Japan

In a year when creative content from Japan is attracting attention in global markets, a singer with potential for international pop stardom has appeared in the J-pop scene. The budding artist’s name is Hibiki, and she sings the festival song “Desire” for the 37th Tokyo International Film Festival (TIFF 2024), one of Asia’s largest film festivals.

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Based in Kyushu in southern Japan, the young singer enrolled in university in April this year. She co-wrote “Desire,” her debut single released Oct. 23, an up-tempo dance track with Jersey club beat and lyrics all in English. “I know you are just a hater,” Hikibiki sings with her emotive, resonant voice, unleashing her thoughts on haters and online flame wars. A portrait of a strong young woman comes across from skillful vocalization and determined gaze, ready to step out onto the global stage.

Billboard Japan chatted with the rising star, who remains mostly shrouded in mystery with little background information available, about her musical roots and future goals as an artist.

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What are you studying at university?

Sustainability tourism. Simply put, it’s about things like Sustainable Development Goals (SDGs) and regional development through tourism. Most of the students at my university are doing interesting things; I have friends who have launched student groups and businesses. A professor there is a former UN employee, so we get to hear the inside story of how the SDGs were created.

Were you drawn things like singing and entertainment from a young age?

Yes, I’ve loved music since I was little. I started fiddling with the Electone electronic organ when I was two and started learning how to play it properly when I was three. I apparently said I wanted to play music myself.

Which artist do you remember liking in a conscious way?

My dad would play music in the car, and I used to sing along to the Spice Girls’ “Wannabe.”

How did you learn English?

I started going to English conversation classes when I was a toddler, and used to enjoy English in a game-like way. But I was bad at it as a subject from junior high to high school and couldn’t keep up. I’m working hard now. [Laughs] I’ve been familiar with English for a long time, though, so I can pronounce words kind of like a native speaker.

What other instruments besides the electronic organ do you play?

When I was in junior high, I joined the brass band and played the flute and percussion for three years. There were only nine of us in the band, so we changed parts depending on the song. In first year junior high, our brass band was given the opportunity to perform as the opening act for [J-pop megastars] DREAMS COME TRUE. That was a wonderful experience.

What kind of music did you listen to growing up, starting with the Spice Girls?

In junior high, I listened to [J-pop] artists like Superfly and MISIA. I got into Western music in high school. I had the opportunity to go on a two-week homestay in Canada in my second year junior high. I found out about it through some flyers from school. But the cost of travel and such are quite expensive, you know? We weren’t a particularly wealthy family, but my mother said she wanted me to have an experience that will give me a broad perspective.

That’s something to be grateful for.

That was my first trip abroad. At the time, Ed Sheeran’s “Shape of You” was popular. The experience reminded me that I like English. You can communicate with people from different cultures, and above all, the music is so cool. At the time, I enjoyed music on YouTube.

What made you want to become an artist or singer?

I’ve always loved to sing. Then one day, I had a sudden urge to learn how to sing. I wanted to get a bit better at it, even as a hobby. I was in the chorus in high school and also started taking vocal lessons on the side. I started to think that singing on stage was fun, and that it’d be nice if I could make a career out of it.

In high school? That’s pretty recent.

Yes, it is. I started auditioning and entering contests from there. That’s how I first got started, which led to where I am today.

It goes to show that being able to take action and taking the first step is important.

Whether I passed or not, my views in terms of music broadened through the experience and left a deep impression on me. The fact that more and more people said they like my songs gave me confidence.

By the way, are there any singers you look up to as role models?

I’d say Dua Lipa. She has a voice that no one else can imitate, and her songs have a retro feel to them. I admired her amazing performance at the Grammys. Dua Lipa has this beautiful way of expressing things through the lingering sound at the end of her words. Also, if we’re talking about songs, Zedd is another favorite. I went to my first-ever music festival this year, GMO SONIC, and he was awesome. I also like Tyla and Sabrina Carpenter. I listen to them all the time while I’m going places.

What are you particular about in terms of your own singing and other aspects of your individuality?

I recently discovered that when I sing with feeling, I can make better use of the techniques I have. I try to focus on immersing myself in the world of the lyrics as I interpret them. I think my low voice is my strong point, and I’ve developed techniques that make the most of that.

When did you become interested in writing your own songs and lyrics? 

I recently began understanding the profundity of lyrics through co-writing. The lyrics of songs in Japan are so distinct. It feels so interesting to me.

How did your debut single “Desire” come about?

Producers Mitsu and hito and I made a rough demo in about an hour using “space language” [i.e. fitting random words into a melody], and when the entire co-writing team listened to it later on we all thought was good. So we worked together to make a full-length version straight away.

The opening line, “I know you are just a hater,” has quite an impact. How did you come up with it?

The song was already hard-hitting when it was still a demo, so when I was singing it in space language, I was thinking about making the most of that slightly hateful feel it had. We’d changed the song’s title to “Desire” from the temporary one and I’m glad the lyrics connected to that word.

How did “Desire” become the festival song for TIFF 2024?

While we were working on the song, hito, one of the producers, said, “I have a feeling this will work!” and pitched it. I was so happy when it was chosen. The entire process of the tie-in becoming a reality was really quick.

The timing couldn’t be better, since Hiroyuki Sanada’s SHOGUN won a record 18 Emmy Awards and global interest in talent from Japan is on the rise.

The media was filled with articles about that alongside the news about “Desire” being chosen as the TIFF 2024 song. That was amazing.

What sort of artist do you want to be in the future?

I want to become someone like the Asian version of Dua Lipa, but since I’ve loved singing since I was little and love music, I don’t want to end up just idolizing someone. I want to become someone else’s idol next.

—This interview by Fukuryu first appeared on Billboard Japan

Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work, in the same spirit as Billboard’s annual Women in Music celebration that has continued since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project, with the first 30 sessions published as a “Billboard Japan Presents” collection by writer Rio Hirai.

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Ayaka Wada chatted with Hirai for the latest installment of the WIM interview series. The former member of the Hello! Project idol group Angerme currently continues her music career as a solo artist while also actively sharing her thoughts on art and feminism. The 30-year-old elaborated on the discomfort she felt as a member of a popular idol group and on why she is vocal about changing the norms of the industry and society now that she is free to speak her mind.

You began your career as an idol performer when you were 15 years old. How did you end up going down that road?

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I auditioned for Hello! Project when I was in fourth grade and started out as a trainee. After five years of training, I made my debut as a member of S/mileage in 2010. The group later changed its name to Angerme and I also experienced being the leader.

Before you actually made it, did you long to become an idol?

You know what, I never aspired to become an idol. My dad is a doting parent, and he was like, “My child is cute so she’ll be accepted anywhere,” and kept sending in applications without asking me. I was shy around new people and bashful, so I was like, “I can’t stand on stage and sing and dance!” and was thinking of quitting when I entered junior high. But as I was thinking how I didn’t want to get in trouble with my parents, I ended up making my debut, and before I knew it, I’d come to a point where I couldn’t turn back. My environment changed after my debut and I had to interact with more people, so that made me more responsible. I felt that as long as there were people paying to see us, we had to make sure we didn’t mess up.

So you ended up becoming an idol group member without really intending to. Were you able to fit in with the image of “idols” that people around you expected?

Being “idol-like” has a lot in common with the concept of “femininity.” You have to keep your legs closed and not cross them, you have to keep smiling, you’re discouraged from expressing your own opinions and talking about politics or religion is strictly forbidden. It felt like society’s old-fashioned gender roles were still deeply rooted in the industry and being expected to be idol-like, i.e. feminine, made me feel more and more uncomfortable. So I kept thinking that I had to overcome this somehow or I wouldn’t be able to live as myself as I continued my idol career.

Did you ever feel uncomfortable with your femininity outside of your work as an idol?

I used to go to Tokyo from my hometown when I had work, but moved there when I entered university. From then on, it felt like I’d been thrown into society, and I became more and more aware of my gender as a woman. I was attending a women’s university and used to wear whatever I liked without worrying about how men saw me, but was often approached on the street at night when wearing pink or floral clothes and it was scary… I thought, “Maybe this is the wrong way to dress,” and started wearing jeans and T-shirts, and wasn’t approached on the street when I did so. I thought this was connected to the discomfort I felt about femininity. But at the time, I wasn’t able to verbalize that I was being forced to conform to the idea of femininity that people around me had in their minds, and it’s like I’ve always been searching for and researching the true nature of the discomfort I felt in my life and in my idol career.

How did you figure out the true nature of the discomfort you were feeling?

I learned about feminism at university. It was a women’s university, so there was a lot of emphasis on women’s education, and there were classes that helped us think about how to build a career that would allow us to become independent. In the French art classes I was taking, I also learned about how artists had been treated according to their gender. The biggest shock I got was when I learned the famous line, “One is not born, but rather becomes, a woman” from Simone de Beauvoir’s The Second Sex in a French literature class and realized that this was the reason of my discomfort. After that, I went to the library and read all kinds of books on feminism.

You were a member of Angerme at the time, so you must have been living with a disconnect between that knowledge you were inputting and the required output in your work life.

My feelings and actions were always completely the opposite. While going back and forth between these opposing views, I discovered that idols are social existences rather than individual ones. I tried my best thinking I could change the world of idols too somehow, but it was hard to do by myself. I decided to “graduate” from the group because I thought that I couldn’t realize what I wanted to do while I still belonged to the company.

What did you do to approach those concerns?

While idols are existences that are produced, each person wants to express something different, so I was hoping we’d be treated as individuals, including during our private lives. Being young, innocent and cute was considered important, and growing up wasn’t a good thing. We couldn’t even grow out our bangs. Under those circumstances, I continued to take a grassroots approach like making leaflets saying, “Why can’t I express myself as I am?” and handing it out to the staff. I didn’t get any outward response, but there was a staff member who told me secretly that they “all passed it around and read it.” That was in 2018 and the concepts of “diversity” and “gender” weren’t as well known in (Japanese) society as they are now, so my actions may have seemed abrupt. I’m starting to notice changes now. There are more variations in expressions such as hair and makeup and costumes. Labor standards are also being questioned, and I’ve heard that more and more talent agencies are setting up mental health consultation services.

When you decided to go solo, what kind of message did you want to send out to whom?

People belonging to a younger generation than myself. When I was in a group, all my comments about feminism were cut. “I want to consider how women should be,” was the limit. But I want to think about the issues of idols and feminism, and to create a working environment where everyone can have peace of mind. The thing that surprised me the most about making those kinds of comments after going solo was the support I received from my fans. On social media, there are still people who don’t think well of women who speak out, but I know now that I have lots of allies and feel that as long as I have these people I can continue to speak out.

It must be reassuring to feel the presence of allies around you. There may be people out there who struggle because they can’t find like-minded communities. What do you think should be done in such cases?

It’d be best if you could connect with people in real life, but now, “in-person” isn’t your only option. When I was an idol, I didn’t use the word feminism when talking with the other members and felt lonely sometimes, but it helped to look at posts on social media by people who felt the same way as me. So, even if you can’t connect with people in real life, I hope you find another place where you can belong. Books and art can also become places where your mind can belong, and you’ll feel protected. When you come across someone with different views, express your feelings by saying, “I don’t think so” without getting swept away, and that simple comment can protect your mind. In my case, I release the emotions that have built up in my mind by putting them into words as song lyrics.

How do you think we can eliminate gender imbalances within the entertainment industry as a whole?

I want people who are in the public eye, the staff members, and the fans, regardless of gender, to join this conversation. If we can visualize what everyone is thinking, including men as well as women, then I think changes will take place. 

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

Singer-songwriter Mariya Takeuchi sat down with Billboard Japan for its Monthly Feature interview series highlighting today’s leading artists and works. The veteran artist recently released her first studio album in a decade called Precious Days.

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The 18-track set illuminates the daily lives of her listeners from different angles through a wide variety of musical styles. Billboard Japan asked Takeuchi to share her thoughts on her recent project, and also to comment on the “city pop” revival in recent years, which has launched her vintage hit song “Plastic Love” from 1984, among others, into the global limelight.

As the title Precious Days suggests, the mood that runs throughout the album as one of its themes is the value of each irreplaceable day in our lives.

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When I do tie-ins, I write songs based on the themes I’m given, and recently I’ve been getting a lot of requests for songs with themes like encouraging people or cheering them up. I guess that reflects the times to some extent. It’s a time of uncertainty, so people are feeling uneasy and want to be cheered up, you know?

So as a result, it became an album that’s in tune with the times.

That’s what happened. I’ve always wanted to sing songs that are irrelevant to age, and I think I’ve been able to achieve that.

It seems to me you’ve been delivering music to a wide range of listeners throughout your career. Why did you focus on that sentiment again this time?

I didn’t particularly think about generations write writing the songs, but I do think there are certain emotions that are commonly sought after. I want to make music that is universal, both the words and the sound, and won’t be considered old even after 20 or 30 years. That’s what Tatsuro Yamashita (co-producer of the album) is most careful about. He does the same when making his own music, and he does it when producing mine.

That aesthetic is probably connected to the revival of city pop. Regarding the rediscovery both in Japan and abroad of ‘80s and ‘90s retro Japanese pop music, have you had opportunities to personally experience that movement?

A lot recently, yes. When I was checking to see who was listening to “Plastic Love,” I saw comments written in Russian and Korean and more. I have a niece who lives in Canada, and she says that people are surprised when she tells them the singer on “Plastic Love” is her aunt. Also, I studied abroad in Illinois long ago, and apparently the grandchild of my host sister at the time went to an electrical appliance store where they kept playing songs by Tatsuro and me. When they said, “That person was at my grandma’s house for a year,” the people at the store were surprised. I’m just so grateful, because those songs are 40 years old.

Why do you think city pop music is loved by people of all ages and nationalities?

I think maybe people find it unusual, in that it’s not the uniform sound of machines and that Japanese players were doing something that sounded like Western music by hand in the analog ‘80s. I imagine people were surprised to discover that young people in Asia they didn’t know about at the time were doing something like this with an awareness of the real thing, including Tatsuro’s arranging prowess.

We were certainly aiming to make something good and to create a sound influenced by Western music, but we weren’t trying to sell it in the Western music market. It was more like, “That sounds cool, doesn’t it?” But you know, it had power. The studio musicians were highly proficient, and above all, Tatsuro’s arrangements were perfect. I think that’s why it held up over time. It proves that the players’ performances were good enough to go out into the world, so it’s a really happy phenomenon.

Did the city pop revival also lead to the universality of your latest album?

Universality has been the starting point from the very beginning. From the time I made my debut, pop music, in whatever form it takes, has always been about aiming to create something that people will listen to and sing for a long time, and that could become a standard. I’ve always kept that in mind and tried to do my best. It’s fun to listen to music while thinking about what’s popular at the moment, but there are many other artists who make that kind of music, so I’m always trying to figure out what people want from me.

Could you tell us why you named your project Precious Days?

When a few songs were ready, it occurred to me that I was singing about “irreplaceable days.” At the same time, I happened to have a number of songs with the word day in them, like “Brighten up your day!,” “Days of Love,” and “Smiling Days,” so I figured if I was going to name the album “something Day,” then it would be “Precious.”

“Have a Good Time Here” was written as the theme song for Pokémon Concierge on Netflix and must have reached a wide range of listeners.

I had a lot of fun making that song, too. If I hadn’t been tapped to write it, I probably wouldn’t have thought to make a track in the style of samba. It was inspired by the Pokémon Resort. I was asked to write a song that would encourage the main character Haru and the Pokémon.

“Watching Over You” is a collaboration with singer-songwriter Anri. You both made your debut in the same year, class of ’78.

Yes, we made our debut around the same time. I talk to Anri on the phone from time to time. A long time ago, I happened to run into her in L.A. Bruce Springsteen was swimming in the hotel pool, and we were both young, so we went up to him and asked him things like, “Aren’t you coming to Japan to do shows?” and so on. [Laughs]

When artists like you continue to make new studio albums, regardless of the length of their careers, it must be reassuring and encouraging for both their fans and other artists.

I think you have to keep doing that to stay relevant. It’s possible to keep going just by singing old songs, but you have to keep creating new things. For example, I’m a huge Beatles fan and if I were to go to a Paul McCartney concert, I’d want him to do Beatles songs for sure. But I’m pretty certain he definitely wants you to listen to his new releases, too. Maybe “Yesterday” is the song that really gets you, but there’s significance in artists performing new ones, and that’s what makes the classics shine too.

It’s about how many songs I can create that make people think, “I want her to do that one.” They’ll become the density of time that I can share with everyone as we grow older, so I try not to stand still and think, “I’ll just play those songs.” Accumulating new songs while mixing in some old favorites for people to hear. I think that’s the most beautiful way to be, though it’s hard. And because that’s something I can only do if I’m in good physical condition, I hope I can stay healthy for a long time, thinking, “I want to write a song like that” and keep plugging away.

On Oct. 4, the digital maxi-single VORTEX was released. This single, which contains three songs, features vocalist Setsuko of Kuhaku Gokko.
The songs “VORTEX” and “karma” are the opening and ending themes of the TV anime series Mechanical Arms. In the show, protagonist Hikaru Amatsuga meets Alma, a mechanical life-form shaped like an arm, and becomes embroiled in a series of incidents. Billboard Japan spoke with Setsuko, Okamoto (the original planner and director of Mechanical Arms), and Hiroyuki Sawano (the songs’ composer, arranger, and producer) about their impressions of “VORTEX” and “karma” and the creation of these songs.

Setsuko and Hiroyuki, what are your impressions of each other’s music? What kinds of things did you think about during your musical collaboration?

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Setsuko (Kuhaku Gokko): When it comes to Hiroyuki, I’ve listened to his work as SawanoHiroyuki[nZk] more than his soundtrack work. [nZk]’s songs have the same musical foundation, but the impression they make changes a lot depending on the vocalist. I feel like that’s because when he writes the music, he makes space for the vocals. So then the question becomes, what should I do in that space set aside for me? To be honest, I wasn’t feeling very confident when he first reached out to me.

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Hiroyuki Sawano: My impression of Kuhaku Gokko, which Setsuko’s a member of, is that their sound has an edge to it. “VORTEX,” (the anime’s opening theme song) in particular, has a rock-like rhythm, so I was looking forward to see how Setsuko would express herself. I’m more interested in how vocalists’ voices will sound within my songs than in the sound of the vocalists’ voices themselves. In that sense, I was dealing with the unknown, but that’s part of what makes it interesting.

Okamoto, you’re the original planner and director of Mechanical Arms. What were your expectations for the collaboration between Setsuko and Hiroyuki?

Okamoto: I was hoping that with the opening theme, they’d make something that depicted the work at the surface level, and with the ending theme, they’d delve deeper inside it. I’ve listened to Hiroyuki’s music before, in my everyday life, but I’m embarrassed to admit that I didn’t know much about Setsuko’s Kuhaku Gokko project. But precisely because of that, I was really looking forward to hearing what kind of world the two would create when they combined their musical sensibilities. Both the opening and the ending themes far surpassed my expectations. I feel like they’ve expressed things that we weren’t even able to express in the anime’s art and scenarios.

Hiroyuki, you said that there were rock elements to “VORTEX,” the opening theme. To me, it feels more like dance music. It feels to me like you tried to give it a straightforward feel.

Sawano: It has a dance music-like groove, as you said, and I also tried to mix in some rock and electro elements. Depending on how you look at it, this anime has parts that can be seen as comical, but I feel like the real highlights are the stylish battle scenes. I wanted to express that coolness in the sound of the song.

Setsuko: My first impression when I heard the demo was also that it was simple and cool. That came as a big surprise. What I mean by that is that my own impression of Mechanical Arms was that it’s a very comical anime. Of course, the battle scenes are really stylish, but the everyday scenes have a comedic pace to them, and there’s a certain cuteness to the shapes of the mechanical elements and way people move. So my overall impression was pretty much the same as Hiroyuki’s. I didn’t expect the music to be so solid, so I was like, “What kind of vocals should I be adding to this?”

The instrumentals in “VORTEX” are straightforward and a little inorganic, but your vocals, Setsuko, passionately wind through the song. I think the elements are incredibly well-balanced.

Sawano: I wanted the vocals to have a bit of heat to them, a bit of energy. But it’s not like I was initially trying to go for a gap between the heat of the vocals and the coolness of the music. That was just the result of leaving the singing up to Setsuko. She’s the one responsible for creating that balance.

Setsuko: At first, I used a cold tone in everything leading up to the chorus, and then ratcheted it up when I hit the chorus. But then Tsubasa Harihara, another member of Kuhaku Gokko who’s an ardent fan of Hiroyuki, said “Even if you go with a cold approach, give it the feel of wearing an oversized hoodie, with the hood pulled low so you can’t see your face, walking quickly with your eyes downturned.” That got me thinking that the song would work better if I approached it with more of a hip-hop mindset, which is why I ended up singing it with a rap battle feel.

Okamoto, what did you think upon hearing the completed “VORTEX?”

Okamoto: Like everyone says, it’s a simple and stylish song, but that also made it hard to put pictures to. As Hiroyuki mentioned, this song focuses on the cool aspects of Mechanical Arms, as epitomized by its battle scenes, so when I worked on the video, I also approached it with a rap battle feel. But Mechanical Arms also has comical elements, so I wanted to be a bit playful, too. I tried putting in some comical scenes in the opening video, and they ended up also going really well with the song. The song is simple, but I could also feel a lot of depth to it.

What about the ending theme, “karma?”

Sawano: I handle the incidental music in Mechanical Arms, too, so to tie in the incidental music with the theme song, I wanted to synchronize the main theme of the show with either the opening or ending themes. Ultimately, I decided to use the main theme melody in the ending theme, “karma.” As far as the lyrics, the opening’s mainly in English, but I wanted the ending to be in Japanese. SennaRin wrote the lyrics for “karma,” and I’ve long found her Japanese lyrics to have a unique and interesting aesthetic. She’s pretty close in age to Setsuko, too, and I thought it would be best to have someone of similar age sing it.

Setsuko: Partly because “karma” is a ballad, I was able to sing in the way I usually sing, and going into pre-production, I found it easy to put emotion into my singing. I didn’t struggle as much as I did with “VORTEX.” I was also able to sing the way I wanted when we did the main recording.

Okamoto: I found “karma” to be hard to create animation for, in its own way. I wasn’t in charge of the ending video. Other staff was responsible for that, but I have a vivid memory of the staff thinking about the meaning of the lyrics, getting totally stuck, and saying “I just can’t do it.” I told them “Don’t think so hard about it. On the surface, it’s a simple song, so why not focus on the simple parts?” I remember the whole thing really threw them for a loop.

Okamoto, as the original planner and director of Mechanical Arms, how did you interpret the lyrics to “VORTEX” and “karma”?

Okamoto: I thought trying to analyze them too deeply would be a bad choice, so I try not to think about them too hard (laughs). That said, it’s hard not to think about them. For example, both in terms of its sound and its lyrics, “VORTEX” gets the listener amped up, and then suddenly leaves you feeling empty. Hikaru, the main character in Mechanical Arms, has a lot of internal struggles, and is kind of a negatively-minded character. Alma, on the other hand, is extremely bubbly, and she supports Hikaru, but it sometimes seems there’s just nothing really to him. I think the song expresses these characters really well. It’s very impressive. With “karma,” once you start thinking about the lyrics you could just go on forever, so I’d rather leave their interpretation up to the viewers. I don’t really like when creators push their interpretations, so I chose not to think about it too much myself.

Setsuko: “VORTEX” and “karma” are opposites, but there’s a very strong feeling of connection between them. I think that connection reflects the connection between the characters of Hikaru and Alma. As Okamoto said just now, Hikaru and Alma complement each other, and it feels like “VORTEX” and “karma” do, too, while at the same time mirroring the story of Mechanical Arms.

Okamoto: The two songs convey the essence of Mechanical Arms really clearly. Like, if someone were to ask me “What kind of anime is Mechanical Arms?” I could just tell them “listen to the opening and ending themes and you’ll understand.” The simple-but-complicated, or the complicated-but-simple nature of the songs, in particular. I put a lot of thought into the creation of Mechanical Arms, but I tried to keep the ultimate finished product simple. To me, it feels like Setsuko and Hiroyuki have expressed that same thing directly, through their music.

—This interview by Hikaru Sudo first appeared on Billboard Japan

YOASOBI celebrated its fifth anniversary on Oct. 1. The J-pop duo, consisting of composer Ayase and singer ikura, launched its career in 2019 as a group that turns creative writing into music. The “Idol” hitmakers have since released numerous hit songs and gained popularity that transcends generations and borders, expanding their reach worldwide as one of the biggest breakout J-pop acts in recent years. How did YOASOBI cement its current position as a musical sensation like no other? Let’s take a look back at their journey.

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YOASOBI originally formed for a project by the online creative writing site “monogatary.com,” run by Sony Music. The pair’s debut single, “Yoru ni Kakeru” (“Into the Night”) is based on an original short story by Mayo Hoshino entitled “Thanatos no yuuwaku” (“Seduction of Thanatos”) that won the grand prize in the Monocon 2019 competition hosted by the site. At the time, Ayase was a songwriter who released music online as a “vocaloid producer” (vocalo-p), and ikura was a solo singer-songwriter releasing music under the name Lilas Ikuta. The two artists got together for the YOASOBI project and released the music video accompanying their debut track on YouTube in November 2019.

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As the above introduction suggests, the members of YOASOBI initially had no idea they would become as successful as they are now, since the unit formed as part of the online website’s project. At first, they didn’t even know whether they would continue to work as a duo in the long term. But the appeal of their music spread naturally and the music video for “Yoru ni Kakeru” sailed past a million views in just a month after it was released. This is an exceptional number for a new, unknown act.

The YOASOBI phenomenon kicked into full swing the following year. The reaction that had spread rapidly online was also picked up by television and other media from around April, and the buzz expanded into the mainstream. “Yoru ni Kakeru” made it into the top 10 of the all-genre Billboard Japan Hot 100 song chart for the first time on the list released Apr. 29, 2020. It continued to stay in the upper ranks throughout the year and also took the top spot on the year-end Japan Hot 100. The breakout duo also performed for the first time on NHK’s Kohaku Uta Gassen, the prestigious annual New Year’s Eve live music extravaganza.

One of the reasons why the duo’s music gained popularity so quickly was probably the atmosphere of the times. Many people were spending time at home due to the pandemic and the number of those enjoying online entertainment increased. The distinctive animated music videos were also a factor. But it goes without saying that the biggest factor in their success was the power of the music itself. In 2020, YOASOBI released five songs in quick succession, including “Tabun” and “Gunjo.” The songs varied in taste, but Ayase’s signature, catchy melodies and ikura’s vivid vocal expression were demonstrated in each, and the group established its unmistakable pop style.

YOASOBI’s breakout success continued. In 2021, they moved beyond the buzz around a single release and focused on showcasing their appeal as artists. The group worked on high-profile tie-ins including including the dark, electro-pop number “Monster,” featured as the opening theme of the anime series BEASTARS Season 2, and released a number of singles that expanded their musical range. In July that year, they dropped the English version of “Yoru ni Kakeru” called “Into The Night,” which fans noticed had lyrics that sounded like Japanese in places.

YOASOBI’s live performance debut was also a major turning point for the duo whose activities initially took place mainly online. In February 2021, the pair held their first live show — entitled KEEP OUT THEATER — at a building under construction in Shinjuku, Tokyo (the current Tokyu Kabukicho Tower), filmed without an audience and livestreamed for viewers at home. Their headlining solo concert at the historic Nippon Budokan in Tokyo in December that year, called NICE TO MEET YOU, became the duo’s first show in front of a live audience. 

The hitmakers further expanded their activities in real-world settings the following year. In August 2022, they took the stage as headliners at their first summer music festival, ROCK IN JAPAN. In December, they performed for the first time outside of Japan at 88rising’s Head In The Clouds festivals held in Indonesia and the Philippines. That same year, they collaborated with four Naoki Prize-winning authors for a project called Hajimete no (“…for the first time”), and their song “The Blessing,” released in October, was featured as the opener for Mobile Suit Gundam: The Witch from Mercury Season 1 and became a huge hit.

In 2023, YOASOBI scored its biggest hit to date with “Idol,” featured as the opener for the anime Oshi no Ko. Released in April, this single quickly became a sensation immediately after its release. It held the No. 1 spot on the Japan Hot 100 for a whopping 22 weeks, with 21 of those weeks in succession from the chart dated April 19 to September 6, 2023. This is an all-time record for any act in the history of Billboard Japan’s song chart, and naturally the track also topped the year-end list for 2023. The song’s popularity spread to countries around the world, and it reached No. 1 on Billboard’s Global Excl. U.S. chart dated June 10, becoming the first Japanese-language song to top this list.

The duo followed up that hit with another, releasing “The Brave,” the opener for the TV anime series Frieren, in September that year, and the momentum of YOASOBI’s rise to superstardom reached its peak when the group’s debut track “Yoru ni Kakeru” became the first Japanese song to collect a billion streams (it later reached 1.1 billion on May 29, 2024).

The pair also grew remarkably as artists through their powerful performances on stage. In May 2023, they hit the road for their first headlining domestic arena tour, and in August, they performed for fans in the U.S. for the first time at Head In The Clouds Los Angeles. From December 2023 to January 2024, the group toured other Asian countries. The enthusiastic reaction from the crowds in each city must have given the two artists a great deal of confidence.

This year, YOASOBI continues to take on new challenges. In April, they took the stage at Coachella, and also held their first headlining show in the U.S. In August. They also performed at Lollapalooza, steadily expanding their reach in North America. YOASOBI’s first headlining dome concerts in Tokyo and Osaka are planned for October and November, and another run through Asia is set for December to February next year. Music-wise, they released a new song called “UNDEAD” in July. Featured as the theme for the anime Monogatari Series: Off & Monster Season, the latest track’s musical style is even more aggressive and chaotic than before, showcasing a new musical direction for the pair. 

YOASOBI’s five-year journey has been unprecedented, and their success has ushered in a new era in J-pop culture. The hitmakers have adhered to the initial concept of turning creative writing into music, meaning all of their songs, including ones written as tie-ins, continue to be based on original narratives. Each song has its own story, organically linking with other works including anime and films, and can be enjoyed in many ways from different angles. This is one of the true joys of YOASOBI’s music, and the breakout duo will surely show fans new horizons in the future.

—This article by Tomonori Shiba first appeared on Billboard Japan