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Rising singer/songwriter TOMOO spoke with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.
The 28-year-old artist began playing piano from a young age and eventually found joy in writing her own lyrics and singing during junior high. After launching her music career as an independent artist, she signed to a major label in 2022. In this series inviting artists to share their views on the industry’s current landscape, TOMOO carefully articulated her thoughts on her experience during her teenage years that shaped her current view towards gender, her songwriting process and more.
I heard you used to play male roles in school theater before you began focusing on writing songs and singing.
TOMOO: Yes. I went to an all-girls’ school in junior high and high school, and played male roles in the theater club. Since there were only girls around, it was the norm for those with low voices to play the male roles. Back in elementary school, though, the ratio was three boys to one girl, so I had to be competitive to win and used to wish I were a boy. So I willingly played male parts in theater later on. I’d play different characters each time so I studied the “masculinity” of those character by extracting elements from what I’d seen before in other works and by watching a lot of anime. Aside from performing on stage, there weren’t too many opportunities to be aware of gender differences in daily life because of the all-girl environment, so it was hard for me to be a “girly” girl.
That’s interesting how playing male parts in plays helped you become aware of gender differences. Were there any women you admired as a child before entering an all-girls’ school?
I grew up watching Studio Ghibli movies and especially loved San from Princess Mononoke. I thought San was cool because she was like a sharp blade, able to keep Ashitaka in check with her harsh tone like her wolf mother, running around in the mountains and good with a knife. I also admired her emotional intensity. When I was a kid, I was taught to stand up to bullies who tried to pick on me. Maybe the reason I wasn’t the modest type was because of my admiration for San. I guess it’s like that “which comes first, the chicken or the egg” kind of thing.
I can see how that might link to your eventually choosing to play men in plays. Has that ideal changed as you’ve grown older? Do you have any images of women you admire now?
I don’t have any clear vision of the kind of person I want to be gender-wise. I do vaguely want to be someone who knows how to be themselves, who can’t easily be categorized as a woman or a man.
I heard that you decided to get into music after you came up with a song when you were trying to write a letter to a friend and thinking of what to write. It’s a really nice anecdote. Did your thoughts naturally evolve into that song?
I loved playing the piano since I was little, so I used to come up with single phrases of a song while playing melodies just for fun. But that was the first time I wrote a song for someone to hear. It also had a lot to do with the fact that it happened around the time I first came across the music of singer-songwriter Shigi. Her songs were different from the familiar J-pop music I’d heard up to that point in that she expressed her raw emotions in her songs. I was stunned to hear such a way of releasing one’s emotions. That feeling of shock encouraged me to write that letter, and the feelings I wanted to express became a song.
So you performed that song in front of someone for the first time, and that friend encouraged you to pursue a career in music. If you write songs as an outlet for your emotions like you say, how do you reconcile that with the necessity to come up with new material for work?
That happens a lot, actually. The way I do it is, after that key emotional moment, vague feelings gradually build up like drops of maple syrup being collected from a tree to become a song when it’s full. That’s one way I write songs now, and another is working off of seeds of ideas that I have saved up but not yet made into a song. I majored in psychology in university and think I’m more able to objectively analyze the subtleties of the human mind now. For example, when there’s friction in a relationship, I now have the perspective to calmly and deeply read the situation and think, “There must be a reason for this reaction,” and this also helps my songwriting.
You gained the means to express your emotions through music, and also gained the ability to observe the human mind from a psychological point of view. Do you think being a woman has any influence on your songwriting and music career?
I can’t think of any ongoing influences, but when I was just starting out, I was told that my voice was too low although I wrote good songs. They said it was hard to succeed in the J-pop mainstream with my voice, so I should try singing in a higher key. This was more than a decade ago, but I remember thinking at the time that they wouldn’t have said it to a guy and that maybe they placed importance on being cute because I’m a female singer-songwriter.
Your resonant alto voice is what sets you apart, so it’s surprising to hear you were told to change that distinctive feature. How did you react to that?
Actually, through vocal training and years of experience, my key is higher now. But at the time, I gave up trying to change things like the strength of my voice and character because I figured, ”I can’t do what I can’t do.” [Laughs] I wanted to spend more time on what I was feeling at the time rather than waste it trying to change direction like I was told. My hands were full with what I had to do and I couldn’t be bothered with that. I’ve continued to express myself in my own way, and it’s so much easier now that I have fans who are happy to accept who I am. And now there’s a whole new range of female vocalists in the J-pop music scene, so I’ve realized that trends change with the times.
You’re right, a lot of J-pop artists these days don’t reveal their faces or gender. It feels like things have changed so much in the last decade.
I know, right? Back then, I wasn’t sure where to categorize myself, and I think that person’s comment was meant as advice to help clarify where I could be filed under. The name TOMOO is gender neutral and I still get a lot of comments from people who hear my voice and assume I’m a guy. But I’m glad about that. In the music video for my song “Yoake no kimi e,” I sing wearing a jacket and pants. The director saw some videos of my live performances and took note of my manly… Well, “manly” isn’t the right word… gender-neutral way of expressing myself, and I think the music video captures what I’ve always wanted to do.
Your audience has probably changed dramatically since you made your major label debut. If you were to give advice to yourself before you were signed to a major label, what would you say?
When you have no idea what you’re doing, you may think that the words and evaluations of those who tell you to do things a certain way will have lasting effects. But it goes without saying that trends change with the times. So instead of worrying about how other people want to categorize you, you should care more about what you like and what you see. You don’t have to aim for perfection, just don’t let your eyes get clouded.
–This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
YOASOBI’s “Idol” continues to steadily break its own record as it logs its 21st consecutive week at No. 1 on the Billboard Japan Hot 100, dated Sept. 6.
The music video accompanying “Idol” sailed past 300 million YouTube views on Saturday (Sept. 2), and the song has racked up 400 million total streams as of Wednesday (Sept. 6), breaking the record for fastest to hit the milestone.
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While falling slightly in downloads (3-2 with 8,202 units) and radio airplay (20-27), the Oshi no Ko opener still sits at No. 1 for streaming (11,816,572 weekly streams), video views, and karaoke.
SixTONES’ “CREAK,” the theme of the drama series Knockin’ on Locked Door starring member Hokuto Matsumura, debuts at No. 2 on the Japan Hot 100 this week. The latest single by the six-member group sold 471,285 CDs in its first week after dropping Aug. 30, ruling physical sales. The track is off to a good start, coming in at No. 2 for radio and No. 5 for video.
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At No. 3 is Nogizaka46’s “Ohitorisama Tengoku,” which soared to No. 2 last week after launching with over 700,000 CDs. The single sold 65,606 copies this week and hits No. 2 for sales, boosted by a campaign that offered a chance to win autographed copies. The girl group’s latest single moves 20-29 for downloads (1,732 units), 35-54 for video, 26-10 for radio, and 74-78 for streaming on this week’s tally, keeping the song in the top 3 on its second week after release.
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King Gnu’s “SPECIALZ” bows at No. 4 on the Japan Hot 100. The opener for the Shibuya Incident story arc of the TV anime series Jujutsu Kaisen dropped digitally on Sept. 1 following the anime’s premiere the day before. The latest track by the popular four-man band rules downloads with 28,311 units while coming in at No. 6 for streaming (5,980,562 streams) and No. 75 for radio. The CD version dropped Wednesday (Sept. 6), so the track is expected to perform well again on next week’s song chart.
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Another Jujutsu Kaisen-related track, Tatsuya Kitani’s “Where Our Blue Is,” rises 7-5 on the Japan Hot 100 this week. The track is currently at No. 2 for streaming (8,277,423 streams), No. 7 for downloads (5,457 units), No. 6 for video, No. 57 for sales, and No. 59 for radio. The song has remained in the top 10 of the Japan Hot 100 for the ninth straight week, peaking at No. 2 for two of them.
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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 Aug. 28 to Sept. 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
American singer, songwriter and dance producer Porter Robinson, from North Carolina, is a huge fan of Galileo Galilei, a rock band that hails from Japan’s Hokkaido region, and the tremendous influence they’ve had on his own expressive approach is well-known. Porter recently performed at Tokyo’s Toyosu PIT, one of the shows of his first Japanese tour in five years, and as soon as the curtain fell, he was finally able to meet Galileo Galilei and play with them for the very first time. The atmosphere in the studio, as they bounced ideas off each other, was intense, brimming with mutual affection and respect.
In the studio, Porter and the four members of Galileo Galilei were deep in discussion in the control room. Going into the studio session, Galileo Galilei had prepared a track and sent it to Porter. Porter had put his own spin on the track, and brought the results with him. The five of them were listening to the music and talking about what direction to take the song. The theme of the session was “Circle Game,” one of Galileo Galilei’s most famous songs, released in 2013 as the theme song for the movie Anohana: The Flower We Saw That Day. Porter adores the song. His track uses elements of “Circle Game,” but mashes it up with the essence of another of Galileo Galilei’s famous songs, “Aoi Shiori” (which was also the opening theme for the Anohana television anime series). The choice of the song provides a taste of the esteem Porter has for Galileo Galilei.
The five musicians kept on talking about Porter’s track. Guitarist and vocalist Yuuki Ozaki was deeply stirred by what Porter had come up with. Ideas flew back and forth — “what about adding some piano in here?” “I think maybe we could get rid of the outro,” “what should we do about the bass line?” The song changed, little by little, with each suggestion, remaking the song in real time. The process wasn’t one of everyone coming together to cover a song, but more like Porter had become a member of the band, and they were all creating a new song together. To be honest, when I first heard they’d be working together, I imagined a more laid-back, easy session. An artist was coming to Japan for the first time in years, meeting a band of which he was a huge fan for the first time ever. He’d probably join them in playing some of their standout songs — and that alone would still be a tremendously fulfilling experience. But Porter and the band had developed a powerful friendship over the years, online and through their music. The bond between them was far too strong for a mundane jam session like that.
After careful preparation, they began to play. The full-band sound of Galileo Galilei overlapped with Porter’s piano intro, and the song progressively became more involved and colorful. Yuuki’s delicate vocals intertwined with Fumito’s chorus and were joined by Porter’s singing, altered with effects. While the original “Circle Game” had a somewhat innocent and straightforward feel, over time, Porter’s additions transformed it into something more dynamic and emotional. Perhaps “transformed” is the wrong word — it felt like it had been that way from the start. The “Aoi Shiori” phrases that could be heard toward the end of the song, and the vocal samples from Porter’s own “Something Comforting” and “Trying to Feel Alive” were a testament to the powerful bonds between Porter and Galileo Galilei, and to Galileo Galilei’s musical history.
After finishing their first take, the five talked about their performances. Porter, an embarrassed expression on his face, blurted “I messed up.” Finding himself finally together with this band of which he was such a fan, he shouted, “I’m so nervous!” The studio burst into laughter. According to Porter’s tour manager, this was Porter’s first time taking part in a studio session with a band. Although he has performed with a live band onstage, playing in the confined space of a studio puts you under a different kind of pressure.
After awhile, they started into their second take. The mood was more relaxed than the first take — you could even feel the change in mood through the control-room speakers. Perhaps it was Porter’s previous exclamation that had broken up the tension in the studio. Whatever the case, it was a wonderful performance. “Circle Game” was written over a decade ago, but this fresh, modern spin made it feel new again.
After the second take, Porter drew out his smartphone and started taking selfies. He says that the session felt like being in a dream, so he wanted to capture the scene for posterity. This experience, which Porter had long dreamed of, had become a reality, and as the musicians melded their parts, the mood in the room changed. The five were communicating in a way that only musicians can. They began their third take. With each take, the sound became more lively and relaxed. Although they were playing the same song, arranged in the same way, the way the musicians felt completely changed the tone of the song. Just as I was reflecting on this, the session came to an end. All five of them beamed with satisfaction.
On behalf of Billboard Japan, writer Tomohiro Ogawa spoke to Porter Robinson and the four members of Galileo Galilei following the session.
How did it feel performing together here today?
Porter: During the second take, there was a point where I was about to cry. Just looking at Yuuki, it brought back memories of when I saw the “Aoi Shiori” music video a decade ago. It was really like a dream come true.
Yuuki Ozaki: That makes me so happy to hear. For us, too, it was like being in a dream. I didn’t feel nervous, it was more like I was walking on air, my head in the clouds. I’m so happy to hear it felt the same for you, too.
Kazuki Ozaki: I’ve always been a fan of Porter’s, and since I first learned about him, I’ve been imitating him, buying all kinds of equipment (laughs). It was a really wonderful day for me.
Fumito Iwai: Today really reaffirmed the power of music for me. This was all new for Galileo Galilei — connecting with an artist from another country, on a song that spanned the years, and creating something so wonderful. It was like we’d opened a new door, or got a glimpse of a new world.
Yuuki: It was a really stimulating experience.
Iwai: I almost lost it. We’re currently working on new music, but I feel like we’ll be able to use this experience in our new music, and in our live performances, too. It was like I got a peek at uncharted territory, something that’s clearly going to have an influence on our future musical activities.
Masaki Okazaki: For me, too, it was walking on air (laughs). I’ve watched videos of Porter’s live performances, and I’ve been really influenced by his music. I never expected to have this opportunity, and it still doesn’t really feel real. But there’s no doubt that this is going to be a precious memory I carry with me throughout my life.
Watching your session, it felt like “Circle Game” was reborn — or like it was given new life. The addition of Porter made you feel like a different band. It was like the five of you had already been playing together for a decade.
Porter: I’m glad you think so. I’ve been listening to them for such a long time, but I never imagined that they were inspired by what I was doing. I had no idea until today.
Yuuki: Today, the way we were playing together and exchanging ideas — it didn’t feel like our first time playing together.
Iwai: Yeah, I felt like there were a lot of similarities between us.
Yuuki: I really felt like we had the same feel, the same kind of tone, which came through in every little gesture and every musical expression. It was really moving, and it filled me with so much joy. Also, we all really love Porter’s music, and he’s been a constant influence on warbear, BBHF, and Galileo Galilei. To be honest, I imitate him a lot. Today’s session provided me with a better understanding of what draws me to Porter Robinson as a musician, and I think it was a wonderful chance to compare notes. When we started today, he asked us so many questions. He asked why Galileo Galilei broke up and why we’ve reformed. I think that’s because he wanted to get a proper sense of what the band feels like now. He makes music from the heart, and that really came across today. I found it very moving.
Porter: One of the things I truly believe is that in your life, every few years, you’ll come across something that changes your perspectives forever. It could be a movie, it could be a band, it could be travel, it could be a change of environment. For me, those moments are indescribably precious. That’s why I want to express my profound gratitude to them, for being such tremendous inspirations, providing me with such joy, and creating music that completely changed my perspectives. I hope that we can continue to work together in the future.
–This article by Tomohiro Ogawa first appeared on Billboard Japan
YOASOBI’s “Idol” has now logged its 20th week atop the Billboard Japan Hot 100, holding the position consecutively since it first debuted on the chart dated April 19.
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On the latest list dated Aug. 30, the Oshi no Ko opener falls 2-3 for downloads with 9,271 units sold and 18-20 for radio airplay, but still dominates streaming (12,393,052 streams), video views, and karaoke. The duo has been busy with festival performances over the summer and maintains momentum, adding another week to its unprecedented stay at the summit.
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Soaring 39-2 on the Japan Hot 100 is Nogizaka46‘s “Ohitorisama Tengoku,” released Aug. 23. The girl group’s 33rd single sold 713,642 copies in its first week, off to a much better start than the previous one, “Hito wa Yume wo Nido Miru,” which launched with 663,277 copies. The new single was mostly powered by physical sales (No. 1) and comes in at No. 20 for downloads (2,651 units), No. 26 for radio, No. 74 for streaming, and No. 35 for video.
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Three of the four debuts this week on the top 10 are by new groups born from “iCON Z,” the biggest audition in the history of LDH, home of EXILE and many other popular bands. WOLF HOWL HARMONY’s “Sweet Rain” bows at No. 3, THE JET BOY BANGERZ’ “Jettin’” at No. 4, and KID PHENOMENON’s “Wheelie” at No. 5.
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There was a difference of over 1,373 points between “Sweet Rain” and “Jettin’,” with the former selling 73,524 copies to come in at No. 5 for sales while also ruling radio. “Sweet Rain” also came in at No. 32 for downloads (1,804 units), No. 84 for streaming, and No. 45 for video. Meanwhile, “Jettin’” sold the most CDs of the three new bands, launching with 91,271 copies. The track comes in No. 3 for sales, while “Wheelie” sold 84,185 copies to come in at No. 4 for the metric. Both tracks ended up bowing in their respective positions below “Sweet Rain” on the Japan Hot 100 due to lack in points in the digital metrics.
The fourth debut on the top ten this week is the Japanese version of “UNFORGIVEN” by LE SSERAFIM at No. 6, featuring Nile Rodgers and breakout J-pop songstress Ado.
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IMP.’s “CRUISIN’” jumps 53-8 this week after being released digitally Aug. 18. The TOBE act’s debut single is off to a great start, ruling downloads (21,801 units) and coming in at No. 2 for radio and No. 5 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 Aug. 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
YOASOBI’s “Idol” scores its 19th consecutive week at No. 1 on the Billboard Japan Hot 100, dated Aug. 23, extending its all-time record for most weeks atop the chart again.
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The duo headlined Japan’s Summer Sonic music festival over the weekend, closing out the Mountain Stage lineup in both Tokyo and Osaka. The “Monster” pair also entertained fans with its “Traveling Bookstore YOASOBI,” a collaborative endeavor with the mobile bookstore BOOK TRUCK, set up in the food area of the festival grounds.
On this week’s chart tallying the week ending Aug. 20, downloads for “Idol” slips to No. 2 (10,631 units), but the long-running hit continues to dominate streaming (13,100,852 weekly streams), video views, and karaoke. The Oshi no Ko opener also climbed 24-18 for radio, and while gradually losing points overall, the total continues to best the song at No. 2 by about 1.7 times.
Tatsuya Kitani’s “Where Our Blue Is” holds at No. 2 this week. The Jujutsu Kaisen Season 2 opener continues to improve in karaoke, jumping 62-37, and collected points in a balanced way: holding again at No. 38 for sales, No. 2 for streaming (9,232,884 streams), and No. 6 for video, slipping 3-4 for downloads (7,562 units) and 32-95 for radio.
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Bowing at No. 3 is Kazuya Kamenashi’s first solo single in four years called “Cross.” The track launched with 105,544 copies to hit No. 1 for sales, and is off to a good start coming in at No. 22 for downloads and No. 40 for radio.
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Gen Hoshino’s “Life” debuts at No. 7. The superstar singer-songwriter curated the Beach Stage at Summer Sonic in Tokyo on Saturday (Aug. 19), highlighting and collaborating with such artists as Jacob Collier, UMI, Camilo, and Sam Gendell. His latest track rules downloads (13,713 units) and radio this week, while hitting No. 38 for video.
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Another debut on this week’s Japan Hot 100 is Colorful Diamond’s “Amakyun,” bowing at No. 5 after selling 76,514 CDs in its first week.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Aug. 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
J-pop boy band IMP. dropped its debut single “CRUISIN’” on Friday (Aug. 18). The rookie seven-member group consisting of members Yuki Yokohara, Shunsuke Motoi, Takuya Kageyama, Taiga Tsubaki, Taiga Suzuki, Arata Sato, and Minato Matsui announced last month that they would sign with TOBE (“to be”) to pursue new forms of entertainment at the agency. […]
BABYMETAL is now back to being a trio since April after MOMOMETAL officially joined longtime members SU-METAL and MOAMETAL. Japan’s metal sensation recently dropped a new song called “METALI!!” featuring Tom Morello of Rage Against the Machine. The latest single celebrates the new lineup with a hyped-up, chaotic track graced with the inimitable presence of the legendary RATM guitarist’s performance.
Since May, the band has toured the U.K. and Europe with Swedish rockers Sabaton, headlined shows in Asia and Australia, and is set to travel to North America for a tour spanning from the end of this month to October. BABYMETAL has also been making headlines for its featured appearance on Lil Uzi Vert’s song “The End” from his new album Pink Tape released in June. In this brand-new interview, the three members of BABYMETAL chatted with Billboard Japan about their new track, tours, collaborations and more.
BABYMETAL just dropped “METALI!! (feat. Tom Morello)” as its first release since becoming a trio again. Tell us what you thought when it was completed.
SU-METAL: I think we’ve created a fun, yet solidly mature, very BABYMETAL number that’s bound to make people go, “What the heck?” I’m sure people will be hyped to hear it at our shows, so right now I’m just looking forward to performing it and seeing how everyone reacts to it.
MOAMETAL: I’m really looking forward to performing this song live. It’s been a while since we’ve had an upbeat track like this, so I’m glad this is our first song under our new lineup. Also, Tom Morello played on this song for us so it’ll always be close to our hearts.
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MOMOMETAL, this is your first song as BABYMETAL. How do you feel about it?
MOMOMETAL: I thought this song was awesome from the moment I heard the intro. I’m glad my first song (as BABYMETAL) is one that makes me excited just by hearing it. The choreography also has a lot of interesting moves, so I’m looking forward to performing it.
Tom Morello’s guitar also has a strong presence in this song. What was your impression of his guitar sound?
SU-METAL: I think it really matches the chaotic vibe that “METALI!!” has. BABYMETAL is a group that has surprised people in a “What the heck?” kind of way, and this song is like the good parts of “PA PA YA!!” and “Megitsune” combined. So I’m sure our fans will find it familiar in a way, but the vibe changes drastically in the second half and it’s like the sonic equivalent of a bucket of fluorescent colors being splashed all over the place. We thought we’d updated the BABYMETAL sound in our own way, but the addition of Tom Morello’s guitar draws out a new “What the heck?” element from it. He really is such a legend.
MOAMETAL: I’ve listened to Rage Against the Machine’s albums and always thought his guitar was so cool. I’m really glad to have someone like that involved in our music, and it’s exciting to think how this collaborative circle could keep expanding like this.
You were in charge of the spoken part of the song, MOMOMETAL. What was that like?
MOMOMETAL: I got into character and just ran with it. I focused on the intonation and spent a lot of time on the recording to make it interesting and to enhance the image of the song.
Since May, you’ve toured the U.K. and Europe with Sabaton, then headlined shows in Asia and Australia on a tour that took you to many countries. The itinerary alone must have been grueling, but what was the experience like?
MOAMETAL: This is the hardest tour schedule we’ve had in 13 years of our career. We’ve been so busy since we became a trio again and haven’t had time to be idle, but I’m happy we don’t have to stop and happy there are people out there who want to see us.
SU-METAL: Touring is a lot of work to be honest, but I always wanted to sing (while on hiatus from performing live), so it’s so much fun to be able to sing every day. I’ve been touring with MOAMETAL like we’re family, and MOMOMETAL has been able to fit right in. I think the three of us are great together, and hope we can continue to work like this for a long time to come.
MOMOMETAL: It was a period when I discovered the things I needed to improve on because there were so many shows. It was a tough tour, but the experience of getting through it helped build up my confidence.
Tell us about your tours. First, how was the U.K. and Europe tour with Sabaton?
SU-METAL: I was really happy to be able to see Sabaton live every day. I think their music is meant to be seen live, in that it’s a kind of composite art. That aspect is similar to BABYMETAL, so I learned a lot from them and it was really fun touring with them.
What about Asia and Australia? What stood out from those shows?
SU-METAL: Indonesia was especially amazing. The crowd was so enthusiastic, it was hard to believe it was our first headlining show there. Everyone sang all my parts. They were so loud I was sure they’d go hoarse and I could tell from their intense gazes that they didn’t want to miss a single moment of the show. They were trying to enjoy the space with all of their senses. They gave us so much energy, and even the members of our crew, who were a bit tired after the tour with Sabaton, were invigorated afterwards. It was amazing.
MOAMETAL: I was surprised that those big venues in Australia were packed. We hadn’t been able to visit before and the fact that there were so many people waiting for us to come made me think we’ll be able to meet even more people in other parts of the world. I definitely want to tour Asia and Australia again.
MOMOMETAL: I had a lot of fun performing with F.HERO in Thailand. It was so cool seeing him rap live. Everyone had such a great time and the song was over too soon. It was a memorable moment.
From the end of this month to October, you’ll be touring North America for THE BABYKLOK TOUR 2023 with DETHKLOK, and have a few festival appearances lined up. What are your thoughts on these upcoming shows?
SU-METAL: This is the year we go and meet our fans around the world as the new BABYMETAL. We’re so happy to be able to perform in larger venues than the ones in our previous North American tour, and look forward to seeing everyone there. Also, the timing coincides with our collaboration with Lil Uzi Vert and it feels like that expanded our fanbase again. I hope this tour will be a great opportunity for people who see us for the first time to get to know what BABYMETAL is all about.
That collaboration with Lil Uzi Vert came as a surprise. How did you feel when you were first asked to do it?
SU-METAL: I couldn’t believe it and was like, “This can’t be true.” Apparently he really likes BABYMETAL and told us he wanted to introduce his favorite music so we could do whatever we wanted. It was a new challenge for us and we went wild with it.
MOAMETAL: He also collaborated with Bring Me the Horizon on that album, and I thought, “Wow, he really does like metal.” I want to hang out with him.
You also collaborated with Bring Me the Horizon on “Kingslayer feat. BABYMETAL” from their 2020 project Post Human: Survival Horror. To reiterate, you’ve collaborated with the likes of Tom Morello, Lil Uzi Vert, and Bring Me the Horizon, meaning you’re linked to such top artists from around the world in various genres. It’s a fascinating situation from an objective standpoint, but what do you make of it all?
MOAMETAL: Maybe because we’ve collaborated with artists from various genres, more people outside the metal world have heard of us now. I had the opportunity to see Backstreet Boys live overseas and they knew about us. Our collaborations have gradually been giving us confidence that BABYMETAL is helping to connect metal and other genres, if only just a little.
SU-METAL: Up until recently, BABYMETAL aimed for recognition from metal fans. We respect metal music, but were trying to create a new movement within the genre. Having done that for a decade, it now feels like BABYMETAL is exploring a new genre of music. We want to keep expanding our collaborative ties with various different artists.
It does look like the metal genre has become revitalized lately. A lot of artists are starting to do things that aren’t bound by conventional concepts. BABYMETAL is in sync with this trend. Any thoughts on this phenomenon?
MOAMETAL: It’s true that there’s been a big generational shift and the people who were considered young are now leading the way, and I find that interesting. And I’m also awed by the open-mindedness of the legends who recognize these young artists. The way metal is accepting of various other genres makes me love it even more.
SU-METAL: When we toured Asia and Australia, we noticed that our fans were really young. A lot of them seemed to be enjoying the music more casually. When we started BABYMETAL, we wanted people to enjoy metal music in a more pop, casual way and to be a gateway to the genre, so I hope that our existence has been a bit influential in that respect.
—This interview by Tomonori Shiba first appeared on Billboard Japan
YOASOBI’s “Idol” extends its record-breaking streak at No. 1 on the Billboard Japan Hot 100 on the chart dated Aug. 16, now at 18 consecutive weeks atop the tally.
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Ayase and ikura of YOASOBI are keeping themselves busy performing at a different music festival each weekend this month — after returning from performing at 88rising’s Head in the Clouds in Los Angeles, the pair took the stage at the Rock in Japan Festival on Aug. 13 as the headlining act closing out the five-day event, and are set to headline Summer Sonic on Saturday (Aug. 19) as the last act to hit the Mountain Stage.
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“Idol” continues to rule downloads, streaming, video views and karaoke although it’s on the decline in terms of overall points. The Oshi no Ko opener slips 17-24 for radio but total points add up to around 1.7 times the track at No. 2 on the Japan Hot 100.
Tatsuya Kitani’s “Where Our Blue Is” climbs 4-2 this week after the rising singer-songwriter performed the Jujutsu Kaisen Season 2 opener at Rock in Japan on Aug. 10. The track holds at No. 3 for downloads with 10,149 units and rises 3-2 for streaming with 9,982,812 weekly streams. The song is faring well in all but radio this week: staying at No. 38 for physical sales, rising 8-6 for video, 74-62 for karaoke, falling 27-32 for radio.
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Jung Kook’s “Seven” featuring Latto continues to hold at No. 3. The track falls 14-17 for downloads with 2,940 units, 2-3 for streaming with 9,808,590 streams, 9-16 for radio, and holds at No. 3 for video.
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Two songs debut in the top 10 this week. Kanjani Eight’s “Okami to Suisei” (Wolf and the Comet) bows at No. 4, selling 150,848 copies in its first week after dropping Aug. 9. Meychan’s “Enjoy,” written by Yuzu’s Yujin Kitagawa, launches at No. 6 after hitting No. 4 for streaming with 9,025,257 streams, boosted by an online event and a campaign to win autographs and other prizes.
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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 Aug. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
QUEEN BEE’s “Mephisto,” the ending theme for the smash hit anime 【OSHI NO KO】, has itself become a long-running hit song. The video for “Mephisto” performed by “Avu-chi, the Idol from Hell” on the YouTube channel THE FIRST TAKE reached 4.57 million views in less than a week.
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The heart of QUEEN BEE, vocalist Avu-chan, who is responsible for both the lyrics and the music to “Mephisto,” spoke with Billboard Japan for the first time. In this wide-ranging interview, she discusses 【OSHI NO KO】 and “Mephisto,” performing in a band, and QUEEN BEE’s full-fledged start as global band.
“Mephisto” is the ending theme for the anime 【OSHI NO KO】, and the song has become quite the hit.
Avu-chan: I think the anime introduced a lot of people to “Mephisto,” but even more than that, I think there were people who had heard of QUEEN BEE before, and “Mephisto” reinforced for them what a tremendous band we are. It was wonderful that Aka Akasaka and Mengo Yokoyari, who created the original manga, and the creators of the anime all supported us in handling the ending theme. It’s a strange feeling, like they recognized and validated the approach we take to life.
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The new song has given people an opportunity to see what an amazing band you are.
Avu-chan: Right. Just look at how many people are listening to our music. We’ve lit the flame of QUEEN BEE and kept it burning, and now we’ve been given this opportunity by something even bigger than us. But we’re not going to burn out, and we’re not aiming to fan these flames in new directions, working toward some new goal. We’re not going to allow ourselves to get swept away, we’re just going to quietly keep pushing forward.
Without getting anxious or restless.
Avu-chan: We knew that we could achieve synergy by pairing up with 【OSHI NO KO】. We’re very grateful for that. However, in the end we just want to do what we think is interesting — what we find wonderful. That’s going to be the path we continue to follow in the future. All that said, I’m amazed that “Mephisto,” which is just brutally honest, has been so widely accepted. It’s not just about idols, it’s about every kind of work. It’s about how we stake our lives on our work, how once you start there’s no turning back. It tells these truths in uncouth, unvarnished words. If people are enjoying it by making vocal covers and dance videos, I don’t know what to say.
What are your impressions of 【OSHI NO KO】, which recently aired its final episode?
Avu-chan: I think it’s wonderful how the original creators of the comic have enjoyed the anime adaptation, which has become a social phenomenon. But what 【OSHI NO KO】 is really depicting is a serious message of social reform, set on the stage of the entertainment industry. It’s so ironic that it became a hit overseas and people are like “Japan is so fascinating.” I guess one saving grace, in a way, is that the people who made it are brimming with love, and that our own music is part of it.
The love and passion the creators feel for their work is making the serious message of social reform into a hopeful message.
Avu-chan: Right. There are people who, when they talk about the entertainment industry, are like “Your job is being on stage, so you need to just grin and bear it.” They want to treat the entertainment industry as if it’s an anomaly. 【OSHI NO KO】 is directly challenging that idea, saying “This is a story that relates to everyone.” I think it challenges the viewers. But there are a lot of people who aren’t seeing it as a battle, which may be a reason for its popularity.
“Mephisto” is the name of a demon in German folklore, and appears in Goethe’s drama Faust. I’ve heard that you developed the concept of the song some time ago.
Avu-chan: From the time of the decision for the tie-in, I thought that the theme of “Mephisto” would be a great match for the anime. I was sure the anime would be great, and I was so confident that I cried with joy on being selected to provide the ending theme. I drew the motif from Goethe’s Faust, and I was influenced by authors who richly depicted the doings and passion of people — authors like Go Nagai, who I’ve enjoyed since I was little, and like Yukio Mishima and Shakespeare. I think those sensibilities lie at the heart of “Mephisto.”
So you’re expressing the doings and passion of people through music.
Avu-chan: I feel the same kind of passion in 【OSHI NO KO】 as I feel in the works of those authors, so “Mephisto” was a great fit for it. However, the music drew on that passion more than it drew on any specific information about the anime, so I didn’t think that many people would realize the intent behind it.
If you look at YOASOBI’s “Idol” as broadening the world of the anime, it would seem to me that “Mephisto” deepened it.
Avu-chan: Thank you for saying that. Drawing out context from a work of art — that’s our specialty. YOASOBI and QUEEN BEE have really just blown the lid off this! (laughs) I don’t think if this would’ve happened if our musical styles hadn’t been so different.
I’d like to talk to you for a moment about the band as a whole. You performed two live shows in the U.S. this April. Do you have your eyes set on establishing a full-fledged global presence?
Avu-chan: We hadn’t originally been thinking about that. I love the Japanese language and I’ve always felt it was important to sing in Japanese, so starting all over from the ground up, writing lyrics in English — that’s a decision I’ve struggled with.
Sure, but the situation in the North American market is changing. Song lyrics used to have to be in English to be successful, but now it’s no longer that hard to compete even when singing in your own native language.
Avu-chan: True. When we played in America in spring, I started to think that the passion and strength of Japanese could serve as our passport. We performed in Seattle and Los Angeles, and when we put on the kind of show QUEEN BEE usually does, the venues went wild.
Even though there were a lot of people who didn’t speak Japanese?
Avu-chan: Right. And another thing that people who praised the show all mentioned is that the audience had people of all races. There were senior citizens and little kids, and looking at how much fun everyone had, I thought “QUEEN BEE really needs to go international.” Of course, succeeding in Japan is itself no easy matter. However, I recognize that I myself am a melting pot of races. At the two shows, I got a glimpse of just why I should be performing to overseas audiences.
You want to be someone who stands on stage surrounded by people of every race.
Avu-chan: I just bare my heart for all to see. I think overseas success is still a major challenge, but I hope to stir up some chaos on a global scale.
Is there anything that you’d change in your efforts to go global?
Avu-chan: If I changed anything, people would notice immediately. In our case, if you change yourself in order to curry popularity, then you’re left with nothing. We don’t want to use that kind of marketing approach.
Because that wouldn’t be true to QUEEN BEE.
Avu-chan: I’d like to think that we just can’t do things like that, and that’s one of our strengths.
I’ve heard that you already have plans for future overseas shows.
Avu-chan: Decisions about overseas shows are starting to get made, so in the future I think we’ll be playing abroad more and more.
In Japan, you’ve got plans to perform in festivals and events, and in November you’ve lined up a performance hall tour, “Juni-jigen + 01.”
Avu-chan: We’ve decided how we’re going to present ourselves in our shows, so now we’re working on internalizing that at the physical level. There’s a lot we still want to do, and we’re always thinking about what challenges to take on next. I feel like we have to keep updating ourselves, stimulating our own cycle of creativity, shedding our skin. If we don’t, we’ll die. I wonder what kind of beast we’ll have become at the end of this transformation.
It’s like QUEEN BEE’s own theory of evolution.
Avu-chan: The end result of evolution is collapse, so what I’m talking about isn’t quite evolution. What will lie at the end of this cycle of metabolism? I’m not going to hazard any specific guesses, but I’m really looking forward to seeing how it all turns out.
I’m sure there are a lot of people who are encouraged by how QUEEN BEE refuses to simply be satisfied with how things are, but instead is always taking on new challenges.
Avu-chan: Looking back, from two or three years ago until just recently, there were no discussions about tie-in songs. But even during that time, we were making our own music videos and keeping our focus on QUEEN BEE in all that we did. I think that all combined to put us where we are today. Right now, people are enjoying “Mephisto,” but I don’t see this as our peak. No matter what the situation, we’re just going to keep being on stage — that’s what we’ve made up our minds to do.
—This interview by Itsuki Mori first appeared on Billboard Japan
Japanese dance and vocal group ONE N’ ONLY dropped its new song “EVOL” digitally on Wednesday (Aug. 16). The latest track is an upbeat, passionate reggaeton-flavored number fitting for where the ever-evolving band currently stands.
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Billboard Japan chatted with the six members of the group celebrating its fifth anniversary this year — HAYATO, REI, TETTA, NAOYA, EIKU, and KENSHIN — about “EVOL” and also asked them to share their impressions from the group’s headlining Brazilian tour from earlier this year.
You toured Brazil this spring and performed for your fans there at last. Could you share your thoughts on the trek?
HAYATO: We were really happy to be able to go there to do our own shows instead of being part of a bigger event. We came up with a setlist with about the same number of songs as we do in Japan, and spoke to our audience completely in Portuguese. But when we first decided to tour three cities in Brazil, we weren’t sure just how many SWAG (ONE N’ ONLY fans) would be there. It felt so moving on our first day of the tour in Sao Paulo when we saw the faces our fans, knowing so many people had been waiting for us to come.
REI: Their reactions were amazing too, weren’t they?
HAYATO: Yeah. Everyone reacted so enthusiastically to what we did onstage. Everyone sang and danced and all those reactions were just awesome, so it was a lot of fun to do.
What about you, TETTA?
TETTA: To tell you the truth, I’m not completely used to performing live yet. [Laughs] I guess I’ll just have to keep doing it to feel truly comfortable with it. It was such a great experience, though, and I really felt the energy of the people of Brazil. SWAG in Brazil were so energetic and I couldn’t outdo them in that regard! I’ll do better next time!
HAYATO: Yeah, they were so full of energy.
NAOYA: I got injured a few days before we left for Brazil and couldn’t be a part of our performances. But everyone over there gave me such a warm welcome and I felt what a generous country it is. I actually wasn’t sure until shortly before we departed if I could come along or not, so I was so glad to have been able to be a part of it. And the band members all stepped up for me so I really appreciate them.
At what point did you feel they stepped up for you?
NAOYA: I had a chance to see them performing onstage when I couldn’t join in, and felt so proud to see the five of them commanding the stage with such vitality. Our SWAG had such power and passion, too. They let us know they were having a lot of fun, just like we thought they would!
EIKU: I thought it was a country overflowing with love. There was no reserved seating in the venues we played in, and everyone ran to grab the seats up front. When I saw that, it really hit home just how much our fans love us. Oh, and whenever one of our crew members crossed the stage before we went on, the crowd made so much noise!
HAYATO: Oh, yeah! Our crew was so pleased about that.
EIKU: Yeah. They went up there about four times on purpose and seemed to revel in all that attention. [Laughs] Each of the three cities we visited had different vibes and that was fascinating, too.
KENSHIN: When you stop and think about it, being able to tour on the other side of the planet is such an amazing thing. We had a special place in our hearts for Brazil, and it was such a happy feeling sharing the same space with our SWAG in that country.
You had two Portuguese-language songs in your set. Were your fans excited to hear them?
KENSHIN: They loved those the most! The way they expressed their excitement was awesome. But they were also hyped about our Japanese songs as well, so I felt that our songs were getting through to the audience. I’d love to visit again.
REI: Everyone was so upbeat! Their reactions to every single thing we did were just awesome and it was a lot of fun.
The group’s new song “EVOL” dropped this month. It’s also a really upbeat number.
HAYATO: I wish we could have performed this one during our Latin American tour!
Sounds like it would have been a lot of fun! Did you start discussing what kind of music to release next around the end of your 5th anniversary tour?
HAYATO: Yes. We’ve gone into depth about the concept for each song we’ve been releasing lately every time we produce a new one. For this we decided to come up with a summery track and incorporate a Latin flavor as one of the group’s new distinctive styles. It turned out to be a song with a catchy chorus over Latin and reggaeton beats, which suits us.
REI: When I first heard it, it took me by surprise because I’d never heard anything like it before. But I knew we’d able to express it and that we were the ones who could do it justice because of where we currently are as a group right now.
KENSHIN: I’m in charge of the opening lines and the rap part of the second verse. The track is built to hype people up and plunge them into the music. The sultry vibe of the second verse also has a summery feel to it, so I hope people enjoy that.
You’ve all probably matured as you’ve grown older since you first got started. Which member do you think has changed the most in that regard?
REI: I think EIKU is more attractive now.
TETTA: I know what you mean! EIKU is the youngest and it’s like he’s upgraded. First of all, he’s bigger in physique. Which means his style of dancing has changed and he has a man’s face now.
HAYATO: He’s gone from cute to cool.
REI: EIKU is probably the one who’s changed the most both externally and internally. He used to be the quiet type before, but now he steps forward a lot more.
TETTA: Oh, I know! That’s probably because he changed his bangs and began parting it in the middle. And then he changed again by dyeing his hair and stuff. By the way, I was the one who said he’d look better if he parted it like that.
So you’re saying he changed thanks to you?
TETTA: Yeah!
REI: Why do you always try to take credit for everything? [Laughs]
TETTA: I’m the type who says, “I knew them before they were big” more than anyone! [Everyone laughs]
EIKU, are you aware of these changes they’ve pointed out?
EIKU: I guess I am. I think the changes in the kind of songs we do now might have something to do with it, but I do think I express myself differently now… from around when I began parting my hair down the middle. [Laughs] I also study videos of other people performing in different ways.
What will the choreography for the new song be like?
NAOYA: We just began learning the moves. MONA, the choreographer who came up with the dance for Na-Yeon from TWICE’s “POP!,” is handling the dance for this one.
TETTA: We often had male choreographers handling our performances in the past, so I hope everyone enjoys our new catchy dance moves that are different from before. We’d love to see you dancing on TikTok!
NAOYA: Yeah, since the song is so catchy, too. It’d be great if you all have fun with it!
—This interview by Kana Yoshida first appeared on Billboard Japan