as in its group choreography and visuals, that transcends language barriers to move people’s hearts. That’s why carbon copies of BTS or NewJeans fail.
Another key challenge in localization is communicating with fans in various languages, including English. I think that an important part of globalization is close coordination not only inside the company but also with overseas promotion and creative teams. At UMG, one of the core strengths of the company is that it has huge global reach. Offices in sixty countries and all of our markets and business units work in unison to create the best possible environment for artists and projects to succeed.
BTS changed their name from Bantang Sonyeondan to BTS. They made music for the Japanese market, and they made English songs. Step by step, they expanded their reach and audiences, and built a loyal army of fans around the world.
There is no single formula for achieving success for an artist. Instead, I think you’ll now see a lot of different paths to reaching that level. For example, Fujii Kaze’s first wave of global recognition was in Thailand, before catching on in other markets. There are always a lot of different potential scenarios, and it’s important to take immediate action whenever you see the seeds of a future hit starting to sprout.
One last question: Which do you think constitutes a hit, a song that 100 people listen to 100 times, or a song that 10,000 people listen to one time?
This might seem like cheating, but both. We live in an age where there is no single standard of value—not just in music, but in many areas. As far as whether a CD that 100 people each bought one copy of could be called an equal hit as a CD that one person bought 100 copies of, I don’t even know myself.
I’ve asked a lot of different people this same question, and most people who work in record companies or management pick “100 people listen 100 times.” But when I ask people in the media, most pick “10,000 people listen one time.” I think it’s fascinating how people have the same shared understanding of actual hit songs, but this gap when it comes to the actual definition of a hit.
That is interesting. If I can ask you a question, then, do you think if the sensibilities of music companies and the media were better aligned, it would result in bigger hits being made?
Hmm, I’m not sure. I think for each artist there are times when they’re listened to one time each by 10,000 people and other times when they’re listened to 100 times by 100 people.
I agree completely.
—This interview by Seiji Isozaki and Naoko Takashima first appeared on Billboard Japan
The Japan Culture and Entertainment Industry Promotion Association (CEIPA) has announced the launch of a new music award called MUSIC AWARDS JAPAN, with the inaugural event set for May 22, 2025, at the Rohm Theatre Kyoto.
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This award will recognize more than 60 categories, led by the six major ones including Song of the Year and Artist of the Year, for works and artists that have been popular from January 29, 2024 to January 26, 2025. Candidates will be automatically selected using objective metrics linked to data from Billboard Japan and more. Five nominees will be selected from these candidates by domestic voting members, and the award winners will be decided from among the nominees through a rigorous selection process by domestic and overseas voting members.
The categories include genre-specific ones including J-pop, hip-hop and idol culture, special categories such as dance performances, music videos, Vocaloid culture and DJing, and global categories by regions such as Asian countries and Europe. The best work and artist will be revealed at the awards ceremony on May 22.
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The voting members consist of around 5,000 music industry professionals from various fields, including artists, creatives, managers, recording directors, engineers, promoters, music video directors, music distribution businesses, dealers, distributors, music critics, writers, media, music publishers, judges of overseas music awards, plus creatives, promoters, and music distribution businesses based overseas. There will also be a category inviting votes from general music listeners.
“Post-COVID, the way we enjoy entertainment as a whole has changed,” says CEIPA’s Chair of the Board Shunsuke Muramatsu, who believes that with the recent wave of digitalization, global success and possibilities are expanding within the music industry. “We have seen that the way hit songs and artists emerge has changed with the growth of the digital landscape and the increasing popularity of streaming services. Having witnessed a rapid, borderless connection to the rest of the world, we are now focused on supporting young, talented Japanese creators through an awards show with a global reach.”
The five major organizations in the Japanese music industry — Recording Industry Association of Japan, Japan Association of Music Enterprises, the Federation of Music Producers Japan, Music Publishers Association of Japan, and All Japan Concert & Live Entertainment Promoters Conference — have transcended boundaries to collaborate with the global music industry to establish this award, which is based on the concept of “connecting with the world and lighting the future of music.”
The awards show is said to be an “Asian version of the Grammy Awards,” as Commissioner Shunichi Tokura of the Agency of Cultural Affairs has said in the past. “We established the awards as a way to increase interest in Japanese music and to have Japanese music heard globally,” Tatsuya Nomura, board member of CEIPA, explains. He notes that CEIPA will also focus on promoting the awards outside of Japan. “Additionally, we will also promote the awards in other Asian countries and the world through terrestrial broadcasting stations, livestreaming on YouTube, news coverage, and more.”
Nomura says the awards will also provide an opportunity to celebrate the achievements of overseas artists and bring more attention to them. “The Japanese music market has traditionally been economically viable only within Japan. I believe it is necessary to change this and cultivate a global mindset among artists. Japanese artists are becoming increasingly active abroad, which we will continue to support. At the same time, we aim to establish categories that focus not only on K-POP (which is highly popular in Japan) but also on Western and other Asian music. As a result, there is a possibility that artists from around the world will be honored at MUSIC AWARDS JAPAN.”
The MUSIC AWARDS JAPAN ceremony on May 22 is also set to be broadcast live on terrestrial TV. The event will also be streamed worldwide via YouTube (excluding some regions). MUSIC AWARDS JAPAN week will take place Saturday, May 17 through Friday, May 23, and there will be seminars and showcases by people involved in the music industry from Japan and overseas during this period.
MUSIC AWARDS JAPAN 2025 KYOTO
Date of Ceremony: Thursday, May 22, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Live broadcast on terrestrial TV and global livestream on YouTube scheduled (some regions excluded)
Eligible Works & Artists
Works and artists popular from January 29, 2024 through January 26, 2025 (regardless of release date, including older works)
Awards: More than 60 categories planned including the six major categories
Six major categories: Best Song, Best Album, Best Artist, Best New Artist, Best Global Song, Best Asian Song
Awards
Song of the Year: Domestic and international songs are eligible.
Album of the Year: Domestic and international albums are eligible.
Artist of the Year: Domestic and international artists are eligible.
New Artist of the Year: Domestic artists are eligible.
Top Global Hit from Japan: Honors domestic songs that have become hits around the world.
Best Song Asia: Honors Asian songs that have become hits around the world.
Voting Process
Candidates will be automatically selected using objective metrics linked to data from Billboard Japan and more. Five nominees will be selected from these candidates by domestic voting members, and the award winners will be decided from among the nominees through a rigorous selection process by domestic and overseas voting members.
Voting Members
Voting members will consist of around 5,000 artists, creatives, managers, recording directors, engineers, promoters, music video directors, music distribution businesses, dealers, distributors, music critics, writers, media, music publishers, judges of overseas music awards, plus creatives, promoters, and music distribution businesses based overseas. The nominees and award winners will be selected and honored through a rigorous voting process by these members. There will also be a category with a different selection process.
About CEIPA
Japan Culture and Entertainment Industry Promotion Association (CEIPA)
President: Tatsumi Yoda
Chair of the Board: Shunsuke Muramatsu (President, The Recording Industry Association of Japan)
Deputy Chair of the Board: Takeo Nakanishi (President, All Japan Concert and Live Entertainment Promoters Conference)
Senior Board Member: Hideichi Kurita (Vice President, Music Publishers Association of Japan)
Board Members: Masatomo Takito (President, Japan Association of Music Enterprises), Tatsuya Nomura (President, The Federation of Music Producers Japan), Yutaka Inaba (President, Music Publishers Association of Japan)
CEIPA Members: Japan Association of Music Enterprises (JAME), Federation of Music Producers Japan (FMPJ), Music Publishers Association of Japan (MPA), All Japan Concert and Live Entertainment Promoters Conference (A.C.P.C.), Recording Industry Association of Japan (RIAJ)
RADWIMPS frontman Yojiro Noda took the stage at Tokyo Garden Theater for his first concert as a solo artist under his real name on Sept. 27. This show, aptly entitled “Yojiro Noda welcomes you to WONDER BOY’S AKUMU CLUB,” marked the release of the album by the same name — WONDER BOY’S AKUMU CLUB — and treated fans to a glorious evening with guest acts kZm, Awich and iri.
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The 39-year-old hitmaker had previously teamed up with each of his guests, with rapper kZm — pronounced Kazuma — collaborating on “EVERGREEN” off Noda’s solo album, and rapper Awich and singer-songwriter iri collaborating on “SHIWAKUCHA” and “Tokyo,” respectively, off RADWIMP’s album FOREVER DAZE from 2021.
Noda’s solo project had dropped two days before the show, meaning the people who came that evening were die-hard fans who bought tickets before they knew the full scope of his album. His followers probably also knew that he had recently been leaning into hip-hop. So while not too concerned about the potential difference in level of interest in the audience, it was interesting to see how Noda’s fans, who knew him as the face of a veteran J-pop band, would react to the rappers opening the event. But the crowd clapped eagerly along to the first track kZm performed on stage, “Aquarius Heaven,” and the excitement was even greater than expected.
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“Most of you probably don’t know me, but I’m kZm, a rapper from YENTOWN,” the MC introduced himself after finishing his performance of “Aquarius Heaven.” The 30-year-old rapper went on to explain that he’d only listened to hip-hop before discovering RADWIMPS when he was in junior high, and that he’d been a fan of the band ever since. He told the audience that Noda had been a kind senior artist and friend ever since they’d gotten to know each other, and was met with a cheer from the crowd when he noted, “I heard Yo-chan would be going on stage by himself today, so I came to support him.” kZm’s respectful monologue showed a sign of respect for Noda and his effort to make this a special evening. From there, the rapper gave a solid performance, with the audience cheering from the intro to “DOSHABURI” and the excitement continuing throughout the set, right up to the last song, “Sakebi,” which he said was one of his favorites.
Next up was Awich, who got the crowd jumping from her first track, “Remember (Solo ver.).” After finishing “Are you serious?,” the theme song for the Netflix series The Queen of Villains, she introduced herself, also saying, “I imagine a lot of people here are seeing me for the first time.” The 37-year-old rapper went on to explain that she is also a member of the hip-hop collective YENTOWN, like kZm, who introduced her to Noda. She said she wrote a song with the RADWIMPS singer and asked to take part in the band’s arena tour in 2021, and the experience of touring the country helped her mentally prepare for her own headlining concert at the prestigious Nippon Budokan in 2022. “(Noda) leads us and I’m truly grateful for his generosity,” said Awich. The “Bad B**** Bigaku” MC, who has since broken out of the rap scene and is now active in a genre-bending way, had full control over the room as she ran through a fierce set from “Kakurembo” (Hide and Seek), performed after mentioning that RADWIMPS have a song of the same name, up to the last song, “LONGINESS REMIX (Soo ver.).”
The final guest, iri, performed a short-but-sweet set consisting of “friends,” the four-to-the-floor number ideal for large venues, the similarly danceable “Corner,” and “Wonderland,” which got the crowd raising their hands in unison. The compact set showcased iri’s smoky voice and her breezy performance captivated the audience. “Yojiro-san’s album is so cool and I was talking with DJ TAAR about how amazing it is,” the 30-year-old singer said, her words brimming with respect for Noda. “So cool that I’ve been really looking forward to his show, and I’m really grateful to be able to sing like this at such a fabulous time.”
The current Japanese rap scene has gained wide popularity as a new youth culture, and since both Awich and kZm are stars of the genre, it feels somewhat uncomfortable highlighting “the band scene” and “the rap scene” as if they are incompatible. But to be honest, the impression is that while it does happen underground, in the mainstream, bands and hip-hop artists in Japan still have a long way to go in coming together in a notable way, as can be seen from the fact that the number of street-born rap acts appearing in mainstream rock festivals not being that high. So from that standpoint, it might be fair to say that the enthusiastic way the audience welcomed the three guest acts at Noda’s show without making them feel out of place was something special.
The “Grand Escape” artist made this possible because he had approached the rap scene early on in his career. WATTER, the DJ who supported Noda during his headlining solo set, is an artist close to 5lack, a rapper featured on Noda’s “Hilight” released under the name illion in 2016. The “Zenzenzense” hitmaker’s strong curiosity and love for music and people, evident from such works as “TIE TONGUE (feat. MIYACHI & Tab Zombie)” from 2018 and “DAI-DAN-EN (feat. ZORN)” from last year, were an important backdrop to this precious night.
Yojiro Noda
Takeshi Yao/Billboard Japan
After the fine opening performances by his three guests, Noda appeared onstage for the main set. As this was his first concert as solo artist Yojiro Noda, the audience didn’t know if he’d be performing with a live band or DJ until that day, but as mentioned above, he took the stage with WATTER for a DJ set, which at that point promised something novel. From the time the venue opened, there was a space surrounded by a gauze curtain in the center of the stage, and Noda kicked off his set with “SHEETA” from within that space. A team of dancers performed theatrical choreography inside and outside the gauze curtain, creating a mysterious atmosphere. These dancers were members of choreographer Seishiro’s team, and they also appear in the music video accompanying RADWIMPS’ “NINGEN GOKKO” from 2022. The concert was clearly being supported by the creatives that Noda had built relationships with over the past few years, just like Awich and iri.
At the end of the vintage soul-tinged performance of “PIPE DREAM,” Noda emerged from behind the curtain and finished the song by playing the piano. “Please give a big round of applause to the three guest artists, kZm, Awich and iri,” said the singer-songwriter, and elicited huge cheers from the crowd by asking, “I want to make this a party where we can all savor this brand spanking new album together. What do you say?” The five-stroke-roll dance beat of “PAIN KILLER” showcased the compatibility with kZm’s raps, and Noda showed off his own clever flow in “PEACE YES,” not to be outdone by the rappers. Hip-hop-like elements were incorporated in the staging as well, with the screen behind the singer highlighting a section of the lyrics of the track by visually sampling the cover art for the album RADWIMPS 4 that has the song with the same word (”Iindesuka?”) as the title. The breadth of his melodies is also worth noting, as evident from the way he built up a celebratory mood by putting a gospel chorus together with breakbeats on “HOLY DAY HOLY” and created a melancholic ambience on piano for “KATATOKI,” his collaborative track with Atlanta rapper J.I.D.
Yojiro Noda
Takeshi Yao/Billboard Japan
“Before, I thought that if I were to do a show as Yojiro Noda, I’d be doing something completely different, like playing by myself, or with a band, or with an orchestra. But I made songs mainly using beats this time and was really worried,” Noda opened up to the crowd. “Right now I’m so incredibly happy that everyone’s listened to the album and my favorite musicians are supporting me. Thank you for coming.” After expressing his gratitude, he mused, “Since kZm is here, we have to do this one,” and the rapper came back onstage to perform the remix version of their collaborative number “EVERGREEN” together. The two artists’ well-coordinated performance set to the anthemic track was one of the biggest highlights of the day. Noda then performed “STRESS ME” featuring rap verses over a post-trap beat, and sat on a sofa to sing “BITTER BLUES,” which vividly conveys his current, genuine sentiments. The team of dancers appeared again for “WALTZ OF KARMA,” followed by the introspective “HAZY SIGH,” and the memoir-like mood of the solo work was faithfully recreated in the show.
During the second half of his set, he expressed his gratitude to HOLLY, the producer/beat maker from Portugal who had been DMing beats to Noda for several years and had motivated him to make his solo album. He then thanked the audience again, saying, “Standing here today, I felt like I can continue my musical journey from now on. Thank you, I owe it to you.” The stage then floated up into the air to the intro of “HYPER TOY,” and Noda sang the lyrics “We’re Wonder Boys on a runner’s high” over an exuberant hyper-pop track featuring the most electric guitar in the album, like the Wonder Boy he clearly was. Before the last song of the main set, he said, “I’m a little embarrassed, but can I sing this song for the finale?” and went on to sing “LAST LOVE LETTER,” which is also the last track on the album, and closed his first solo concert by communicating his love through the lyrics: “If we were to meet, could it be now? Cause I don’t think can wait any longer.”
Yojiro Noda
Takeshi Yao/Billboard Japan
The excited crowd wanted more, of course, but the singer had performed all 13 tracks off the album, and there was no mention of an encore in the set list that had been distributed to the press. However, Noda appeared on stage after a brief break. He sat down at the piano and touched on the news from that day that Sayuri, a singer-songwriter that he had written and produced a song for in the past, had passed away. He chose the song he had written for her, “Furaregaigirl,” for the encore, and sang through to the end while tearing up during parts of his performance. He finished his concert with the words “Thank you, Sayuri,” and the venue resonated with heartfelt applause.
—This article by Atsutake Kaneko first appeared on Billboard Japan
VivaOla, an R&B artist born in Korea and raised in Tokyo, released his second full album, APORIE VIVANT, in March. His progressive style, inspired by Bryson Tiller’s album Trapsoul, has generated a great deal of buzz, and he recently released a new song, “RIGHT/WRONG,” which features Jimmy Brown, a globally active R&B artist based in Korea. This is the second collaboration between the two, following Jimmy’s 2022 song “bag on you,” on which VivaOla appeared. The borderless style of “RIGHT/WRONG,” with lyrics switching between English, Japanese, and Korean, embodies today’s music environment, where music has global reach.
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Billboard Japan had the opportunity to talk to these two artists, whose roots lie in R&B but whose creativity crosses genre lines and national borders.
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To start off with, VivaOla, could you introduce Jimmy Brown?
VivaOla: Jimmy’s an artist based in Korea who releases songs in English, with an eye toward fan bases in North America and Europe. He’s been a part of the global R&B scene for a while now, so I’d known about him for a while, but a shared Korean acquaintance of ours put me in touch with him. In 2022, I was a featured vocalist on his song “bag on you,” which I recorded remotely, without ever meeting him in person. We finally met for the first time at Shibuya in August 2023, when he came to Japan on vacation. I grew up listening to R&B from the 2000s and the 2010s, and I could feel that same musical influence in his vocals and songs. His music really resonated with me, and when I found out later that the “Brown” in Jimmy Brown came from Chris Brown, one of his favorite R&B singers, it made perfect sense.
Jimmy Brown: Thank you. I think VivaOla’s appeal lies in his beautiful singing voice. When I was working on “bag on you,” I knew that it would be a great song if I could get his voice on it, so I asked him to be a featured artist. The song was positive to begin with, but his addition increased those vibes, and I love how the song came out.
VivaOla: I work a lot with Kenya Fujita from Bleecker Chrome, who appears as a featured artist on my new album, APORIE VIVANT, and he was also talking about how he had to “catch the vibes.” It made me realize, again, that it’s more important to catch that vibe rather than the sound or style of the song. In “bag on you,” money represents love. Money’s a sensitive topic that I handle in my own works, too. I used a lot of trial and error in writing “bag on you,” and I was able to tie it all together with the message of loving someone so much you want to give them everything, even if you don’t have any money. I’m glad that Jimmy and I were able to arrive at that same message.
Tell us how you went from collaborating on “bag on you” to, two years later, featuring Jimmy on your own song with your second collab, “RIGHT/WRONG.”
VivaOla: For me, 2022 was a year of collaborations, but out of the many I did that year, “bag on you” was my favorite, in terms of the mix, the lyrics, and the vibe. Following the release of APORIE VIVANT, I’ve written a lot of songs with producer Kota Matsukawa (founder of creative collective and label w.a.u). I knew one of the songs would be even better if we had a featuring artist, so I consulted with Kota about who we should go with, and we were like “Jimmy Brown would be great, wouldn’t he?” After releasing “bag on you,” I’d met Jimmy in person and gotten a feel for what a wonderful person he was, so I wanted him to collaborate with me on one of my own songs. My songs are about all kinds of topics, like our internal struggles, but the theme of this new song with Jimmy was straightforward: love. Kenya and I worked on the songwriting together, and we both talked about how we wanted to write a song that would excite Jimmy.
In “bag on you,” Jimmy depicts love in a positive way, but “RIGHT/WRONG” feels more in line with your style, VivaOla, not necessarily depicting love as always positive.
VivaOla: Right, it’s a little bit dark. But even though there’s this dark part, as you point out, the verse section is ultra-positive. I was hoping Jimmy would use a Chris Brown-like vocal approach, and I was really happy to feel that Chris Brown feeling in his verse section, where the groove is in double-time.
On your latest album, APORIE VIVANT, which came out in March, you embodied the spirit of trap soul, inspired by Bryson Tiller. What sound approach did you use on your new song?
VivaOla: Stylistically, I carried on the feel of APORIE VIVANT, but while the actual sounds are trap, I wasn’t fixated on the music itself being trap. That’s why I didn’t use the rapid-fire rapping of trap, but instead tried for a more alternative rap feel, like Frank Ocean.
Jimmy, what do you think of VivaOla’s music?
Jimmy Brown: It’s got a very modern sound. If you listen to our verses, you’ll be able to hear the things we have in common and also our differences. For both of us, our roots lie in American R&B, but there are some major differences in how we stretch out our voices, the parts we stretch out, and how we use our vocal cords. Before I was exposed to R&B, I grew up in the Korean countryside, listening to [traditional] Korean ballads, which I think influenced me. Likewise, I think VivaOla was influenced by his experience with rock and jazz, before he got into R&B. But I don’t think these are things we’re consciously trying to bring out, they’re part of our respective characters, the products of our backgrounds.
VivaOla: In my case, I often overthink my singing approach, so I end up circling around to singing without thinking about it, but Jimmy doesn’t overthink things, he’s a very genuine artist. The two of us are alike in that neither of us is really all up in our own heads when we’re singing, but my approach is the exact opposite of Jimmy’s. I think that’s what draws us to each other, and our approaches harmonize within the same song.
So you’re more of a producer-style singer-songwriter, VivaOla, while you, Jimmy, are more of a natural-born singer-songwriter. And your contrasting styles resonate in “RIGHT/WRONG.”
Jimmy Brown: I’m a very simple man (laughs).
Can we look forward to hearing more collaborations between you two in the future?
VivaOla: “bag on you” and “RIGHT/WRONG” were positioned as one-offs, with each of us appearing as featured artists on each other’s songs. If we work together again, I think it would be fun for us to go into the studio together, creating music from the ground up and releasing it under both of our names.
—This interview by Yu Onoda first appeared on Billboard Japan. It was conducted in Japanese then translated into English
Ae! Group’s “Gotta Be” blasts in at No. 1 on the Billboard Japan Hot 100, dated Oct. 16.
The title track of the quintet’s second single launched with 411,052 CDs in its first week to rule sales and also came in at No. 4 for radio airplay. Though the figure didn’t match the previous release, “A-Beginning” (782,835 copies in its first week), “Gotta Be” gives Ae! Group its first No. 1 on the tally.
NMB48’s “Ganbaranuwai” debuts at No. 2. The girl group’s 30th single sold 251,651 copies in its first week to hit No. 2 for sales.
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Mrs. GREEN APPLE’s “Lilac” follows at No. 3. The Oblivion Battery opener is still going strong in three metrics of the chart’s measurement: streaming (up 101%), downloads (up 112%), and karaoke (slight gain). The former No. 1 hit has coasted along in the top 3 for seven consecutive weeks and in the top 5 for 26 consecutive weeks. The three-man pop band recently launched its eight-day residency at K-Arena Yokohama, slated to run through Nov. 20.
Creepy Nuts’ “Otonoke” jumps 32-4. The opener for the anime series Dandadan dropped digitally on Oct. 4 and debuted at No. 32 last week. Streaming for the track increased by 337% compared to last week, downloads by 135%, and radio by 437%. The number of downloads has remained higher than that of the duo’s smash hit “Bling-Bang-Bang-Born” in both the first and second weeks, so whether the pair’s latest release can also become a long-term hit is something to keep an eye on.
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Comparing the number of streams by country during the first week for each track, “BBBB” logged 33% of its plays from Japan and 16% from the U.S., while “Otonoke” accumulated 41% from Japan and 18% from the U.S., showing a slight increase in the U.S., according to Luminate. In other countries, “BBBB” was played more in Europe, such as in Germany and Spain, while “Otonoke” was played more in Southeast Asia and Latin America, including Mexico and Indonesia.
Official HIGE DANdism’s “Same Blue” rises 7-5. Streaming for the Blue Box opener gained 188% compared to the week before.
KID PHENOMENON’s “Unstoppable” debuts at No. 6, selling 66,499 copies and coming in at No. 3 for sales.
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 Oct. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Japanese dance & vocal group BE:FIRST spoke with Billboard Japan for its Monthly Feature interview series highlighting today’s leading artists and works. The hugely popular boy band released their second album, 2:BE, on August 28.
Ever since its formation three years ago through an audition by BMSG, the record label headed by SKY-HI, the group has created countless hits and appeared on numerous music TV shows and festival stages. In 2024, they performed two solo shows at Tokyo Dome and two solo shows in Kyocera Dome Osaka. The seven members of SOTA, SHUNTO, MANATO, RYUHEI, JUNON, RYOKI, and LEO are shaping up to be an undeniable juggernaut of a group. Their fandom and the scope of their activities is constantly growing, but since their debut, they have shown a consistent dedication to their singing, rapping, and dancing, and they’ve been actively and enthusiastically involved in songwriting, lyric-crafting, and choreography.
Their musical journey is reflected in their second album, 2:BE. Billboard Japan spoke to all seven members of the group about what went into the creation of the new album.
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In the three years since your debut, what kind of group do you feel that BE:FIRST has become?
LEO: We’ve always been a group that really enjoys the music. We don’t think of music as work, it’s more like we’re just doing what we want. Personally, none of it has ever felt like a burden for me. I’ve never once thought “I don’t really feel like doing this now.” I think that’s because of the kind of team we are.
I feel like that’s one of the notable features of BE:FIRST, because all of you are actively involved in the group’s creative process. But that usually involves growing pains, right? I’m sure you’ve had slumps.
LEO: Of course, there are times when I’ve found myself butting up against an obstacle, or I’ve felt anxious. But those never made me dislike what we’re doing. After all, I’m here because I love music, and I want to become a better artist. No matter how scared I might feel, it’s fun to hold that mic up on stage, and I feel full of joy when I’m listening to music. That’s always true, no matter what the situation.
SOTA: Our agency also puts music first, so we’re never given work that would interfere with our ability to focus on music. We keep on doing what we want to do. Our work environment is stress-free, and the more songs we create, the more our musical appetite grows, so it’s a lot more common for us to find ourselves struggling to choose between lots of different options than for us to be hitting a wall. I think all of our struggles are positive struggles. I feel very grateful to be able to work in this kind of environment.
That’s truly one of BE:FIRST’s strengths.
SOTA: When we released “Mainstream,” there was a time when we were trying to figure out how to best showcase ourselves as a group. But our agency let us make the kind of music we wanted to make, and all seven of us are united in giving 100% to whatever we want to do. These will continue to be our strengths, and I truly feel that over the past three years we’ve become a group that’s completely focused on music.
MANATO: THE FIRST was an audition focused on each person’s abilities and individuality, so everyone came to the group with their own personal strengths. Over the past three years, we’ve evolved into a group where each of these strengths passes through the filters of our individuality to produce our group’s output. Initially, Hidaka (Mitsuhiro Hidaka/SKY-HI) defined our group’s approach, but from around 2023, we started to think about what we ourselves wanted to do. We became more involved in the creative side, and as soon as we finished a song, we were like “okay, now what should we do next?” I think that was a big transformation.
How do you think that you, as individual artists or as a group, have evolved since your last album, BE:1?
RYUHEI: Our new album, 2:BE, has a mixture of songs that Hidaka wanted BE:FIRST to perform and songs that we wanted to perform. We tried a lot of new things, and I think we’ve become a lot better at reproducing what’s in the recordings. I feel like, through the process of everyone working on their own singing, we’ve taken things to a higher level.
JUNON: Compared to our first album, on this second album, there’s a much smaller difference between the way we sound live and the way the album sounds. Also, we did a lot in the recording process to reflect aspects of our performances in the music, which you can hear even now (before we tour), so I think it’s the kind of album that will make people look forward to seeing our live shows. That’s one way we’ve evolved since our first album.
So you feel you’ve made solid progress.
RYOKI: We’ve already got songs done by sub-units of the group, there are lyrics that we’re finally in a position to write, and the album has a raw feel to it. That’s because BE:FIRST has always lived in the moment—we’re always in an environment where we can do what we want. I think 2:BE reaffirms that sense of freedom to live in the moment. “Blissful” personifies it. When we debuted, it was all we could do just to take care of whatever was right in front of us, but lately we’ve been able to relax a bit, in a good sense.
So you’ve been able to express yourselves more naturally?
RYOKI: Yes, I think so. That’s true musically, and I think also in our day-to-day lives, we’ve now got some breathing space. Thanks to that, we can focus on our music, which I think has created a positive feedback loop. Being in an environment that provides us with freedom also creates responsibilities, but then all you need to do is make an environment in which living up to your responsibilities is itself also enjoyable. I think BE:FIRST can do that.
SHUNTO: A lot of the songs on the new album have a strong message. It’s an album in which these can also serve as our strengths. The new album is really packed with what it means to be BE:FIRST. I think it’s a well-balanced, highly listenable album.
“Hush-Hush” is a collaboration between yourselves and ATEEZ, right?
SOTA: A long time ago, Hidaka talked about how there was a K-pop group that he particularly liked. It was shortly after our debut, but he was saying “there’s an artist I’d like you to collaborate with one day.” There are certain ways in which we’re alike, so I guess he realized that we’d be a good match.
What did you feel like you had in common?
SOTA: How well we all get along, and the mood within our teams. We feel like hometown friends.
RYOKI: We both have a very down-to-earth feel. ATEEZ has a really warm vibe. That’s something that BE:FIRST also places a lot of importance on.
SOTA: Right. That focus sets ATEEZ apart from a lot of other K-pop groups. As far as music, another similarity is that we both write our own lyrics and take part in the creative process. I feel like there’s a lot of overlap in the core parts of what we focus on.
In closing, then, could you share your vision for the group in the future?
RYOKI: The musical direction we want to go in is always changing. But, no matter what, I want to keep this “Avengers” feel.
SHUNTO: But you can’t really produce that Avengers feeling on purpose. That variety in the way that we shine comes from us all combining our varied strengths.
RYOKI: Everyone’s so impressive. I love everyone in our group.
SOTA: But if we stopped enjoying creating music together, all seven of us working as one, then we wouldn’t need to keep that seven-person approach. Our strength isn’t really a group-focused approach in which, for example, we’re using synchronized choreography or we’re separating singing parts to give songs different feels. Instead, for us, it’s more important that we’re enjoying the vibes together. When we’re doing anything, whether it’s hip-hop or funk, it’s like all seven of us are jamming. One of the things that makes a group so fun—one of its qualities—is the feeling of bouncing the music off of each other. I think the best thing would keep on making the kind of music we want to make, all seven of us.
So it has to be the seven of you.
SOTA: That’s right. If we just did synchronized dancing, it wouldn’t make a difference if one person left.
Everyone: (Laughs)
SOTA: I think it’s when we’re having fun ourselves that it becomes fun for other people to watch. That’s our greatest point of appeal, the way we spread the enjoyment of our music.
—This interview by Takuto Ueda first appeared on Billboard Japan