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Kenshi Yonezu‘s “KICK BACK” was recently certified gold by the Recording Industry Association of America. It’s the first song with Japanese lyrics to reach this milestone.
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Released on Oct. 12, 2022, “KICK BACK” was written as the theme song to the anime series Chainsaw Man. The series enjoys popularity in North America; many listeners probably discovered the song through the anime.
Gold status means the song has achieved over 500,000 units in the U.S. Billboard Japan spoke with the multi-hyphenate about his latest global hit that became the first-ever J-pop song to achieve this feat in the American market.
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How did you feel when you heard about being certified gold in the U.S.?
Really happy. It’s all thanks to Chainsaw Man. It’s still kind of hard to believe, but in any case, it made me happy.
This is a certification within the U.S. market. What are your thoughts on the American music scene and listeners there?
I’ve been listening to American pop music since I was a kid, so it’s really gratifying to have been accepted there. I want to know what kind of people are enjoying my music, so I sometimes wonder what it’d be like to sit down with them and ask directly. I’ve never been to the U.S. before but it’d be great if I could go do a show there someday.
The 32-year-old creative wrote the music and lyrics for “KICK BACK” and enlisted Daiki Tsuneta of King Gnu and millennium parade to work on the arrangement with him. Yonezu has been a fan of Chainsaw Man since the serialization of the original manga began, and being tapped to work on the opening theme for the anime version was a meaningful experience to him.
The song also drew attention for sampling J-pop girl group Morning Musume.’s “Souda! We’re ALIVE.” With drum and bass as its foundation, the track is unique with frequent key changes and full of outlandish developments. The “Lemon” hitmaker looked back on the creation of this single.
You mentioned you have been a fan of the Chainsaw Man manga that the anime is based on. How do you feel about the work now that you have written the opening theme for the anime?
The manga Chainsaw Man is still being serialized and I always catch it when it comes out every week. It’s always gripping and I think it’s a truly exceptional manga. It’s a great honor for me as a pop songwriter to be involved in such an amazing work, and that feeling seems to grow more and more each day.
Could you share the songwriting process with us? Looking back, what kind of song were you aiming for?
First, I remember feeling that I couldn’t do this assignment half-heartedly and that I didn’t want to ruin the manga by being involved in it because It’s such a great work. I had a lot of fun working on the song. It was also more like hanging out with a friend than work because Daiki Tsuneta and I communicated about the arrangement. Looking back, I strongly feel that it was a really enjoyable time. When we were making “KICK BACK,” the vibe was full of this sense of messing around, like, “Let’s go nuts with this,” or something like that. I’d love to do this kind of thing again.
The lyrics of “KICK BACK” are in Japanese. The “Lemon” hitmaker’s observations about his commitment to writing songs in Japanese and about the way the appeal of a piece of music can be conveyed without depending on words were also noteworthy.
“KICK BACK” is the first song with Japanese lyrics to be certified gold by the RIAA. What are your thoughts on Japanese-language songs making their way across borders to be heard in other countries?
I’ve lived as a Japanese person for 32 years, and am someone who has truly surrendered my identity to the Japanese language. When I write songs, I really get the sense that things like my methodology, what I want to do, and the joy I feel when singing and performing are largely tied to the Japanese language. It’s what feels most comfortable to me. To go even further, that special power won’t reside (in the song) otherwise. So, I hope to continue doing what I do while facing myself in this way.
But to be honest, I’m not sure at all how my songs are being interpreted by people outside of Japan, and especially people in the U.S., as in this case. I’d love to actually meet with people who like this song and hear what they have to say.
The emotion and energy of a song can come across even if we don’t understand the meaning of the words. What are your thoughts on this particular work?
I often find myself hearing a song in a language I don’t understand and thinking, “That’s good.” I’ve been feeling really strongly lately that I want to value that sense of “I don’t understand it, but It’s good.” Looking at social media, I get the feeling that if people start flocking to a single place all the time by seeking value and meaning in a song, that fundamental aspect of music will become increasingly obscure. So if people who don’t understand Japanese hear this song and think “that’s good,” then I’m glad I made it. If that’s how people are interpreting it, I feel grateful.
The music video accompanying “KICK BACK,” directed by photographer/video director Yoshiyuki Okuyama, also made a splash. Featuring Yonezu and Tsuneta working out at the gym, the situation gradually escalates in an over-the-top way as Yonezu tries to one-up his music collaborator who maintains his cool. The experience of shooting the mind-boggling visuals — make sure to watch until the credits — was apparently an emotional one for Yonezu.
You have received comments from many countries on the music video for this song. The video left quite an impact. How do you feel looking back on it?
That was amazing. That was the skill of the director, Mr. Okuyama, and I feel so fortunate to have ended up with such a great music video. For the past few years, I had been in this mode where I try to incorporate humor and funny elements into my songs and music videos to sort of remake myself by observing from a bird’s eye view. When the visuals for “KICK BACK” were done, I felt that there was nothing more I could do. It was such an epoch-making event for me. I feel like I’ve done everything I could.
Yonezu continues to have a busy and fulfilling 2023, releasing three new songs: “LADY” on Mar. 21, “Moongazing” on June 26, and “Spinning Globe” on July 17.
“Moongazing” was written as the theme for the video game Final Fantasy XVI. “Spinning Globe” is the theme for Hayao Miyazaki’s latest animated film The Boy and the Heron, set for release in U.S. theaters Dec. 8. Both songs are reaching audiences around the world.
The prolific singer-songwriter reflected upon the position of “KICK BACK” at this point in his career and shared his outlook for the future.
How do you consider “KICK BACK” to be positioned in your career?
As I said earlier, it’s a song that ended a mode in my life, and I think it’s also a song that disrupted my public image. I also reconfirmed a lot of things by writing this song. I realized people wanted something like this, and it also occurred to me that I like this kind of thing. All in all, it’s become very important to me.
What do you have in mind for your future endeavors?
I recently traveled abroad and it was a great experience. Not for my career or anything like that, but in the sense of spending time in cities built by people who grew up in a completely different culture, where the language is different from my own. I’m more interested in that kind of thing and… I’m not sure how to put it, but I just want to make good stuff. If I can do that, then that’s enough. And I also kind of feel that if my senses don’t change in a gradual way like that, I won’t be able to make good stuff anymore. I hope to have fun doing what I do. I’m willing to do whatever it takes to make that happen.
This interview by Tomonori Shiba first appeared on Billboard Japan.
By: Billboard Japan / Photo: Courtesy Photo
Ado’s “Show” holds at No. 1 for the seventh week on the Billboard Japan Hot 100, dated Nov. 15, breaking the singer’s personal record for weeks at No. 1 on the list.
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On its 10th week on the Japan Hot 100, “Show” surpasses the six-week record set by “New Genesis” (as Uta from One Piece Film Red). The USJ Halloween event theme is at No. 1 for streaming and video views, No. 2 for downloads, No. 6 for karaoke, and No. 15 for radio. Among these, points for radio increased by about 2.4 percent from the previous week, indicating that the song is steadily expanding its reach to the general public outside Ado’s core fan base. Overall points totaled 11,812, down by approximately 15 percent, but remains 1.2 times higher than the song at No. 2 this week.
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The top 10 is dominated by songs by boy bands this week. IMP.’s “CRUISIN’” leads the pack, bowing at No. 2. This song was released digitally worldwide on Aug. 18 and topped downloads on the chart dated Aug. 30 with 14,259 units on its first week. The physical version of the group’s first single dropped Nov. 8 and sold 98,780 copies, hitting No. 2 for sales. While the digital version has been out for a while now, it was downloaded 3,801 times this week to come in at No. 12 for the metric, and the track also rules radio airplay, collectively powering the track to its No. 2 spot on the Japan Hot 100.
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King & Prince’s “Aishi Ikirukoto” bows at No. 3. The title track off the group’s 14th single is the theme song for the legal thriller Houteiyuugi starring member Ren Nagase. After going on sale Nov. 8, the song sold 353,077 CDs in its first week, falling short of the 546,829 first-week sales of the group’s previous single, “Nanimono,” but still hits No. 1 for the metric by a wide margin over its competitors.
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THE RAMPAGE from EXILE TRIBE’s “Katasumi” rockets 80-5 this week following its physical release, also on Nov. 8. The theme song for the movie MY (K)NIGHT launched with 58,937 copies — not quite on the level of the group’s personal best of 229,498 first-week copies achieved by its previous release “Summer Riot ~Nettaiya~/Everest” — to come in behind IMP. at No. 3 for sales.
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The last of this week’s top 10 boy band debuts is BE:FIRST’s “Glorious,” which bows at No. 7. Released digitally Nov. 6, the track will be featured as the anthem for the 102nd All Japan High School Soccer Tournament. The song was downloaded 20,392 times in its first week to hit the top spot for the metric, and also racked up 3,254,749 weekly streams to come in at No. 29 — the highest among the tracks that debuted this week. The song is off to a good start, coming in at No. 6 for video and No. 9 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 Nov. 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japan’s Ikimonogakari, the band responsible for NARUTO‘s theme song “Blue Bird,” has now began a new chapter as a duo consisting of Yoshiki Mizuno and Kiyoe Yoshioka and has released its latest double A-side single “Ureshikute/Tokimeki.”
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Billboard JAPAN spoke to Mizuno and Yoshioka about the single, which contains both “Ureshikute” (theme song of the film Pretty Cure All Stars F, with sound production by Koichi Tsutaya) and “Tokimeki” (Pretty Cure 20th anniversary commemorative song and opening theme of the TV anime Kibo no Chikara – Otona Pretty Cure ’23, with sound production by Masanori Shimada).
This is your first single since becoming a duo. It’s a double A-side with “Ureshikute,” the theme song of the movie Pretty Cure All Stars F, and “Tokimeki,” the Pretty Cure 20th anniversary commemorative song and opening theme of the TV anime Kibo no Chikara – Otona Pretty Cure ’23. I heard that you wrote “Tokimeki” first?
Mizuno: That’s right. Pretty Cure was going to be celebrating its 20th anniversary, and we were honored to have them reach out to us to ask us to write a commemorative song. I think this was around last summer. People who watched the first season of Pretty Cure are now in their 20s or 30s. The people at Pretty Cure said they wanted the song to be one in which Pretty Cure encouraged and uplifted listeners again, wherever their lives had taken them, and reaffirmed their value. We felt a connection with that theme, as well. Our band’s very structure has undergone changes, we’ve set out on our own, and the environment around us has changed. We came to focus more on Yoshioka’s role as our singer, and we wanted to make a song that reaffirmed our own new style.
Yoshioka: Yes, I really connect with the song when I sing it. Of course, we wrote the song for the 20th anniversary of Pretty Cure, but there’s a lot that resonates with our own situation. When we went into the recording process, I was preparing to give birth. In that respect, as well, like Mizuno said, it felt like a song of self-affirmation, and I think that comes across in the tone of my vocals. It’s a song that gives you this feeling of optimism, no matter what your situation, so I truly poured my heart into it.
The first two lines, “The world sparkles now/because I decided it would,” are really self-affirming.
Mizuno: Thanks. I think with the spread of social media, people are deciding their values based on what they hear from other people. “It’s good because people say it’s good” or “other people are attacking this person, so it’s okay if I do, too.” I feel like we live in a world where it’s hard to decide your values for yourself and write your own life story. There’s a lot going on in the world, and people are struggling, so I wanted to make this a song with a message of “I think it’s okay, so it is.”
It’s a reflection of the tone of modern society?
Mizuno: I guess if you put it in formal terms, yes (laughs). When Pretty Cure came out, there weren’t very many anime with female protagonists that had fight scenes. I think the creators wanted to express that kind of powerful sense of dynamism.
The sound is truly vibrant, too. Masanori Shimada handled the sound production, right?
Mizuno: We wanted to make the sound both radiant and powerful. Shimada isn’t really the meticulous type, but instead builds up a solid sound while also taking a band-like approach to sound production. We knew that the song would be in good hands with Shimada.
I see. The sound production for Ureshikute was handled by Koichi Tsutaya. The orchestration of the song is amazing.
Mizuno: Right. When the demo arrived from Tsutaya, we started to worry about how much recording would cost (laughs).
Yoshioka: (Laughs) I think there were more musicians on the recording than any song we’ve done so far. It was like 60, wasn’t it?
Mizuno: Yeah. We were aiming to make it a really majestic song from the very start of the writing process. Our concept for the sound was something like the Los Angeles Olympics fanfare by John Williams. A lot of Pretty Cure characters appear in the movie, so we wanted a part where all of their voices came together in unison.
Yoshioka: On the first demo, it was just Mizuno on piano and me singing, but even at that stage the feeling really came through, and I was thinking to myself “this is truly an excellent song.” Towards the end of the song I’m singing at the top of my lungs. I don’t think we’ve ever sung a melody like this one. The lyrics, about accepting each other, are a perfect match. Accepting each other while respecting that there are things you’ll never truly understand. The song’s cheery, but there’s definitely a sensitive side to it.
Mizuno: I read through the movie scenario before writing the song. I drew out the key parts of the story (and reflected them in the lyrics). Like Yoshioka said, it’s about accepting one another, but that’s no easy matter. Everyone has their own sense of right and wrong, and it takes courage to rely on others. I wanted to try to express that in a fun yet gentle way.
The song has one phrase that really makes an impression: “Respect the differences you cannot understand/you don’t need to all be the same.”
Mizuno: You don’t need to unite as one; you can each follow your own path, working together with others to take on problems and challenges. We wanted to make a song that would still impart that feeling, even outside of the Pretty Cure context.
It’s a long song, clocking in at over six minutes.
Mizuno: It turned out to be pretty long (laughs). It starts with the chorus, then you’ve got a solid verse and bridge, then there’s modulation, and then a second chorus. It’s got it all (laughs).
It has all of the distinctive features of a J-Pop song. What do you think makes J-Pop so interesting and appealing?
Mizuno: I think it’s how packed with information the songs are. I think one of the characteristics of J-Pop is complexity within a fixed form. There are a lot of songs with a verse, bridge, chorus structure, and there’s complexity in the chord progressions, as well. I feel like that’s because the rhythm doesn’t form the foundation of the songs. Also, the melody reigns supreme. The singing is the heart of the song. Yoshioka, as well, has always striven to make sure that her vowels are enunciated and the melody shines through clearly.
Yoshioka: Right.
Mizuno: I think placing the emphasis on the singing, and not anchoring songs in their rhythm, is what makes J-Pop feel unique to overseas listeners. Also, J-Pop localizes songs imported from overseas. It’s like it combines different outside elements and develops them in a unique way. It’s one of the things that’s fascinating about Japanese culture.
Good point. It’s like Japanese culture itself.
Yoshioka: Throughout our band’s career, Ikimonogakari has always believed in that kind of music. I always listened to J-Pop, and it’s what shaped me through the years. So I’m actually curious about what overseas listeners think about it (laughs). I hope they find it unique.
One of the Ikimonogakari songs popular with overseas listeners is “Blue Bird” (opening theme to the TV anime Naruto: Shippuden).
Mizuno: I keep hearing from people who’ve heard it while overseas. An acquaintance who travelled to Vienna told me they heard “Blue Bird” playing in a coffee shop. Overseas musicians have covered it, and one girl sang it on a Chinese audition show, which got the crowd really excited.
Yoshioka: Someone who was a junior of mine in junior high sent me an email saying that he was listening to Blue Bird in Latin America when a local student said “I know that song.” We have a lot of international Instagram followers, too.
Mizuno: Yeah. I got a DM from a DJ overseas who wanted my permission to remix “Blue Bird,” so I gave them the contact information for getting permission (laughs). The year before last, we played an event (Bilibili Macro Link 2021) organized by bilibili (a Chinese video streaming service), and the reaction to “Blue Bird” was huge. We’ve also been getting more offers to play overseas.
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Do you want to share your music with even more overseas listeners?
Mizuno: Of course. I’ve been saying it for a long time, but my hope is that J-Pop can be exported just like that — as J-Pop.
So the best thing would be if people listened to it as it is, with Japanese lyrics and Japanese song structures?
Mizuno: That’s right. I think that would be the most successful approach.
Yoshioka: I’m really happy that people abroad are listening at all. When we debuted, I never imagined that we’d have overseas listeners. It’s still surprising (laughs).
—This interview by Tomoyuki Mori first appeared on Billboard Japan
APOKI, the virtual Korean artist “like a rabbit that lives somewhere in space,” has released her first album, Earth Space Time.
Her debut song, “GET IT OUT,” which she released in February 2021, was created with first-class writers like songwriter Melanie Fontana. Along with its accompanying music video, which encapsulated her spacy, near-future aesthetic, it served as a powerful calling card for this unrivaled virtual artist. She followed this up by working with writers like Melanie and GG Ramirez and producers like A-Dee and Lindgren to create some of the world’s most cutting edge and cool tracks, with a K-pop spin.
Now, she’s finally completed her long-awaited first album. With a total of 11 songs, including both previous releases and new songs, it speaks volumes about why the virtual artist APOKI has drawn the attention she has around the world. Billboard Japan spoke with APOKI about the album.
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What kind of album were you setting out to make with this, your first album?
The key concepts of this album are “reminiscing” and “beginning.” There are brand new songs, but there are also songs I previously released. It’s a record of my travels as an artist, and a present to my fans.
What’s the story behind the album’s title, Earth Space Time?
These three words express my aesthetic, both in the past and spreading out into the future. If you look at my past activities, I think it’s be clear what it means.
The songs were written by a team of hit-makers from around the world, like Melanie Fontana and Andreas Carlsson.
Over the past few years, in the K-pop scene, it’s become standard for songs to be created by overseas teams, including co-writing efforts. I think there’s a synergy between the tracks they create and the Korean lyrics. It feels like the divisions between genres have been disappearing lately, so I’ve been able to show off various aspects of my world. I’m inspired by the varied songs being put out by K-pop artists.
Tell us about what went into creating “Space,” the lead song on the album.
“Space” is filled with my feelings about my birthplace — space. In writing it, I was thinking about how there are all of these aspects of space that have yet to be discovered by earthlings…but what exactly those are is still a secret (laughs). But I’m very happy and grateful to see listeners interpreting it from all kinds of different perspectives. I’ve released various versions, so make sure to check those out, too.
The sound of the album is really cool and polished, but the melodies are very accessible.
There’s such a thing as a language barrier, but there’s no such thing as a melody barrier. That’s why I’m sure people around the world will listen to the album. I want to keep making melodies that all listeners can identify with.
The album contains your August release, “Hold On.” This is your first original Japanese song. What’s the response been like?
This April I collaborated with Girls² on “Countdown feat. APOKI,” which reached a whole new group of fans. Since releasing “Hold On,” I can tell that the number of Japanese APOKI fans is on the rise. I heard that it hit fifth place on Japan‘s USEN Weekly Request J-pop Chart (on November 11), which is wonderful.
Your new ballad, “Fuyu No Sakura (Winter Blossom),” features guitarist Kotaro Oshio. What about Oshio’s guitar playing do you find so appealing?
Actually, in the early stages of the song there was no guitar part, but I asked Kotaro Oshio, who I have a ton of respect for, to play guitar on the song. I love his delicate guitar playing and the slightly wistful sound of his guitar. In his playing, I feel a sense of warmth within that wistfulness. It was an honor to be able to work with him.
I’m sure it’s a hard choice for you, but what songs do you particularly like on the album?
I love them all (laughs). But if I had to pick one, it would be my newest song, “Hashtaggg.” It’s a mid-tempo song with a very stylish atmosphere and a unique sound. The lyrics are a bold emotional declaration, shouting at someone you love “Hashtag me! Look at me!” I think this is a feeling that every girl that’s ever been in love has experienced at some time or other. When I recorded the song, I imagined the relationship between myself and my fans, who give me so much support.
Your music videos, which are made using state-of-the-art computer graphics, always generate a lot of buzz. What creators and artworks have you been particularly inspired by? And how did you develop your own truly unique sensibilities?
My visuals are just everyday life up in space, where I was born, but if earthlings find them novel, that’s great. I’m still studying earth aesthetics, so everything here on this planet is new and inspiring to me. Some of my artwork is inspired by Japanese sci-fi comics like AKIRA. You should check them out.
The Korean music scene is seeing a rise in the number of virtual artists. What do you think is the biggest difference between you and these other artists?
The number of virtual artists and virtual idols in Korea has been really climbing lately. I feel like this year, in particular, the number of fans has really swelled. My goal is to further expand the virtual market along with my fellow artists and to work and grow together. I think artwork is very important for a virtual artist, but musical sensibilities are also critical. I’d like to set myself apart through my musical sensibilities and to stay focused on originality.
You’ve becoming quite a center of attention, with over five million social media followers around the world. I think you play an important role as an influencer because you connect the virtual and real worlds. How do you see your relationship with fans in the social media era?
I’ve yet to meet my fans face-to-face, but I try to actively communicate with them through things like my Instagram live performances. I’m always struggling with how to look cool while staying approachable. I’m very appreciative of the comments and input I get from everyone, and I try to reflect them in my own activities.
So you have ambitions and hopes for a live show?
One of my big goals is to have fun communicating with my fans at a live show. I’d love to play in public, and, in fact, preparations are already underway. Just hold on a little longer!
—This interview by Hisakatsu Tanaka first appeared on Billboard Japan
NHK WORLD-JAPAN is set to broadcast a music program featuring some of today’s hottest J-pop acts titled NHK WORLD-JAPAN Music Festival 2023 in 160 countries and regions around the world. Part 1 is set to air on Nov. 19, followed by Part 2 on Nov. 26. Explore Explore See latest videos, charts and news See […]
Nishina, SCANDAL and Non graced the stage at the historic Hibiya Open-Air Concert Hall in Tokyo on Nov. 3 for Billboard Japan’s Women In Music Vol.1 event, entertaining fans under the clear autumn sky with songs and performances bursting with individuality.
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This concert was the first with multiple headliners on the bill organized as part of the WIM initiative in Japan, which launched last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work, as Billboard has done in the U.S. since 2007.
The Open-Air Concert Hall in Hibiya Park, or “Yaon” as music lovers refer to it, is celebrating its 100th anniversary this year. November 3rd being a national holiday, a large number of fans of all genders and generations gathered at the event. The spirit of the day’s festivities was expressed in the music being played before the concert began, with songs by Western female artists such as Cyndi Lauper’s “Girls Just Wanna Have Fun,” Shania Twain’s “Man! I Feel Like a Woman!,” and Dolly Parton’s “9 to 5” warming up the Yaon crowd.
After the master of ceremonies for the evening, Maki Fukuda and Kanade of the comedy trio 3 Ji no Heroine, announced the start of the event, Nishina kicked off the show. Appearing onstage to warm applause, the rising 25-year-old singer-songwriter and her band broke into noise to perform “Slow Motion.” The leisurely, yet increasingly intense rendition was a fitting opener for her six-song set, gradually warming up the audience with her exuberance.
Nishina
“This is my first time playing at Yaon so I’ve been looking so forward to this,” Nishina told the crowd before moving on to “Tokyo Marble.” Bubble gun in hand, she blew soap bubbles into the audience while hopping from one end of the stage to the other, clearly enjoying her time on the historic stage to her heart’s content.
During “Kedamono no Friends,” the singer twirled her fake tail around in her hand, loosely dancing and singing as the audience clapped with the beat. There was a moment when she almost tripped and fell because she was moving around so much onstage. Laughing, she exclaimed, “Did you see that? What an amazing recovery!” Making the audience feel at ease through such exchanges, she went on to perform “Sugar Spot” for the first time live. By the time she performed “Heavy Smoke,” dusk had fallen over the outdoor venue and her low, mumbly vocals lingered in the cool autumn air. Nishina closed her set with a heartfelt performance of her poignant ballad “seiran yuei,” making good on her weighty responsibility of opening the first-ever WIM event.
During the stage change, Fukuda and Kanade appeared onstage and explained the purpose of the event. “We’d like everyone to feel the power of women and diverse possibilities through these live performances that are uniquely individual,” they said. “The concept of this project is to act towards eliminating gender inequalities in various industries including music, and make the world a place where people of all genders can be their best selves.” The two comedians went to share that more people are bringing their children backstage these days in their field, and new values are becoming more common.
At this point, Nishina came back onstage to join the two emcees and commented, “It’s now pitch dark, but we started while the sun was still out. I was thinking how beautiful it was and had a really lovely time.” When asked if she is conscious of her gender when writing songs, she replied, “I don’t think too much about it, but I try to respect that ‘you are you’ in terms of taking care of myself and respecting others.”
Non
The next artist on the roster was Non, whose latest album PURSUE was named to reflect the kind of woman she looks up to: someone who pursues what she wants and sees it through to the end. Appearing onstage with her backing band dressed in bright red, the multi-hyphenate artist picked up her trademark red Telecaster guitar and opened with “Beautiful Stars,” her collaborative project with J-pop rock band ASIAN KUNG-FU GENERATION.
“I’m so excited because I’m sandwiched between two insanely cool acts, Nishina and SCANDAL,” she noted before performing her next song, “Oh! Oh! Oh!” as the crowd sang along. She then told everyone to “take a seat because this next one’s mellow” and as the intro to “Kouya ni tatsu” (“Standing in the Wilderness”) began to play, the crowd stirred and broke out into loud applause. Fans listened enraptured by Non’s arresting performance of this profound ballad.
Before closing her compact but satisfying set with her warm, mid-tempo number “Azayaka na hibi” (“Vivid Days”), she addressed the Yaon crowd again. “It’s my first time performing in an event like this as part of three acts on the bill,” she said. “I think it’s wonderful that we can all enjoy music together. My heart’s so full. I wish you all many wonderful days today, tomorrow, the day after tomorrow, and beyond.”
When invited back onstage by Fukuda and Kanade for a chat after her segment, Non emphasized again how much she had been looking forward to this day. “I was so happy to be able to play with my band today, because I was disappointed when our show here with Reichi ‘Chabo’ Nakaido’s band was cancelled due to a typhoon,” she said.
SCANDAL
Closing out the event was SCANDAL, a veteran all-female band of 17 years. The four members were greeted with loud cheers after it was announced that the group had been certified by the Guinness World Records in August as the “longest running rock band with the same musicians (female).” Clad in black, the members opened their set with the band’s uplifting latest single, “Highlight no naka de bokura zutto.”
As searchlights flashed across the venue, the band went on to perform one of its representative numbers, “Shunkan Sentimental,” with the audience spontaneously shouting as soon as the intro began. The four women’s solid performance engulfed the historic venue in a frenzy of excitement.
The veteran band continued to deliver a tight set covering highlights from its illustrious catalog. “I’m having so much fun now that I’m in my thirties and playing in SCANDAL,” said guitarist/vocalist HARUNA to thunderous applause. “I hope you can feel the four of us standing on stage and connecting our sounds together, like light.”
The women performed “Sisters” as a refreshing shout-out to the evening’s theme, then finished their set with their concert anthem “SCANDAL BABY,” gleefully singing in unison. During the second verse, lead guitarist MAMI and bassist TOMOMI huddled close to HARUNA, making eye contact with drummer RINA as they tore through the fan favorite to close out the event on a high note.
During the after-show chat, RINA said, “Now that events like this are taking place, I think we have more opportunities to understand one another. Our hope is that we can all live together while respecting what each of us values. I hope we can enjoy our lives together without giving up anything.” When asked about their thoughts on continuing to perform as a “girl band,” HARUNA replied, “We feel that it’s important for us four members to be considerate of each other and to enjoy the changes as we get older, so we hope to never forget that and enjoy our time together.”
Nishina and Non were also invited to share their impressions of the event, and the former commented, “I had a great time performing side by side with very cool female musicians from different genres,” while the latter shared, “I really enjoyed being here today, listening to Nishina and SCANDAL’s live performances thinking they were so cool and had a good time performing, too!”
The celebration of women will continue as Billboard Japan announced its Women In Music Vol. 2 event set for Feb. 8, 2024, at Tokyo Dome City Hall. The next concert will feature the powerful voices of singer-songwriters Reo Ieiri and Miliyah Kato collaborating with an orchestra.
—This article by Takayuki Okamoto first appeared on Billboard Japan
Ado’s “Show” logs its sixth week atop the Billboard Japan Hot 100, dated Nov. 8, tallying the week ending Nov. 5.
The enigmatic singer has hit No. 1 on the Japan Hot 100 with two other songs in the past: first with her breakout smash “Usseewa” (one week) then with “New Genesis” as Uta from One Piece Film Red (six weeks). If “Show” extends its stay at the top of the tally for another week, the “Kura Kura” songstress will break her own personal record for total weeks at No. 1.
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The theme of USJ’s Halloween event currently rules streaming, downloads and video views, while also performing well in radio airplay (No. 3) and karaoke (No. 6). While figures for downloads and streams have increased, the song shows strong growth in radio and karaoke, with the former gaining 28 percent and the latter 24 percent more points than the week before. The spooky dance number holds at No. 1 for the third consecutive week on Billboard Japan’s TikTok Weekly Top 20 and for the fourth straight week on the Top User Generated Songs lists, meaning the song has become this year’s Halloween anthem for many users of social media.
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At No. 2 this week is YOASOBI’s “Idol.” The monster hit is now in its 30th week on the Japan Hot 100 and currently at No. 2 for streaming, No. 13 for downloads, No. 3 for video, No. 2 for karaoke, and No. 36 for radio. The number of downloads rose again from 3,895 units to 4,420 units this week, indicating the lasting popularity of the catchy Oshi no Ko opener and record-holder for most weeks at No. 1 on the Japan Hot 100 (21 weeks).
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YOASOBI also made headlines in September when the duo’s breakout mega-hit “Yoru ni kakeru” (“Into the Night”) became the first song in Japan to surpass one billion cumulative streams. “Idol” is quickly on its way to reach that milestone as well, sailing past 500 million cumulative streams in 30 weeks, the fastest to do so in the country’s history. It took “Yoru ni kakeru” 63 weeks to reach half a billion streams.
And following at No. 3 this week is YOASOBI’s “The Brave.” Weekly downloads for the Frieren opener increased slightly from 9,224 units to 9,964 units, while karaoke, video, and radio increased 30 percent, 1 percent, and 12 percent, respectively, to lift the pair’s latest hit 5-3 on the Japan Hot 100.
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Debuts in the top 10 this week are LE SSERAFIM’s “Perfect Night” at No. 7 and NiziU’s “HEARTRIS” at No. 10. The former is at No. 14 for downloads with 3,682 units and No. 7 for streaming with 5,888,887 streams. The latter, the South Korean debut track for the nine-member girl group, is at No. 6 for downloads (5,882 units) and No. 30 for streaming (2,955,278 streams).
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The act with most songs on the Japan Hot 100 this week is Mrs. GREEN APPLE. The pop-rock band charts 10 songs on the list, led by “Que Sera Sera” at No. 16 and “Magic” at No. 19.
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. 30 to Nov. 5, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
As predicted last week, Ado’s “Show” returns to No. 1 on the Billboard Japan Hot 100, dated Nov. 1, logging its fifth week atop the tally after gaining further momentum leading up to Halloween.
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Both streaming and downloads for the USJ Halloween event theme increased from the week before, with the former reaching 14,861,306 weekly streams, up approximately 3.2 percent. Downloads are up 17.9 percent at 17,617 units, landing the track at No. 2 for the metric. Points for video views are also up 39 percent (No. 1) and radio jumps 21-7 with an increase of 48 percent. The “Zombie de Dance” show is scheduled to end Sunday (Nov. 5), so it’ll be interesting to see how far “Show” can extend its record atop the Billboard Japan song chart after the spooky festivities come to an end.
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The lead song off J-pop boy band WEST.’s first “triple-A side” single called “Zettai Zetsumei/Beautiful/AS ONE” released Oct. 25 debuts at No. 3 on the Japan Hot 100 this week. “Zettai Zetsumei” is powered by sales with first-week CD figures for the track reaching 302,821 copies, which is about 1.37 times more than the group’s previous release, “Shiawase no Hana” (220,040 copies).
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“Suggoi FEVER!” by Morning Musume. ’23 bows at No. 4. The track leads the girl group’s first new single in ten months, called “Suggoi FEVER!/Wake-up Call～Mezameru toki～/Neverending Shine,” and is the last one including current leader Mizuki Fukumura. The song marks No. 2 for sales with 135,797 copies, surpassing the previous single called “Swing Swing Paradise/Happy birthday to Me!” (121,814 copies).
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After hitting No. 1 last week, Sakurazaka46’s “Shoninyokkyu” falls to No. 7, but the track continues to perform well, coming in at No. 5 for sales with 18,196 copies sold and No. 7 for streaming with 6,242,620 weekly streams.
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Also, Hey! Say! JUMP’s “Ready to Jump” off the group’s first-ever digital EP “P.U!” debuts at No. 15 on the Japan Hot 100 this week after hitting No. 1 for downloads with 26,719 units including bundle totals. The track is also at No. 26 for video.
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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 Oct. 23 to 29, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Iconic Japanese singer and actor Tomoyo Harada spoke with Billboard Japan for its Women in Music interview series celebrating female players in the country’s entertainment industry. The WIM initiative in Japan began last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work.
Harada debuted as a teenager in 1982 and quickly became a household name as the star of Nobuhiko Obayashi’s The Girl Who Leapt Through Time (1983). She has since established herself as both a prolific actor and singer, with her most recent music release being her fourth cover album of love songs called Ren-ai Shousetsu 4 ~ Ongaku Hikou (“Love Story 4: Music Flight”) that dropped Oct. 25.
While the award-winning superstar’s ephemeral presence and soothing vocals seem unchanged since her debut, she has long been an adult in the entertainment industry and has experienced her share of difficulties along the way. Harada sat down with Billboard Japan to chat about her new album and look back on the turning points in her lauded career, while also sharing the music that has recently been inspiring her.
Congratulations on the release of your new album. What do you like about it?
Unlike an original album, the songs in this set are all numbers that have been loved by many. And, they’ve been sung by many before. When I listen to the different versions of these songs, there are lots of hints hidden in them. There are ways of singing that I would never have thought of, and nuances unique to English that can’t be expressed in Japanese, so I learn a lot about expression. These kinds of discoveries are pleasures that only a cover album can offer.
You mainly selected classics from the ‘60s and ‘70s that have been loved for generations for this collection.
We wanted to present music that would gently accompany people’s daily lives, so I decided on the songs together with producer Goro Ito and my team, taking into consideration the overall balance. Mr. Ito always comes up with lovely, playful arrangements, so I enjoyed that as well during the production.
Some of the songs are deeply personal to me. For example, Neil Young’s “Only Love Can Break Your Heart” is a song that my brother, who is ten years older than me, used to sing in our childhood home in Nagasaki. When my sister, two years older than me, and I were playing, we’d hear him practicing hard in his room, playing the guitar he’d just learned. Hearing this song brings back warm memories of listening to it with my sister.
The songs on the track list will probably evoke various memories for each listener. Did you have any female role models you looked up to back then?
I don’t really remember… Now, I think women with inner fortitude are beautiful. If you have an inner strength, you can stay flexible, you know? I also want to be that kind of person and hope to express that in my music as well.
Did you begin to think that way recently?
No, I think it’s something that gradually grew within me. When you’re young, you sometimes have a tendency to be really serious and stubborn. Like being straightforward is the only way. As you get older, you gain more perspective, and develop a kind of inner strength. I think that kind of strength allows you flexibility that won’t snap easily. Not visible strength, but a mellower kind. I find myself being drawn to that kind of strength now.
Is there anything that you try to be aware of to get closer to that ideal?
Yes, I think it’s important not to obsess about something or think too much about things. If you’re obsessed, you lose perspective, and you might end up limiting your possibilities. I want to listen to what others have to say and not be narrow-minded about things. Once you face what’s in front of you with sincerity and put your energy into it, I think the right balance is to relax and let it take its natural course.
Has being a woman ever affected your career or life in general?
I can’t really think of any examples. I guess I’m fortunate in that I’ve never been treated any differently because I’m a woman.
It’s best not to have experienced such things, of course. Then, regardless of gender, when you experienced difficulties or obstacles, how did you overcome them?
I’m sure I’ve experienced some difficulties, but I don’t think any of them were insurmountable. So this might not answer your question, but here’s something I do remember. Ever since I made my debut in my teens, I worked as both an actor and singer. When Keiichi Suzuki agreed to produce my music in my twenties, I decided to put my previous public image aside for the time being and return to basics in terms of music as if I were making my debut anew. And in doing so, the project turned out really great.
But the radio and TV programs at the time were rigidly divided into genres, and there were some programs that were hard for me to appear in because I was also an actor. I never thought my acting career that I’d worked so hard on would hinder me. But I was confident that we were making good music, so I figured the only thing I could do was just keep at it. Eventually, the song “Romance” that I created in collaboration with the Swedish producer Tore Johansson became widely accepted. From that point on, my music was treated equally as if some door had opened and I felt that I’d won the support of people in the music industry.
When you felt that the music industry was closed off to you, what motivated you to keep going?
Well, I knew that the music I was making with Mr. Suzuki was good. I kept going with a genuine desire to make good music rather than wanting to produce hits. The fact that I kept going without giving up along the way turned out to be significant. I had the pleasure of meeting new fans, and I think it was a major turning point in my career as a singer. I had some experiences in my twenties where my life changed through such encounters with people. You never know where you’ll come across such encounters, so I want to keep my eyes open and cherish the people I meet.
One of the reasons that led to the launch of this interview series is the gender gap on the Billboard Japan charts: in 2022, out of the 100 most popular groups on the year-end tally, the gender breakdown of artists and acts was 58 male, 27 female, and 15 mixed. This ratio hasn’t changed greatly over the years. Are there any female artists that encourage you whenever you hear their songs?
I didn’t know there was a gender imbalance on the chart. I often learn about new music from my niece, who is a college student, and recently I’ve been watching videos by (rappers) Awich and Chanmina with her. I was thrilled when I saw them for the first time. They appear on stage in front of huge audiences so regally, bursting with energy and look spontaneous and free. Their lyrics are also really honest and strong, and it makes you wonder how deep and intense their lives must have been because they both must still be young.
Hearing you mention those two artists is unexpected! It must be reassuring to have someone close by who can teach you new things.
When I found out (Awich) was going to perform “Bad Bitch Bigaku” live on a music program, I stood by in front of the TV to watch. It’s encouraging to know that my niece and other young women are growing up watching artists who express their feelings honestly and verbally like that.
—This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Multi-hyphenate artist Non 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 last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work.
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Non joins SCANDAL and Nishina on the lineup of Billboard Japan’s Women In Music Vol.1 event set for Nov. 3 at the historic Hibiya Open-Air Concert Hall in Tokyo, dubbed “Yaon” by fans. In this in-depth interview, the 30-year-old who has been expanding her fields of activities beyond genres such as acting and music shares the reasons why she expresses herself freely in every area she commits herself to and continues to powerfully evolve.
You’ll be performing at the Women In Music Vol.1 event in November. How did you feel when you were asked to perform?
First, I was happy to be invited to participate as part of the Women In Music initiative, and was also really excited to be able to perform with my band on the Hibiya Open-Air Concert Hall stage. I was once scheduled to perform at Yaon with (legendary guitarist) Reichi “Chabo” Nakaido, but the show was canceled because of a typhoon. That was really sad, so I’m very happy to be given the opportunity to perform there again with my band for the Billboard JAPAN Women In Music Vol. 1 event.
Anything you can share about what you have in store for the event?
Well, I want to enjoy myself first and foremost. This year I released an album called PURSUE with songs filled with fun and powerful messages, so I’ll be playing lots of tracks from it.
We’re looking forward to seeing you onstage. The theme of this event is “Supporting Women.” What do you think of this theme?
The power of women is something I value so much that it was the theme of my first solo exhibition as an artist, called Non’s Solo Exhibition – Girls Bare Their Fangs. So I empathize with the event’s theme and honestly think it’s lovely. I hope my performance at this event conveys the strength of women and our badassery.
So that’s the kind of woman you think is cool. Do you remember the kind of women you looked up to growing up?
When I was little, my image of a cool woman was someone who walked around effortlessly in heels and dressed smartly. Someone who never trips and is radiant. I still think women like that are cool, but don’t think I want to be that person anymore.
What’s your current ideal?
Right now, the person I aim to be is someone who “pursues” [the title of Non’s album] what she wants to do and carries it through. Carrying out one’s own will is something I think is important. And it’d be ideal if I could do it in an interesting and funny way to boot. Even if what I’m dealing with is serious, I want to transform it into something fun to express it.
Is there anyone you know who comes close to your current ideal?
Akiko Yano. I’ve loved her since I was in high school and used to study and imitate the way she sings. I started out being a fan of her voice and songs, but now I think the way she lives and everything about her is beautiful.
Could you go into detail about what exactly you admire about her?
The fact that she never relents. No matter what anyone says, she never gives in and always sticks to what she thinks is right. I think it’s really cool how she doesn’t make decisions based whether or not she might go against the grain.
Sometimes it can be hard to stand by your own opinions or how you feel about something. When you’re confronted with such dilemmas, how do you deal with it?
I take Ms. Yano’s words to heart at times like that. I wanted to be like her so much, I asked her one time, “If there’s something I want to do, but there’s this permeating sentiment telling me not to, how do I express myself freely and do what I want, like you do?” She told me, “If there’s something you want to do, keep doing it until the people around you stop saying anything. Then everyone will give up.” Those words have been my mantra since then. So I’m sure behind the scenes of me carrying out whatever it is I want to do, there are probably lots of people who have given up and are exhausted. [Laughs]
Your fields of expression span a variety of genres, including acting, music, and filmmaking. Have you ever felt the influence of being a woman in any of those activities?
To be honest, I’ve never really thought about the influence of being a woman. But when I watch movies or TV dramas, I often find myself thinking that the kinds of roles I’m interested in playing are often played by men. It’s something that’s always really bothered me. Whenever I come across such roles, I think a lot about how I would play it or about other ways that role can be interpreted, and that probably links to my own new creative projects.
In a recent film I appeared in, called The Fish Tale (Sakana no ko), I played the role of a man, Sakana-kun. I was able to do that thanks to director Shuichi Okita’s conviction that it didn’t matter if the character was male or female. It was a role that came my way just when I was thinking about how certain roles are only played by men, so the work is now very close to my heart.
Are there any difficulties specific to playing a male role that are different from female roles?
Differences in physique between men and women are inevitable, so I had to flatten my breasts and add filler to make my body less curvy, but other than that the only thing I did in a conscious way was to study (the real-life) Sakana-kun. I observed things like his movements, tone of voice, and how he emphasizes things so I could portray him naturally, but this isn’t particular to this role and I do the same for female roles, too. I don’t think I did anything different from usual just because the gender of the role was different.
I imagine it’s part of an actor’s job to play roles that say or do things that you actually wouldn’t in real life. When you perform such roles, does it affect who you are?
That doesn’t affect me. If I happen to empathize with some part of a character’s way of life, that might encourage me or convince me that my interpretation is adequate, but on the whole, roles with similar personalities or circumstances to my own don’t come my way. So I think in that sense, I draw a line between the roles I play and my own life.
If you were to give advice to yourself when you were first starting out, what would you say?
That’s hard to answer, but if I must I guess I’d tell myself to fix my posture. [Laughs] I’ve fixed it now, but at the time I wasn’t really aware that I was slouching, so I want to tell myself to straighten up a bit.
Lastly, could you share a song by a female artist that gives you strength?
“Hitotsudake” (“Only One”) by Akiko Yano. The lyrics are mixed with fantasy-like images, but evoke daily life and are heartwarming. It’s a romantic song that makes those everyday things sparkle. From there, the chorus depicting longing for the person they’re singing about hits you right in the heart, and it’s so cool. Ms. Yano’s voice is warm and soothing, but it also stirs up my feelings and excites me. I think this song has all those elements. I often listen to this song in the middle of the night because I tend to feel motivated and more focused and creative at night. It hones my senses and stimulates me so much that I can’t sleep.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan