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Since its 2022 debut at Barclays Center, MetaMoon Music Festival has built itself up as a New York City stalwart for Asian entertainment and talent worldwide with concerts, industry panels, block parties, and more. At the top of 2025, MetaMoon is officially going global with its first overseas iteration.
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Billboard can exclusively reveal that MetaMoon in Dubai will take place this February in the United Arab Emirates’ Al Wasl Plaza – Expo City Dubai. Singer-songwriter-actor Henry Lau and Korea’s viral singer-rapper Lee Young Ji will headline the inaugural UAE fest. The festival rounds out its lineup with rising Japanese-American singer-songwriter mikah, 2024’s Red Bull Dance Your Style champion MT Pop of Vietnam, and DJ and radio veteran Poon from New York. Rapper and comedian MC Jin, who participated in the 2022 and 2023 MetaMoon events, will host the event.
Lau was last year’s MetaMoon headliner, where the former Super Junior member not only delivered his mix of pop and classical music but sat down for a career-focused fireside chat with SiriusXM’s Michael Tam as part of The Summit, which MetaMoon launched in partnership with the Roc Nation School of Music, Sports and Entertainment. “I’m just excited to share what I’ve learned,” the Berklee College of Music graduate told Billboard ahead of the fest. “I’ve gotten to an age where there are a lot of aspiring musicians, and I hope that my experiences can help give them a good idea of what to expect and what they need to work on in certain aspects.”
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Live Nation Middle East is promoting and producing MetaMoon in Dubai.
“Live Nation Middle East is proud to partner with MetaMoon to bring this unique celebration of Asian pop culture to Dubai,” said James Craven, President of Live Nation Middle East. “The UAE is a vibrant and diverse region and this event is a perfect reflection of the incredible cultural exchange we aim to foster through music and entertainment. We are thrilled to debut such an exceptional lineup of talent, and we look forward to creating unforgettable memories for fans in the Middle East.”
After showcasing nearly two dozen different API stars, MetaMoon founder Grace Chen sees the overseas expansion as a considerable way to help spread Asian pop culture at large.
“Our partnership with Live Nation Middle East to bring MetaMoon to Dubai signifies our commitment to introducing Asian artists and pop culture to new fans while giving existing fans a chance to see their favorite artists live,” Chen said in a statement. “We are excited to be debuting an incredible lineup of Asian talent for their first appearances ever in the region and for what will be an entertaining evening for fans.”
Citing a growing Asian diaspora in the Middle East as well as increased interest in Asian pop culture in the region, MetaMoon in Dubai says it hopes to “bring a full fan experience to audiences in the Middle East in the coming years” in a press release.
Tickets for MetaMoon in Dubai go on sale Jan. 8, 2025, at 10:00 a.m. Dubai time exclusively through LiveNation’s Middle East site and United Arab Emirates’ Ticketmaster site.
In July 2024, Ado kicked off her roughly three-month-long Profile of Mona Lisa tour with a performance at Osaka’s Osaka-jo Hall. On October 13, she ended the tour with a grand finale at Kanagawa’s K-Arena Yokohama.
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Opening for her at each show on the tour was Phantom Siita, an Ado-produced idol group whose concept is “retro horror.” Their unique performances made a tremendous impact on audiences.
2024 was an exceptionally busy year for Ado. She embarked on Wish, her first world tour, with 14 performances attended by a combined audience of over 70,000 people. Then there was Heart, two days of shows at Tokyo’s National Stadium attended by over 140,000 people. These were followed by the Profile of Mona Lisa tour.
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Ado’s stage performances are well-known for her performance from within a box, but her shows go beyond just her extraordinary voice. In her dance performances, she expresses a flurry of emotions—refined, manic, joyous. This dance is a defining part of Ado as an artist. The same was true for the October 13 show. Following the opening movie that played on the screen behind her, the box seamlessly rose from below the stage. Of course, Ado made her appearance in the box.
In her performances, Ado’s shouts and screams richly express the full range of negative emotions, such as anger, sadness, fear, disgust, pity, frustration, and jealousy. She began this show with “KokoroToIuNaNoFukakai,” a song written by her emotional rudder, utaite mafumafu. She poured out her emotions in the song’s shouts. The audience clapped along through “Backlight” and “Show,” a testament to the audience’s high expectations for Ado. Her voice, bigger than ever, and the lush backing band rose to meet and surpass those expectations. She effortlessly rapped the dense lyrics of “Fleeting Lullaby.” If anything, it seemed like Ado was seeking out new challenges to take on. In “Rebellion,” she turned the band mic towards the audience, and vocal effects adorned her voice on “Kagakushu.”
Ado
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The love ballad which began streaming in August 2021, “Aitakute” was featured in the film Kaguya-sama Final: Love Is War. At the time, Ado had yet to perform a solo show. Just as life experiences provide people with greater depth and impart a greater sense of persuasiveness to their words, the variety of emotions Ado has experienced since then gave her voice a more layered and solid feel—a reality that spoke straight to the heart. She playfully danced as she performed “Faking of Comedy” and then continued with the rhythmical “Hungry Nicole,” which she accented with cheerleader dancing and twists. Just like her unpredictable life, Ado always delivers fresh discoveries through her songs, presenting the audience with pure and unvarnished truth.
The focal point of the show was “RuLe,” which got the whole floor moving to the music. The moment the intro began, the audience erupted in cheers. It was immediately apparent that this was one of the moments the crowd had been waiting for. Although it was impossible to make out her facial expression from her silhouette, Ado sat on a chair in the box, suddenly breaking out in laughter, the very embodiment of someone who has achieved the mental state of transcendence. It was her most frenzied performance, as she swung her hair around and unleashed a sense of pent-up rage, almost palpable in every fiber of her being. Her voice, coming from deep within, was overwhelming, expressing various personalities. As the song ended, she stood atop the chair and then fell to the floor. This was no longer just a song, it was an overpowering theatrical performance that left the viewer so rapt that they dared not blink. Ado spoke to the audience, saying “I believe that if, by serving as a sidekick, my existence can help others, then I can come to love myself.” As she sang, her vocalizations were so powerful it was like she had transformed into a wild beast. She easily accomplished what no ordinary person could do. And, seeing that, the audience could not help but feel their own pent-up frustrations naturally dissolve, without singing a single note. As she had hoped, her voice shined a light for the audience, and one could not help but take off one’s hat to her exceptional skills, even when singing songs written by other artists.
In the second half of the show, the box grew larger, presenting Ado with a wider area in which to perform. In “I’m a Controversy,” “Kura Kura,” and “Chocolat Cadabra,” the audience sang along and clapped their hands, but what stood out in particular was the excitement with which the audience reacted to each of her challenging vocal performances. Ado proceeded to perform song after song that showed off her talents and elevated songs in a wide range of genres, such as the club music-inspired “Nukegara” and “Yoru No Pierrot (TeddyLoid Remix)” and the city pop “All Night Radio,” making them her own. “0” was the last song on Ado’s second album, Zanmu, which she released in July 2024, and it was clear from the audience’s reaction to the intro that “0” joined “RuLe” as another highlight of the show. These two songs have an underground feel, as if the songs don’t want to be discovered by the masses. They also feel like especially strong expressions of Ado’s emotions.
Ado
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In the encore, Ado showed the audience two faces that she had never revealed before. She performed “Hello Signals” and then “That Band” and “Himawari,” original songs by Kessoku Band, the rock band from the anime Bocchi the Rock! She followed this up with an updated arrangement of “Shoka,” the first song that she ever wrote and penned the lyrics for, back when she was 17 or 18, and she played her own guitar, which she got when she was just 13 years old.
“I keep moving forward and surpassing what I’ve done in the past so that one day I can come to love myself,” she said. During this voyage of coming to love herself, she has struggled with being judged based on surface-level interpretations, and she has found it hard to truly communicate her thoughts. Through her voyage, Ado shared, she has found the courage to discover her own will, her own essence, and what she truly wants to communicate. She compared this to Mona Lisa, a personage known by people around the world, but whose profile nobody knows. While she had once considered giving up playing the guitar, writing music, and crafting lyrics, she later came to want to express herself through her own music and words, showing people sides of herself that none had seen before. Even now, Ado takes on the challenges of her music while asking herself if this voyage, which she had believed in so deeply, was truly the right choice. Despite the tremendous changes around her, Ado’s roots remain unchanged. We can only hope that she will continue on her voyage.
On December 27 and 28, Ado played rescheduled shows in Nagoya International Exhibition Hall (Portmesse Nagoya), where she performed “Take Me to the Beach,” a collaboration with Imagine Dragons that began streaming worldwide on December 16.
Ado JAPAN TOUR 2024 Profile of Mona Lisa
Sunday, October 13, 2024
Kanagawa K-Arena Yokohama
1. KokoroToIuNaNoFukakai
2. Backlight
3. Show
4. Fleeting Lullaby
5. Rebellion
6. Kagakushu
7. Aitakute
8. Faking of Comedy
9. Hungry Nicole
10. MIRROR
11. RuLe
12. I’m a Controversy
13. Kura Kura
14. Chocolat Cadabra
15. Nukegara
16. Yoru No Pierrot (TeddyLoid Remix)
17. All Night Radio
18. Value
19. Tachiire Kinshi
20. 0
21. FREEDOM
ENCORE:
22. Hello Signals
23. That Band
24. Himawari
25. Shoka
—This article by Mio Komachi first appeared on Billboard Japan
Japanese singer-songwriter Fujii Kaze released a concert Blu-ray & CD called Fujii Kaze Stadium Live “Feelin’ Good” featuring his biggest solo headlining shows so far by the same name that took place at Nissan Stadium in Kanagawa, Japan on Aug. 24 and 25.
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About 140,000 fans flocked to see the shows over the two days that vividly conveyed Fujii’s magnetism as an artist — exceptional musicianship, outstanding entertainer’s spirit, a laid-back, natural presence that makes you forget you’re seeing him in a stadium setting, and a loving mind that looks out for each person in the audience. This writer also attended one of the shows and the two-hour set was an experience that left a lingering sense of euphoria.
The package delves deeply into the concert experience from various angles. Those who went to the shows will be able to relive the excitement, and for those not familiar with Fujii Kaze will be able to understand why he is loved by so many.
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The Blu-ray is a two-disc set, with Disc 1 containing live footage compiled mainly from the show on Aug. 25. Kento Yamada, a filmmaker who also directed the show itself, helmed the visuals for the concert film as well. Disc 2 contains the approx. 70-minute Feelin’ Good (Documentary) film, which shows fans the behind-the-scenes of the shows. This doc directed by filmmaker Elizabeth Miyaji contains a new interview of the 27-year-old musician, who speaks candidly about the concept of the shows and his thoughts on the project. The CD contains 16 tracks personally selected by the singer himself. The following are some highlights from the visual and audio discs.
The concerts were full of various gimmicks and stage effects, and by capturing them on video, they become easier to understand and enjoy. The show kicks off with Fujii suddenly appearing in the stands. As cheers break out, he slowly walks down the stairs near the audience and heads for the grand piano placed on the grass in the center of the arena. The camera also highlights the genuine expressions of surprise and joy on the audience members’ faces.
The impressive stage set was like a theme park with a stairway, bridge, and garage covered with vegetation. Based on Fujii’s desire to create something that evokes a sense of nature, Yamada meticulously crafted the set down to the smallest details, including the texture of the soil and the small objects inside the garage. The huge LED screen behind the stage displayed images like city and sky, designed to help create the impression of a single world when fused with the layout onstage.
The dancers’ performances were also notable. In particular, the multi-talented artist and his dancers performed choreography that was perfectly in sync for “Kirari” and “Kiri Ga Naikara” in the middle of the show. While Fujii is well-known for singing along to his own virtuoso accompaniment on the piano, his dance performances also showcase his star power.
The “Nan-Nan” hitmaker says in the documentary that the keyword for this show is “youth” (seishun). Sharing the fresh energy of youth with the 70,000 people in the stadium, with live renditions of “Seishun Sick,” sung while swaying with his dancers arm-around-shoulder, and an 8-beat punk rock version of “Tabiji,” was also one of the highlights of the concert.
While the respective visual projects on the Blu-ray discs are quite close to perfection, the recording on the CD allows fans to enjoy the you-are-there vibe of the show. The band members consist of Yaffle on keyboards, who also serves as band master, TAIKING from Suchmos on guitar, Naoki Kobayashi on bass, Norihide Saji on drums, Takashi Fukuoka on percussion, and ARIWA from ASOUND and Emoh Les on backing vocals. The funky, danceable beat of “MO-EH-YO (Ignite)” and the rich harmonies of “Shinunoga E-Wa” are just some of the highlights of the live arrangements.
Looking back over this past year, Fujii took on many challenges and overcame them all. From May to June, he traveled to North America for his first solo headlining trek in the region called Fujii Kaze and the Piano U.S. Tour, selling out both shows in Los Angeles and New York. From October to December, he visited 10 cities in Asia and performed in arenas for his Best of Fujii Kaze 2020-2024 ASIA TOUR, which also ended on a high note.
Fujii released only two new songs in 2024 — “Michi Teyu Ku (Overflowing),” the theme song for Tomokazu Yamada’s first feature film April Come She Will that became his fifth track to rack up 100 million streams in Japan, and the A. G. Cook-produced “Feelin’ Go(o)d,” released in July — but appears to be actively working on other tracks. The stadium concerts and arena tour were like a culmination of Fujii’s career to date, and fans are looking forward to experiencing his new mode of expression in the coming year.
This article by Tomonori Shiba first appeared on Billboard Japan. Fujii Kaze is stylized in Japanese order, surname first.
Yoshida Yasei’s “Override” easily took the top position in the Niconico VOCALOID SONGS TOP20 of 2024, announced by Billboard Japan on December 6. The song, which came out in November 2023, generated buzz thanks to its MAD or remix videos. Billboard Japan talked to Yoshida Yasei about how he felt about the success of the song.
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What led to “Override” racking up the views it did and becoming such a massive hit?
Yoshida Yasei: Of all the songs I’ve released so far, “Override” had the fastest growth immediately after release. I thought that it had the potential to surpass “Laughin’,” which was my most famous song at the time. Then the number of plays started rising even faster at the start of this year, from around January 7. I was looking at the analytics info on Niconico and YouTube, and thinking, “Huh? Something’s going on here.”
So you started to notice the memes.
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Yoshida Yasei: From around December, people started to create “Override” music remix videos, so I had this feeling that a derivative work boom might be coming on. The sudden increase in the number of remix videos at the start of the year caused the number of plays to rocket upward, and the buzz became a reality.
After that, “Override” took the top position in the Niconico VOCALOID SONGS TOP20 for the first half of 2024, announced on June 7, and then in the Niconico VOCALOID SONGS TOP20 for 2024. Honestly, how did that make you feel?
Yoshida Yasei: I was very happy. It felt like my song had become part of the culture. I thought that, given the amount of growth, this was a song that would live on in Vocaloid history. You know how on X (formerly Twitter), there are those posts that are like “Do you know this song?” and they have images of famous songs from each year? I was excited by the idea that “Override” would be used on one of those posts. It would be an honor to have one of my own songs included among all the distinguished famous songs on those lists.
Looking at the lyrics, there’s a line that goes “It seems that a life of struggle, taking it to your very limits, is even crazier than what I’d imagined.” This feels, to me, like a very direct expression of frantic frustration.
Yoshida Yasei: I made “Override” last October, over a year after leaving my previous work. At the time, I was truly desperate. “Override” was a song created by the physical embodiment of desperation. But, after the release, the song became a hit and I experienced being able to make a living from music. That gave me this tremendous sense of stability. The creation process was impulsive, so I didn’t really struggle with the melody that much. On the other hand, I did have to think deeply when I was writing the lyrics. Because of that, I have a lot of emotional investment in the song.
So you worked through the difficult progress of writing the lyrics, but than people focused on the catchy melody and the distinctive choreography of the animated music video. They started meme-ing off them, which generated buzz. How does that make you feel?
Yoshida Yasei: When I first started out as a Vocaloid producer, I wanted to make songs that led to the creation of a lot of derivative works and music video remixes. So, setting aside the issue of whether or not people’s creations matched the lyrics, I was happy about the whole phenomenon. I was watching like, “Huh, so this is another way things become popular. That’s pretty interesting.”
The title “Override” is an IT term that refers to disregarding settings, properties, and the like and using different ones instead, right?
Yoshida Yasei: Right. Once I’d decided on the title “Override,” I wrote lyrics that matched that aesthetic. Back when I was writing programs, I had this vague feeling that “life is all functions.”
A function?
Yoshida Yasei: Yes. A function is a system where you input something and the system outputs something else. In our lives, it’s like our birth supplies the input conditions and our death is the output of the function. Everything that happens in our lives—every event and every outcome—are a series of causes and effects. There are a countless number of these functions, chained together, so each person is like a program. I think some of those functions work against us. For example, your cultural capital differs depending on whether or not you were born in Tokyo. There are also functions that block access to things because of your bad luck. That’s where the concept of “Override” comes from. Overriding is like using a function with the same name to perform completely different operations. I think you can override these programs if you make enough of an effort, though.
I see.
Yoshida Yasei: I moved to Tokyo from Hokkaido last June. “Override” has the frantic frustration that I felt before I came to Tokyo and before “Override” became a hit. Living out in countryside, you face this downward spiral of “I don’t have access to this and I don’t have access to that.” By coming to Tokyo, I wanted to break this cycle. In other words, I wanted to overwrite the function that said “Input: You live in the countryside → Output: You have no access” with one that said “Input: You live in Tokyo → Output: You have access.” But, to be honest, when I had just moved, I was still in the same desperate situation I had been in before moving.
You uploaded “Override” last November, and then the number of plays started skyrocketing. Although it did take a little time after coming Tokyo, it feels like you really did “override” your life.
Yoshida Yasei: Indeed. Perhaps I overrode my fate.
The chorus to “Override” has a very distinctive choreography that has quite a visual impact, so there are tons of people copying it. Where did that choreography come from?
Yoshida Yasei: From the start, I had this mental image of meme-like movement, so I talked with illustrator Sisia, going into a lot of detail about what I wanted, like “I want an illustration like this” or “I want to keep this material separate from that material.” Sisia worked on the illustrations without knowing what the completed video would be like. I provided a lot of detail about the little jokes to be included and the way the art should look, and I’m really thankful about what wonderful illustrations they created.
It sounds like you had a perfect balance of lyrical urgency and humor, which is what led to “Override” becoming the hit it’s become.
Yoshida Yasei: Tongue-in-cheek memes were just right for balancing out the barbed lyrics, making it more joke-like. The music itself also has a light feel, but the sharp lyrics fit in smoothly. I feel like there was just this miraculous balance of different elements. I don’t think “Override” would have had the same feel if it were missing the memes or if the melody were different.
Another thing that stood out is that after you uploaded the song, both in the comments on your own video and on X (formerly Twitter), you were actively encouraging people to make derivative works.
Yoshida Yasei: I simply wanted there to be more derivative works, so I provided materials people could use and I shared works they made. It also felt a little like an experiment: “What would happen if a creator were actively involved in derivative works?” Ultimately, that generated buzz, and, like when the song broke the record for consecutive weeks in the charts, I was like “Oh, so this is how the story turns out.” As always, I looked at the whole thing from a third person perspective (laughs).
2024 was a year of overriding for you yourself, and it’s also the year in which “Override” carved its name in the Vocaloid charts. How do you feel looking back on this past year, in which “Override” led to so much creation?
Yoshida Yasei: I experienced a lot of things this year that I’d never even imagined before. It was a year of major change for me. I was even surprised about how making new connections and meeting new people changed. So I really haven’t fully gotten my head around this year of tremendous change. In 2025, I hope to look back on my social media and photographs and gradually make some order out of all of it.
—This interview by Mio Komachi first appeared on Billboard Japan
Rosé & Bruno Mars’ “APT.” returns to No. 1 on the Billboard Japan Hot 100, on the chart released Dec. 25, logging its fourth week atop the tally.
Compared to last week, the global hit shows signs of slowing down with streams and radio airplay down to 96% and 44%, respectively, but downloads gained (101%) and video views are also up slightly. The track comes in at No. 1 for downloads and streaming, No. 2 for video, No. 20 for radio, and No. 42 for karaoke this week. “APT.” has also led Billboard’s Global 200 for nine consecutive weeks.
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Mrs. GREEN APPLE’s “Lilac” rises 4-2. Downloads for the Oblivion Battery opener are up to 131% week-over-week, streaming to 105%, video to 104%, and karaoke to 104%.
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Aqours’ “Eikyu hours” debuts at No. 3. This is the title track off the single containing the theme song for the group’s last headlining concert with all nine members, called Love Live! Sunshine!! Aquours Finale LoveLive! Eikyu Stage, set for June 2025. The CD launched with 179,390 copies to hit No. 1 for sales, and the song also comes in at No. 82 for downloads and No. 41 for radio.
Creepy Nuts’ “Otonoke” rises two notches to No. 4, and Mrs. GREEN APPLE’s “Bitter Vacances” holds at No. 5. Also, a wide range of Christmas favorites have also returned to the chart in droves this week, with back number’s “Christmas Song” climbing 7-6, Mariah Carey’s “All I Want For Christmas Is You” jumping 30-19, and Keisuke Kuwata’s “White Love” moving 48-32.
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 Dec. 16 to 22, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Nogizaka46’s “Hodoukyo” tops the Billboard Japan Hot 100 chart released Dec. 18 tallying the week from Dec. 9 to 15.
The popular girl group’s 37th single dropped on Dec. 11 and launched with 609,776 CDs to hit No. 1 for sales, while also coming in at No. 11 for downloads and No. 6 for radio airplay.
Rosé & Bruno Mars’ “APT.” holds at No. 2. The pop-punk hit continues to rule streaming and video views with slight gains in both metrics, while radio is up to 114% compared to last week (moving 6-4) and karaoke to 125% (67-60). Rosé’s first solo album rosie, which includes this track, debuted at No. 3 on the Billboard 200 this week.
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LE SSERAFIM’s “CRAZY” follows at No. 3. The title track off the group’s fourth mini-album was released in August and debuted at No. 67 on the chart released Sept. 4 and shot to No. 8 the following week. The CD version sold 142,223 copies to power the single to No. 3 this week.
Mrs. GREEN APPLE’s “Bitter Vacances” drops to No. 5 after topping the tally last week. The track is down in downloads (64% week-over-week), streaming (82%), radio (42%), and video (66%).
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back number’s “Christmas Song” (released Nov. 18, 2015) climbs eight notches to hit No. 7 this week. The seasonal favorite by the three-man band has returned to the top 10 every year since 2021 near Christmas, but the only time it’s been in the top 10 outside of the week including Dec. 24th was in Jan. 2016. Looking at the number of streams for the track from Dec. 1 to 14 since 2021, using Luminate’s analysis tool CONNECT, streams have been increasing every year, indicating that this yearning love song has taken hold as a holiday season staple in Japan. Streams for the track during the Christmas period have also increased in other Asian countries, with South Korea at 103% compared to last year and Taiwan at 108%.
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 Dec. 9 to 15, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Rising J-pop singer Hibiki dropped a digital EP called “Desire (Latin Mix)” that includes a Latin-flavored mix of her first original number that was featured as the festival song of the 37th Tokyo International Film Festival this year.
Listen to it below.
The lyrics are all in English, and the budding star notes that the song expresses her will to be heard by music listeners not only in her home country but also around the world, and to expand her work as an artist on a global scale.
As reported earlier, MUSIC AWARDS JAPAN is a brand-new award established by the five major organizations in the Japanese music industry — Recording Industry Association of Japan, Japan Association of Music Enterprises, the Federation of Music Producers Japan, Music Publishers Association of Japan, and All Japan Concert & Live Entertainment Promoters Conference. The specifics of the more than 60 categories slated to be recognized in this new music award, the voting method, and the selection and voting method for the more than 5,000 voting members have been revealed.
The inaugural event is set for May 21 and 22, 2025, at the Rohm Theatre Kyoto. Day 2 will be broadcast live via a domestic terrestrial TV channel and delay-streamed on YouTube for a global audience. Nominees will be awarded in over 60 categories including the six major ones such as Song of the Year and New Artist of the Year. Details of the 23 divisions in the song category, seven in the international song category, five in the album category, twelve in the artist category, and three in the “Alliance Category” have been announced.
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The song category will celebrate a wide variety of music genres and cultures, with genre divisions honoring J-pop, rock, hip-hop, idol culture, anime and more, as well as special divisions for revival (resurgent hits), Vocaloid culture, and music videos, among others. There will also be two awards decided by inviting votes from general music listeners via Spotify. In the album category, leading with Album of the Year, projects from genres that add color to music culture awards will be recognized including jazz, classical music, movie music/original soundtracks albums, and video game soundtracks. In the artist category, there will also be a prize for artists who have been active in the Japanese music industry for a long time and contributed to its enrichment called MAJ Timeless Echo.
“We are very honored that our data is being used as one of the core data sets for the songs entered in MUSIC AWARDS JAPAN,” says Billboard Japan chart director Seiji Isozaki. “We will continue to improve the accuracy of our data so that we can convey how people enjoy music and the joy of music itself.”
Tallying period will be from Monday, Feb. 5, 2024 to Sunday, Jan. 26, 2025, excluding some categories.
Six major categories:
Song of the Year: Celebrates songs considered to be musically creative and artistic.
Method of selection: An original, MAJ-specific chart will be created by combining the weekly points of the top 100 tracks on the six metrics (radio airplay, CD sales, downloads, streaming, video views, and karaoke) comprising Billboard Japan’s Hot 100 song chart, and on the Top User Generated Songs chart. Two months will be considered a single period, and songs charting in each period will be nominated for Song of the Year. Domestic and international songs are eligible for this category.
Album of the Year: Celebrates albums considered to be musically creative and artistic.
Method of selection: An original, MAJ-specific chart will be created by combining the CD and downloads data comprising Billboard Japan’s Hot Albums chart, and GfK’s streaming data. Two months will be considered a single period, and albums charting in each period will be nominated for Album of the Year. Domestic and international albums are eligible for this category.
Artist of the Year: Celebrates artists considered to be musically creative and artistic.
Method of selection: The Artist of the Year will be decided from artists with either songs or albums nominated for Song of the Year or Album of the Year. Domestic and international artists are eligible for this category.
New Artist of the Year: Celebrates new artists considered to be musically creative and artistic.
Method of selection: The New Artist of the Year will be decided from artists of songs extracted from those nominated for Song of the Year, according to Billboard Japan’s Heatseekers Songs rules.
1. Excludes artists who have entered the top 20 on the Japan Hot 100 or top 10 of the Japan Hot Albums tallies in the last six months (26 weeks).
2. Excludes artists who have logged at least four months (17 weeks) in the last six months (26 weeks) on the Heatseekers Songs top 20.
Groups and projects that include the above excluded artists are also excluded. However, artists who perform under completely different names are not excluded.
Top Global Hit From Japan: Celebrates domestic songs that have become hits around the world.
Method of selection: The Top Global Hit From Japan award will be decided by selecting the top 5 songs from the global chart created by extracting Japan-based songs from the global viewing data (streaming, downloads, music videos) compiled by Luminate, excluding the number of views in Japan.
Only the highest-ranking song will be considered for acts with multiple songs on the list. Five songs by five acts will be nominated for this award.
Tallying period: From Friday, Feb. 2, 2024 to Thursday, Jan. 30, 2025
Best Song Asia: Celebrates Asian songs that have become hits in Asia.
Method of selection: The Best Song Asia award will be decided from the top 3 songs from the 2024 year-end charts of Asian countries/regions excluding Japan.
For the inaugural MAJ, songs from the following East and Southeast Asian countries and regions will be considered: South Korea, China, Indonesia, the Philippines, Vietnam, Thailand, Malaysia, Singapore, Hong Kong, Taiwan.
General voting categories: One best work will be decided from 30 works chosen as nominees through Spotify’s voting function.
Listeners’ Choice: Best Global Song of the Year powered by Spotify: An award given to the Best Global Song decided by general vote from Spotify users from both within and outside Japan, from among domestic songs that have become global hits.
Listeners’ Choice: Best Song of the Year powered by Spotify: An award given to the Best Song decided by general vote from Spotify users from both within and outside Japan.
MUSIC AWARDS JAPAN 2025 KYOTO
Date of Ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Live broadcast on domestic terrestrial TV and global stream on YouTube scheduled (some regions excluded)
*Tickets to attend the ceremony will not be open to the public. Details of the awards ceremony and related events will be announced later.
HANABIE. is an all-woman nu-metal band made up of vocalist Yukina, guitarist and vocalist Matsuri, bassist and backup vocalist Hettsu, and drummer Chika. Although it’s been less than a year and a half since their debut, they were performing at overseas metal festivals even before they debuted, and in 2024 they played on the main stage at Lollapalooza, one of America’s “big three” outdoor festivals. Their momentum, especially overseas, knows no bounds. They spoke with Billboard Japan about their experiences around the world and about how it turned their attention to their hometown of Tokyo, the theme of their new EP, Bucchigiri Tokyo.
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First off, could you talk to us about Lollapalooza 2024, where you played in August?
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Matsuri: Lollapalooza is a super-famous festival, so at first we thought there was no way we’d actually be able to play there (laughs). We were jittery and restless all the way up until the actual day of the show.
Yukina: We’ve been very fortunate to be invited to play at metal festivals in lots of different countries, but Lollapalooza isn’t a metal festival, so we thought a lot about what to say and what to wear during the show. Hettsu stayed up late decorating the four platforms we stood on.
Hettsu: I went shopping for fabric with Chika. Not to sing my own praises too much, but I think the platforms turned out well, and they were a great match for the Lollapalooza stage (laughs). Also, for the first time at a HANABIE. show, we had a VJ, and for some of the songs we were projected up onto a huge screen.
Yukina: We also tossed some beach balls into the crowd and did some other things just for the show.
How did the success of the show affect the band?
Matsuri: It gave us a lot of confidence. Pulling off a big show like that was a great experience for the band. Also, we played during the daytime, so it sparked an ambition in us to make it even bigger and to one day perform in a later spot on the timetable. We also wanted to work even harder on our overseas shows.
Have you always been ambitious?
Matsuri: I don’t really think so.
Yukina: The more we play in different countries and in festivals in Japan, the more things we want to achieve.
Matsuri: We didn’t expect our music to connect with overseas audiences. Finding out that it connects gave us a lot of confidence. It made us want “more! more!”
You played at a few other overseas festivals after Lollapalooza. Have you gotten used to those kinds of shows?
Matsuri: Yes, we’re pretty used to them now. We’re gradually starting to get a picture of the different atmospheres at individual festivals in individual countries. Last year, every day was just like “This festival is amazing!”
Outside of festivals, you also did a roughly one-month-long tour of the U.S. together with Ukrainian metal band Jinjer and American deathcore band Born of Osiris.
Yukina: We played 19 shows in one month. It was like four days in a row, then a day off, and then repeat again, over the whole course of the tour. Jinjer’s performances had a lot of entertainment value. They were like watching a show. That influenced us, too, so we tried to be more expressive and to create an atmosphere for each song through our expressions, movements, and gestures.
Chika: Also, our individual performances came together and gelled.
Hettsu: Jinjer and Born of Osiris are both very technical bands, and they’re very locked in, so we focused more on getting ourselves locked in. That’s another way in which it was a really wonderful tour.
Matsuri: We’ve got the same sense of groove now, we push or pull the rhythm together. That was always an issue for us, but now we’re all starting to sync up, so I can really feel how we’ve grown.
After the tour with Jinjer, you did a tour in Australia, and now, having travelled the world, you’ve released a new album, Bucchigiri Tokyo. If it hadn’t been for your overseas experiences, you wouldn’t have chosen that name, would you?
Yukina: Right. Not just the title, but I don’t think we would have gone in the same direction with the songs, either.
Traveling to all these different places and meeting new people, you keep hearing “Japan’s great. Tokyo’s great.” So you rediscovered your pride and affection for where you’re from, right?
Yukina: Right. Partly because anime has such a huge presence that you take it for granted, I’d never really thought that deeply about Japanese culture, but through our world tour I found out how much people love Japanese culture. That opened up lines of communication, and I’ve come to feel really proud of our culture.
A lot of the songs on the new EP go pretty hard. “Bucchigiri Tokyo” is a surprisingly straightforward song.
Matsuri: So, about that song…I saw Green Day perform live for the first time at a festival in Europe. I’m a huge Green Day fan, so it was like a dream, being able to hear songs I’ve loved since I was little, all being performed live. That feeling stayed with us after the tour ended and we came back to Japan. We wrote “Bucchigiri Tokyo” about two days after we got back, still feeling that same spirit. I think that’s why that straightforward feeling comes through in the chorus riffs.
So the punk feel of the song comes from Green Day?
Matsuri: Right. Of course, it also has a lot of HANABIE. in it, but the mindset underneath comes from Green Day.
And then there’s “Ito Okashi My Type.”
Yukina: From that famous personality test…(laughs). It’s pretty popular now. Or, rather, it’s something that everybody’s interested in nowadays, so we decided to use it in a song. It’s well-known all around the world, not just Japan, so I think the song’s theme will resonate with people in any country. The song also has a kind of Heian era feel. A classical Japanese feel.
Matsuri: There are aspects of our modern age that share something in common with the Heian era, so we put them into our song, using a kind of pop approach.
There are artists who avoid referencing modern fads in their lyrics. You, on the other hand, actively try to do that, right? Don’t you worry about what will happen after those fads have passed?
Yukina: I don’t worry about it. It’s like the songs will age with us. We’re trying to create artistic output that’s super-fresh, in the way that only we can.
Matsuri: When we get older, there’s no way we’ll be able to do what we’re doing now, so we’ve got to do it while we can.
What kind of year do you think next year will be?
Yukina: It’s been almost a decade since our band formed. The one decade anniversary is a major milestone, so I want us to give ourselves a pat on the back and then be like, “Okay, now let’s give it our all again!” We’ve already been announced as playing at the German FWacken Open Air 2025 festival and some other festivals, so we want to really pump up the energy levels, both here in Japan and overseas!
—This interview by Daishi “DA” Ato first appeared on Billboard Japan
Wagakki Band’s Japan Tour 2024 THANKS – Yasou no Oto – came to a close on Dec. 10 at Tokyo Garden Theater. This year marks the eight-member group’s 10th anniversary, and in January it announced that the band would go on indefinite hiatus at the end of the year. With this tour, Wagakki Band will be putting its activities on hold for the time being. The band performed songs off its best-of album released in October, ALL TIME BEST ALBUM THANKS – Yasou no Oto -, with members conveying their gratitude to fans as the project’s title suggests and putting on a show representing the culmination of the decade of work together as a singular musical group.
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As the members appeared one by one to the opening music “Overture – Yasou no Oto -,” the audience already showed signs of excitement. Once the members were in place, the set kicked off with the sound of the koto (Japanese harp) and the powerful rhythm of the wadaiko (Japanese drums) leading into “Rokuchounen-To-Ichiyamonogatari (Re-Recording).” The ensemble captivated the audience with its intense arrangements, while still allowing the individuality of each instrument to shine through. Perhaps because this was their last show together before taking a break as a band, the seriousness with which the members approached this performance was palpable.
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Frontwoman Yuko Suzuhana (vocal) took a moment to hype up the crowd after the first number. “Today is the culmination of our 10th anniversary,” she said. “Everyone here, let’s all come together. Keep up!” The group then launched straight into “Valkyrie -Ikusa Otome-.” By this time, the members’ expressions had softened and it was clear they were trying to enjoy the show to the fullest. In their next track, “Aria of Life,” the band gradually built up the excitement in the venue with a performance featuring contrasts in tempo and emotive vocals.
“Today is probably a special day for you all, and it’ll be a special day for us too. Thank you for being here on this day that we’ll work together to create,” said Suzuhana. “Let’s all liven things up like a big year-end party.” The band then resumed the set with the serene track “Starlight (I vs I ver.).” The singer encouraged the audience to turn on the lights on their smartphones during “Queen of the Night” and the venue was bathed in dazzling light, creating a dreamy atmosphere combined with the dramatic music.
Midway through the show, the band members flaunted their colors during an instrumental section highlighting their musicianship. After Machiya (guitar & vocal) dazzled with a sparkling arpeggio followed by some percussive techniques, Kurona (wadaiko) joined in with his Oke Daiko (a kind of wadaiko) with a shoulder strap and Suzuhana performed a sword dance, creating an imaginative sight onstage. During the session, Kiyoshi Ibukuro (koto) also joined in with Shirasagi, a bunka-koto (compact koto) he produced, and the musicians boisterously showed off their skills in friendly rivalry. Then, Machiya, Asa (bass) and Wasabi (drums) wowed the crowd with their aggressive metal riffs, while Daisuke Kaminaga (shakuhachi) and Beni Ninagawa (Tsugaru shamisen) added their flourishes to dramatic effect.
The octet went on to perform songs including “The Beast,” which included time for the audience to take photos on their phones, “Perfect Blue,” featuring twin vocals by Suzuhana and Machiya, “Synchronicity,” and “Children Record.” They drew fans into their robust musical world with a wide range of songs like “Yoshiwara Lament” and “Sasameyuki (Re-Recording).” The set list mixing Vocaloid tracks and the band’s original numbers was truly a summary of Wagakki Band’s career. “We put together the set list based on requests of everyone’s favorite songs,” Suzuhana told the crowd. “Wagakki Band’s catalog includes rock-heavy numbers and elegant ballads, but no matter what we play, it always ends up being a Wagakki Band song. The music will continue to live on, so I hope you’ll continue to listen to and sing your favorite songs.” The band then performed the “Re-Recording” version of its first original song, “Hanabi,” featuring vocals evoking both glamour and transience backed by the band’s solid performance.
As the end of the main set approached, Kurona and Wasabi commenced their drum vs. wadaiko battle, now a regular feature of the band’s shows. Kurona hyped up the crowd, saying, “I want today to be the best battle cry of the decade,” and the audience responded by cheering loudly in time to the beat by the two drummers. The band then launched into “Kishikaisei (Re-Recording)” to the rhythm of the 3-3-7 beat, signaling the start of the show’s climax. During “Yukikageboushi,” fans spun towels above their heads, enhancing the feel of togetherness. The band went on to perform “Yasouemaki,” a track displaying the fruits of their years together as a group, and the main set ended with a flair with Wagakki Band’s signature number, “Senbonzakura (Re-Recording).”
The members returned to the stage as if led by the voices of the eager crowd singing “Akatsukino Ito.” Because this was the band’s last live show before going on hiatus, each member took turns expressing their current feelings. “Hard to believe we’re taking a break,” “I’m so glad I joined this band,” “Thank you for encountering us,” they voiced in unison. When Asa noted, “The eight of us together made a full-fledged team. We each had something missing, so we were able to stand by each other and fight together as a band,” Suzuhana responded by saying, “We were able to create so many miracles because the eight of us together made a full-fledged team.”
“There’s so much music in the world, so we thank you for finding and liking Wagakki Band,” she continued. “We’ll continue to struggle and survive in this world of music, so please keep supporting us.” The members then presented their fans with “GIFT,” a song filled with their feeling of gratitude. The venue was filled with smiles and tears as the song, promising a reunion rather than an end, came to a close.
Fans may be feeling sad right now, but as Suzuhana said at the end of the evening, “I think this view today will continue to support our lives from now on,” they can reminisce on the many miraculous moments they’ve seen over the years as they wait for the day the eight members converge again as the Wagakki Band.
This article by Tomokazu Nishibiro first appeared on Billboard Japan.
Wagakki Band Japan Tour 2024 THANKS – Yasou no Oto – Set List
Tuesday, Dec. 10, Tokyo Garden Theater
1. Overture – Yasou no Oto –
2. Rokuchounen-To-Ichiyamonogatari (Re-Recording)
3. Valkyrie -Ikusa Otome-
4. Aria of Life
5. Amenochi Kanjyoron (Re-Recording)
6. Starlight (I vs I ver.)
7. The Last Confession on Earth (Chikyuu saigo no kokuhaku wo)
8. Queen of the Night
9. Toono Monogatari Kyuu Yon
10. Toono Monogatari Go Go
11. Chie no Kakitsu
12. Homura
13. The Beast
14. Perfect Blue
15. Synchronicity
16. Children Record
17. Yoshiwara Lament
18. Sasameyuki (Re-Recording)
19. Hanabi (Re-Recording)
20. Effector Of Life
21. Drum vs. Wadaiko Battle – Ikusen no Onkai –
22. Kishikaisei (Re-Recording)
23. Yukikageboushi
24. Yasouemaki
25. Senbonzakura (Re-Recording)
Encore
1. Akatsukino Ito
2. Hoshizukiyo
3. GIFT