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On June 29 and 30, Revo put on a series of concerts, “Revo’s Orchestra Concerts,” at Hitomi Memorial Hall, in Tokyo’s Showa Women’s University.
These performances by Sound Horizon, the collective of artists led by sound creator Revo, were part of a series of events held to commemorate the 20th anniversary of Revo’s major label debut. One of Revo’s projects is Linked Horizon. He launched Link Horizon to carry out collaborations between Sound Horizon, which tells original stories through the use of musical suites, and other works such as the Attack on Titan anime. The concert consisted of orchestral performances of Revo’s works—not only those of Sound Horizon, but also pieces by Linked Horizon. The pieces were played live by the Tokyo Philharmonic Orchestra, led by conductor Hirofumi Kurita. Kurita and the Tokyo Philharmonic have enthralled countless audiences not only with their numerous classical music concerts, but also concerts in which they play orchestral arrangements of modern music, such as their Demon Slayer: Kimetsu no Yaiba orchestral concerts, the FINAL FANTASY XIV ORCHESTRA CONCERT 2022 -Eorzean Symphony concert, Galaxy Express 999 cinema concerts, and more.
Sound Horizon is known for its distinctive musical style, but this two-day concert series showed Revo’s talent as a composer and his pride as an entertainer. First, let’s look back at the daytime and nighttime shows of June 29, the first day of these joyous opportunities to experience the superb music prepared by Revo.
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“Revo’s Orchestra Concerts” consisted of a total of four shows over a two day period—two during the day and two at night. The venue was Showa Women’s University’s Hitomi Memorial Hall, which has a reputation for excellent acoustics. Each show was divided into two parts. The first part was a pure orchestral concert, which began with “Onward Into the Light: An Overture” from BRAVELY DEFAULT, a classic RPG-like theme well-suited for orchestration. After this, the program was like a chronology of Revo’s works, with early pieces such as “Chronicle 2nd,” from Revo’s indie album era, followed by songs that marked his debut into the majors. These included performances of music that he created for Momoiro Clover Z and for the anime Attack on Titan.
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Speaking to the audience, Revo said “Even one-hit wonders have a history.” Compared to his early period, which was characterized by dreamy, mysterious short pieces, the latter pieces, closer to his more recent compositions, were longer and more classical. Their structures grew more diverse, with dynamic shifts within individual pieces. At the same time, they also became more melodic and had more of a pop feel. One of the charms of this instrumental music was how well one could feel Revo’s evolution as a composer and gain a true sense of his history.
The vocal portions of songs were replaced with various instruments, such as flutes, violins, and harps, bringing smiles to the faces of everyone familiar with the original versions. Some of the concert’s more famous pieces included “Akatsuki no Requiem,” which took the completely opposite approach, using majestic horns to perform the fevered soprano part while maintaining the original piece’s dignity. In addition to pieces which used the tried-and-true technique of performing vocal solos with instruments, there were also pieces like “MOON PRIDE,” with castanet triplets evocative of the floor tams of “Moonlight Densetsu.” The playful approach, brimming with love for the source material, provided a cornucopia of joy for listeners.
Another example of Revo’s playfulness was “Gyoukou no Uta.” In the original version, the song ends with the lines “Mutti. The light. It’s so warm,” and then the sound of a book being closed. In the concert, this sound was created by all the musicians on stage turning their sheet music over at once. This performance instruction was even written directly in the conductors’ and performers’ sheet music. This was evocative of the famous final page of the sheet music for Mauricio Kagel’s “Concert Piece for Timpani and Orchestra,” which directs the percussionist to plunge head-first through a drum. In “Shinwa -Μυθοs-,” the sound of a chirping bird was performed using a bird call, and in “schwarzweiß -Kiri no Mukou ni Tsunagaru Sekai-,” a wind machine replicated the sound of wind. Both of these instruments are used in classical concerts, but they also tickle the ears and open up the gates of classical music to a wider audience.
The first part of the concert ended with a discussion by Revo, which provided the conductor and orchestra with a break. Revo was able to engage closely with his “Laurants” (Sound Horizon fans), after which the second part of the concert began with a vocal piece featuring a guest vocalist well known to the audience and singing by Revo himself.
At the June 29th daytime concert, the guest vocalist was RIKKI. The original version of “Ishidatami no Akaki Shaytan” was sung by RIKKI and three other female vocalists, joined by one male vocalist. In the concert performance, RIKKI and Revo performed multiple people’s parts. Revo showed a deft ability to instantly switch between falsetto and his normal singing voice. Likewise, in the “eleven letter message” sung by RIKKI in the original song, backed by the tide of emotion provided by the orchestral backing, she now brought out a more motherly voice, having matured over the 17 years since the song was originally recorded.
At the nighttime concert, the guest vocalist was Fuki. Her performance featured numerous highlights, among them her performance of “Star Dust,” in which she directed the line “Tell me why?” at conductor Kurita. This was an ad-lib direction from Revo. Kurita responded in top form, “That’s what I want to know. Why?” It was a striking example of Revo’s dedication to entertainment, seeing live performances as carefree, liberating spaces. The show’s finale used a racing starter pistol to reproduce the sound of a gun, causing those in the audience who knew the original piece to break out in grins.
The encore began with Revo asking the audience, “Has anyone here sung with an orchestra before?” He sought to provide the entire audience with the opportunity to form a giant chorus. From start to end, beautiful music flowed through the hall, while various clever ideas, both within songs and within the show’s performance direction, broke the tension and opened the audience’s hearts. Kurita encouraged the audience to show their feelings without reservation, applauding until their hands turned red. It was evident that he, too, felt the enthusiasm of Revo, ardent explorer of the arts. Every moment of the two performances was a testament to Revo’s talent as a creator.
—This article by Koji Shimizu (Seven Days War) first appeared on Billboard Japan
Billboard JAPAN interviewed Official HIGE DANdism for the latest edition of its “MONTHLY FEATURE” series, highlighting today’s leading artists and works. The four-man band recently released Rejoice, its first album in almost three years.
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Starting with their breakout 2019 release “Pretender,” they have created countless hits, become a beloved band throughout the country. Their October 2022 release “Subtitle” was an especially big success, claiming the No. 1 spot on five of Billboard JAPAN‘s charts for the first half of 2023, such as the “JAPAN Hot 100” chart. Rejoice, their new album, contains a total of 14 songs, including “Subtitle” and “Mixed Nuts,” the opening theme of the SPYxFAMILY anime.
Billboard Japan spoke to all four members of the band about what led to the creation of this new album and the growing support they’re enjoying from overseas fans.
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When did you first start working on the overall image and concept of your new album?
Satoshi Fujihara: When we finished our last album, Editorial, we were talking about making our next album a more joyful one. The last album had shined a spotlight on deep-down feelings and melancholy about the future, we wanted to change the mood and go in a happier direction next.
How have the past three years, since your last album, been for you, as a band?
Fujihara: Our fan base has been growing since 2019. When we started out, I thought I might find that uncomfortable, but over the past three years, I’ve become comfortable with the fact that I live a kind of unusual life, in a good sense. A very blessed life. At the same time, it’s also felt like we’ve been able to expand our potential, always striving to create even better music, but not in a stoic way — instead, we’ve been able to do that while having fun. It’s been an extremely fruitful and pleasant three years.
Daisuke Ozasa: I think over these years we’ve become more confident in the music we like, our own individual character, and the kind of music that has shaped us through the years. I think that all comes out through the music on the album.
Masaki Matsuura: The discussions we had while creating the new album were relaxed and at ease. I think that was a sign of just how much we grew over those three years.
Makoto Narazaki: Of course, I want to get better, and I want to record good songs. But in the past, I felt like I had to hold myself up to a really high standard, while now I feel like I can just be myself. I think that the whole group’s atmosphere has changed in the same way. It feels more open, with more room to breathe. There’s this sense of “Why don’t we just try to have fun with everything we do?”
I’m sure you put a lot of care into the arrangements of the songs on the album, and how the songs develop, but you’re saying that one of your driving forces was a more simple sense of “It might be fun if we did this” or “It could be interesting if we did that”?
Fujihara: Exactly. Without that, it would just be a copy-and-paste job. I think that approach of arranging songs is a more natural style for us.
I think one of the things that makes Official HIGE DANdism’s music so appealing is that it goes in directions that the listener isn’t expecting. Your songs take on all kinds of musical challenges.
Narazaki: One of the biggest and most prominent examples of that is the structure of our songs, but we’re also taking on new challenges with our tone and in other areas which maybe listeners won’t notice. Songs are more fun if there’s some playfulness to them, and it’s great to listen to a completed song and be like, “that sounds really cool.” When you can do that, there’s the potential for doing it with different concepts, as well, which presents its own new challenges. I find that really satisfying.
Which are each of your favorite songs on the album?
Narazaki: For me, it’s probably “TATTOO.” We all got together in the studio, started up the DAW, and we were looking at the demo data on Satoshi’s computer, talking about how we wanted the song to sound. The demo had these vintage synth and keyboard sounds. It may just be me, but I find those kinds of sounds cheesy but at the same time kind of cool. Like, they put me at ease when I hear them, or they strike my fancy at the time. They’re timely, in an odd way. That’s why I like “TATTOO.” “Nichijo” and “Get Back To Jinsei” have a similar feel. If you think of each song as a stew, then it’s like they’re different stews but they have similar spices. They have that same sense of place in time, that same kind of nostalgic flavor. After working on them, when we worked on the other songs (on the album), I got that same sense of cool cheesiness and that same nostalgic feeling.
Fujihara: For me, it’s “Sharon.” In terms of musical theory, what we’re doing is a little fiddly, but the end result is incredibly natural. I’m very happy with how it came out. Now, we’re rehearsing it in preparation for live shows, and the power of the band really comes across. In a way, it’s a very dependable song — I can feel comfortable giving myself up to the music, which makes it one of my favorites.
Ozasa: I like “B-Side Blues.” It’s the first song that the whole band has recorded in a single take in about five years. The whole album isn’t exactly packed with notes, but this one has even fewer notes than most, so the feeling of each of our performances comes across very vividly. It’s also a beautiful song for bringing the album to a close. The word Rejoice has this image of profound, powerful joy. The album starts off with extremely energetic songs, like “Get Back To Jinsei.” But as the album progresses, the joy it expresses comes closer to home. Little by little, it becomes more personal, more about the things we value in our own lives. The album ends with “B-side Blues,” which truly expresses this personal joy.
Matsuura: Of all the songs on the album, the process of recording the drums took the longest for “Mixed Nuts,” so it left the strongest impression on me. It has a lot of jazz elements, and the tempo is fast, making it a hard song to play. I don’t have a jazz background, so I had someone who used to play jazz show me the ropes. There were a lot of cases like that, where I was studying new things, and when I’ve jammed with other musicians, sometimes they’ll ask how I played my part on “Mixed Nuts,” or they’ll say they think it’s a really interesting song. It’s the kind of song that spurs a lot of talk as a drummer, and was a ton of fun to play.
I expect you’ve been hearing from overseas audiences, too. Tell us about what their reaction has been like.
Fujihara: Yes, we’re getting a lot of messages on social media from overseas fans, in languages we can’t read, asking us to come to their countries and perform. It’s a strange feeling, but also a wonderful one. We did once play in Korea, a long time ago. There were only like three people in the audience. That makes all the feedback we’re getting from overseas audiences now feel that much stranger.
On Billboard JAPAN’s Global Charts, songs like “Pretender” are also very popular in Korea. They’re ranking highly in various countries throughout Asia.
Fujihara: Every time we hear a fan saying they’re waiting for us to play a show in their country, it makes us want to go there and perform even more. We haven’t done any overseas shows since that show in Korea, but lately we’ve been talking about how it would be nice to perform overseas sometime in the near future.
—This interview by Tomonori Shiba first appeared on Billboard Japan
THE RAMPAGE from EXILE TRIBE’s “24karats GOLD GENESIS” soars to No. 1 on this week’s Billboard Japan Hot 100, rising 49-1 on the chart dated July 31.
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Digitally released in June, the track debuted at No. 40 on the list dated June 19 after collecting points in downloads, streaming and radio airplay. The CD version went on sale July 24 and sold 326,342 copies in its first week, powering the track to No. 1 after seven weeks on the Japan Hot 100 where it consistently performed well mainly in radio leading up to this week.
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Mrs. GREEN APPLE‘s “Lilac” holds at No. 2, still leading streaming for the sixth straight week. Overall points for the Oblivion Battery opener have increased slightly, with the track coming in at No. 7 for downloads, No. 3 for video, No. 98 for radio, and No. 9 for karaoke.
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Creepy Nuts’ “Bling-Bang-Bang-Born” is back at No. 3, rising a notch after points for radio increased from the week before. The viral hit has been charting in the top 5 for 28 consecutive weeks.
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STARTO for you’s “WE ARE” rises to No. 4. The charity single by the project featuring 75 members from 14 groups under STARTO ENTERTAINMENT, including King & Prince, SixTONES, and Snow Man, launched with 209,847 CDs to hit No. 2 for sales, but didn’t chart in any of the other metrics of the Japan Hot 100’s methodology.
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Kocchinokento’s “Hai Yorokonde” continues to rise, moving 10-8 on this week’s chart. The track continues to hold at No. 1 for video for the fourth week in a row, and climbs 12-9 for downloads, 16-13 for streaming, and debuts at No. 75 for karaoke. Incidentally, while the video for “Hai Yorokonde” is being watched mostly in Japan (60%), it’s also being consumed in other countries including South Korea (8%) and the U.S. (5%), and the number of views in the latter two countries has been increasing in recent weeks, according to Luminate.
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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 July 22 to 28, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japan’s Ministry of Economy, Trade and Industry (METI) has published a report on its music industry. The report is part of the Japanese government’s “Grand Design and Action Plan for a New Form of Capitalism 2024.” In this plan, several strategies for revitalizing the industry are listed, including “strengthening command structures within content creation industries,” […]
INI will return to California later this week to hit the stage at KCON LA 2024, the third time the group has participated in this event since their first appearance in 2022. This year’s KCON takes place Friday (July 26) to Sunday at Crypto.com Arena, L.A. Convention Center and Gilbert Lindsay Plaza in Los Angeles.
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INI — pronounced “eye-en-eye” — is an 11-member global boy band born from the survival audition program Produce 101 Japan Season 2 (GYAO!/TBS), broadcast in 2021. The group has been popular from the start — a special program with a title that roughly translates to Nice to meet you! We are INI! (GYAO!) aired in Japan before the band’s debut, and the members were featured on a segment on the TV show Yoru no Brunch (TBS) from the day they debuted. The group’s fandom has grown steadily since then, and while its continued popularity can mainly be attributed to the appeal of each member, another major reason behind the group’s breakthrough is that in the early days of the group’s formation, it took measures that had rarely been implemented in Japan before.
For example, prior to the release of their debut single “A,” INI released teasers of two songs, “Rocketeer” and “Brighter,” and invited fans to vote for their favorite. As a result, the powerful dance number “Rocketeer” came out on top, which helped set the image of INI being a group skilled in hip-hop-tinged dance tracks. When launching this voting system, INI announced on its official website: “We adopted a new system where fan votes determine the group’s music, since INI is a group chosen by popular vote.” This message suggests that the band wanted to welcome its fandom — collectively called MINI — that had been watching over them since the audition as part of its team. In fact, the hashtag “#TeamINIandMINI” has recently been created on social media.
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All of INI’s singles released since have reached No. 1 on Billboard Japan’s weekly Top Singles Sales chart. Also, the group’s sixth single “THE FRAME,” which dropped June 26, launched with 812,184 copies in its first week and became its best-selling single to date, far exceeding “I,” the second single that had been the group’s previous best-seller at 742,208 first-week copies. “THE FRAME” went on to hit No. 1 on the Japan Hot 100, the comprehensive song chart that includes six metrics in its methodology including downloads, streaming, radio airplay and more. The music video for “LOUD,” the lead track off “THE FRAME,” has been viewed over 11.8 million times as of July 24 after being released June 17 on the group’s official YouTube channel.
The members are gradually becoming more and more involved in the production, beginning to present their individualities. Hiroto Nishi took part in writing the lyrics for “SPECTRA,” “DROP,” and “LEGIT,” and the songwriting for “Walkie Talkie.” Xu Fengfan was involved in the lyrics for “I’m a Dreamer,” Hiromu Takatsuka for “My Story,” Shogo Tajima for “Runaway,” “TAG,” and with Takatsuka for “Dirty Shoes Swag,” Kyosuke Fujimaki for “YOU IN,” Rihito Ikezaki for “10 THINGS” with Tajima and “Ferris Wheel” with Fujimaki. Furthermore, Masaya Kimura choreographed “Moment,” “YOU IN,” and “KILLING PART” (with Nishi).
The group’s popularity lies not only in each member’s creative abilities, but also in their performance skills — when all eleven members perform together, the result is powerful and bold. The word “flamboyant” is probably the most apt description, and their gripping performance has the strength to captivate a wide audience. The members come from different backgrounds — some are good at dancing, others at singing. In particular, Ikezaki and Yudai Sano participated in the audition with no prior experience in singing or dancing, but have both now reached the level of uploading their own dance videos on TikTok, and now all eleven members make their presence felt in their stage performances. That the traces of each member’s hard work can be seen adds to the appeal of their performances.
INI has also gained experience by performing on numerous stages. The INI 1ST FAN MEETING took place right after their debut, and showcase events have accompanied every CD release. The band successfully completed a hall tour in 2022, an arena tour in 2023, and on February 24 and 25, 2024, they performed at Kyocera Dome in Osaka for the INI 2ND ARENA LIVE TOUR [READY TO POP!] IN KYOCERA DOME OSAKA concerts. The [READY TO POP!] arena and dome tour drew a total of 200,000 fans.
The group has also performed in many outdoor rock festivals including the 1CHANCE FESTIVAL 2022 presented by power trio WANIMA and JAPAN JAM 2024, steadily gaining fans by showcasing its unique appeal in situations where not all the people in the audience are familiar with the group. This summer, INI will take the stage in some of Japan’s premier music festivals such as ROCK IN JAPAN FESTIVAL 2024 and SUMMER SONIC 2024, and will likely expand its fandom through its overwhelming performances.
INI has also become a fixture at KCON, not only at the L.A. event — again, their third consecutive year to perform — but also at KCON 2023 THAILAND, KCON in South Korea, and the music program M COUNTDOWN, gradually gaining experience performing outside of Japan. After almost three years since the group’s debut, INI is on its way to winning the hearts of new MINIs around the world.
KCON LA, including INI’s performance, will be broadcast on The CW.
—This article by Azusa Takahashi first appeared on Billboard Japan
Dua Lipa dropped a remix of her single “Illusion” featuring Creepy Nuts, Japan’s breakout hip-hop duo that made waves with its viral hit ”Bling-Bang-Bang-Born,” the No. 1 song on Billboard Japan’s mid-year tally for 2024.
“Illusion (Creepy Nuts Remix)” is the latest remix of the track off the “Houdini” artist’s latest album Radical Optimism, released in May. The original, a song about a character that breaks away from her formerly weak self and is now assertive when faced with another potentially toxic relationship, reached No. 1 on Billboard’s Hot Dance/Electronic Songs chart and also reached the top 10 of the U.K. Official Singles Chart. The song has been streamed more than 250 million times worldwide, and the music video viewed more than 35 million times.
Why was Creepy Nuts tapped to collaborate with Lipa, a Grammy-winning star who recently headlined this year’s Glastonbury? It all started when Creepy Nuts’ “Bling-Bang-Bang-Born” reached the top 10 on the Billboard Global 200 chart in March. The catchy hip-hop banger peaked at No. 8 and became the fourth song by a Japanese artist/act to break into the top 10 on this tally. The other three are “Glimpses of Us” by Japanese-Australian artist Joji (No. 2 in 2022), “Homura” by LiSA (No. 8 in 2020), and “Idol” by YOASOBI (No. 7 in 2023). “BBBB” also hit No. 3 on the Global 200 Excl. US chart that focuses on all territories outside the United States, and the track’s global breakthrough caught Dua’s attention.
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Lipa asked Creepy Nuts to do the remix via her team in Japan and the duo consisting of rapper R-shitei (“R-rated”) and DJ Matsunaga readily agreed to the offer, resulting in the exciting collaboration between two chart-topping global acts. The remix — surprisingly, it was the “Nidone” pair’s first collaboration with an artist from outside their home country — combines Matsunaga’s catchy track with R’s signature rapid-fire bars and lyrics paying homage to the “Levitating” singer’s past works by including their titles.
“The track turned out well, and it was a fresh challenge that brought out a new side of us as well,” says Matsunaga, while R notes, “I looked to the original lyrics of Dua Lipa’s ‘Illusion’ and participated in the world it depicted, letting the illusionist in me appear in the lyrics that I wrote.”
Dua Lipa is set to return to Japan for the first time in six years this November for two arena shows, which sold out on the day tickets went on sale. The “Dance the Night” songstress has been recognized by Spotify as “the first artist in history to hold five songs with over 2 billion streams” and “the 25th most listened-to artist of all time.” Her album “Radical Optimism” has been streamed over 2 billion times worldwide and topped the Official UK Albums chart, making her one of the world’s top artists in both name and reality.
Creepy Nuts’ “Bling-Bang-Bang-Born” recently dominated Billboard Japan’s mid-year Japan Songs chart — a tally that tracks songs from Japan being listened to in countries around the world — by topping the lists for six countries. On July 20, the “Nobishiro” duo performed at the AFEELA Pregame Performance at Dodger Stadium Center Field in Los Angeles, performing live for the first time in the U.S. Creepy Nuts will hit the stage in Tokyo Dome for the first time for their LIVE at TOKYO DOME concert on Feb. 11, 2025.
“[The remix] is precisely us, and it’s also a new side of us that was brought out because the song was Dua Lipa’s ‘Illusion,’” say the duo. “It’s in both English and Japanese but turned out smooth; we hope you enjoy it.”
Dua adds: “Be sure to listen to the remix by these two amazing talents.”
Stream “Illusion (Creepy Nuts Remix)” here: http://dualipa.lnk.to/illusioncreepynuts
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back number’s “to new lovers” (Japanese title: “Atarashii Koibitotachi ni”) debuts at No. 1 on the Billboard Japan Hot 100, dated July 24, giving the veteran three-man band its fifth No. 1 on the tally and the first in almost five years and eight months.
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The “Suiheisen” (meaning “horizon”) trio’s latest hit is being featured as the theme song of the ongoing drama series called Umi no Hajimari (“beginning of the sea”) being aired on Fuji TV’s popular Monday nights at 9 p.m. time slot. The track tops downloads (24,432 units) and radio airplay, while coming in at No. 4 for streaming (7,532,578 weekly streams) and No. 32 for video views. The song collected 1.9 times more first-week downloads and 1.7 times more streams compared to the previous single by the J-pop band, “Fuyu to Haru” (“winter and spring”), released in January.
This is the fifth time back number has topped the Japan Hot 100, having previously scored No. 1s with “Omoidasenakunaru sonohimade” (“until the day I can’t remember”) in 2011, the band’s seasonal staple “Christmas Song” in 2015, “Boku no Namaeo” (“(you called) my name”) in 2016, and “Old Fashion” in 2018. Other songs in the band’s catalog are also on the rise, with “Suiheisen” rising a notch to No. 38, “Takaneno Hanakosan” moving 42-39, and “Hanataba” (“bouquet”) 84-82.
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Mrs. GREEN APPLE’s “Lilac” slips a notch to No. 2 after reaching No. 1 last week, but streams for the track are down only by about 5% from the previous week (No. 1 for the fifth week in a row for the metric), and the single is at No. 7 for downloads, No. 3 for video, and No. 12 for karaoke.
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AKB48’s “Koi Tsunjatta” bows at No. 3. The J-pop girl group’s 64th single, released four months after the previous single “Karakon Wink,” launched with 411,100 CDs in its first week, about 50,000 fewer than the predecessor’s 463,564 first-week copies.
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ONE OK ROCK’s “Delusion:All” jumps 21-7, breaking into the top 10. Streams for the Kingdom: Return of the Great General theme song are up by about 1.9 times the week before, radio up 7 times, and video up 1.5 times. Kocchinokento’s “Hai Yorokonde” also enters the top 10 for the first time, topping the video metric. Streams are up by about 1.2 times the week before (No. 16), while downloads and karaoke for the track also increased, with the former coming in at No. 12.
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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 July 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
On Feb. 13, 2024, BMSG, Inc. made waves in the Japanese music industry with their statement, “BMSG’s Recommendations for Pulling the Music Industry Back from the Brink of Unsustainability.” The announcement discussed the problems of Japan‘s music industry, which still heavily relies on CD sales. One of the issues discussed was how this reliance on physical media has led to people purchasing multiple copies of the same CD, contributing to the generation of excessive waste. BMSG declared its commitment to taking action to change the music industry’s structure and minimize CD waste.
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The announcement highlighted that the bulk-purchasing of CDs has been a longstanding issue, sparking debate for over a decade. The fact that this announcement came from BMSG, a record label and management agency home to dance and vocal groups with passionate fandoms, created a huge stir, both inside and outside the industry.
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In a revealing interview in The Quiet Revolution of Billboard Japan, published on Feb. 20, SKY-HI, CEO of BMSG, Inc., elaborated on the issues highlighted in the company’s recent announcement. Seiji Isozaki, the book’s author and chart director for Billboard Japan, shared his insights from the conversation.
“It was my first time meeting SKY-HI in person, but I’d heard a lot about what he’d said and done before. Some of his activities involved the hit charts, and I found them really thought-provoking. They motivated me in creating the Japanese charts. I thought that discussing the charts with him would offer insights into the artists’ perspectives on chart changes and allow for a multifaceted exploration of issues surrounding hit charts.”
“Meeting him in person, what I felt was his flexible stance on living in the present. At Billboard Japan, we’ve also continued to think about the limits and possibilities of the current music industry through our efforts with the hit charts. Although our positions are different, I strongly felt that he had also been grappling with the same issues, and it was a very encouraging dialogue.”
At the April BMSG convention, members of the entertainment industry watched SKY-HI’s presentation, where he reinforced the company’s commitment to these sustainability recommendations. Through the presentation, which was later streamed on YouTube, SKI-HI spoke directly about the recommendations, sharing them with the rest of the world.
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BE:FIRST’s concept single, “Masterplan,” released on April 24, was the first project to embody BMSG’s sustainability proposal. The single comes in a paper sleeve to reduce the amount of plastic generated by CD production. BMSG also eliminated retailer-specific add-ons — collectibles that come with CDs sold by specific music retailers that are randomly packaged with CDs, both of which drive bulk CD purchasing. Due to these decisions, the number of CDs shipped during the period from April 24 to May 22 fell by roughly 70,000, but total sales of singles and single-related merchandise, including merchandise featuring the single’s art, roughly doubled. Using paper sleeves cut plastic usage during the CD production phase by 10 tons and reduced the amount of associated CO2 emissions by 59 tons.
The title track, “Masterplan,” made a splash by debuting at the top of Billboard Japan’s Hot 100 song chart. The album’s solid chart results demonstrated that it’s possible to take the number one position without relying on the bulk purchasing of CDs by fans or retailer-specific add-ons.
“When we think about what makes a hit,” said Isozaki, “it’s important to look at how the hit charts are structured and how valid those charts are—whether those charts resonate with people. Getting to know the evolving Billboard charts in the US and the individuals shaping their evolution, I’ve come to deeply appreciate the significant responsibility we bear.”
“In the U.S., in the early ’90s, Nielsen Music (now Luminate) succeeded in collecting point-of-sale data from record stores across the country. Until then, data had been generated based on the results of fax and telephone surveys. The shift to this new, objective data collection method revolutionized the Billboard Hot 100 lineup overnight. The changes came as quite a shock, both inside the industry and out, and profoundly transformed what it means to be a hit. One thing we find very impressive is how Billboard’s charts have been able to keep resonating with people in the same way by constantly making adjustments, adding new data such as downloads and streaming plays.”
“In the early 2010s, Japan saw a surge in fan-driven bulk purchases due to customer participation activities. The phenomenon brought renewed attention to the practices of the music charts. This raised a dilemma. On the one hand, we needed to recognize the support that fans provided artists by bulk-buying their music. On the other hand, we also needed to ensure that our charts resonated with the broader audience so as to accurately represent which songs were true hits. And, no matter what, our charts should never incentivize unsustainable fan behavior that leads to burnout. So, since the mid-2010s, we’ve been meticulously adjusting the charts weekly to strike just the right balance. These adjustments have gradually reshaped Japan’s definition of a hit song.”
“Today, purchasing multiple copies of the same track has minimal impact on the hit charts. Fans desire longevity in their favorite artists’ careers. SKY-HI’s proposal invites us all to consider how fan activities in Japan can sustainably support artists.”
BMSG says that BE:FIRST’s initiatives are just the beginning of an ongoing effort to improve the sustainability of Japan’s music industry. On July 1, the South Korean boy band ATEEZ and BE:FIRST released their collaborative single, “Hush-Hush.” As BMSG sets its sights on the international arena, it is extending its reach beyond Japan’s borders. The full impact of these moves on the music industries of Japan and the wider world remains to be seen, yet it is evident that BMSG is steadfast in meeting these challenges.
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This article by Seiji Isozaki and Maiko Murata first appeared on Billboard Japan.
Mrs. GREEN APPLE’s “Lilac” hits the top spot on the Billboard Japan Hot 100, moving 4-1 on the chart dated July 17 after spending 14 weeks on the tally.
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The opener for the anime series Oblivion Battery was released back in April and debuted at No. 11 on the Japan Hot 100, then climbed to the top 5 where it coasted along powered by streams. The last episode of the anime aired on July 3, and the track saw an increase in all metrics this week with downloads at 106%, streaming at 107%, radio airplay at 194%, video views at 123%, and karaoke at 120% week-over-week.
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Debuting at No. 2 is SixTONES’s “GONG,” the lead track off the boy band’s 13th single “GONG/Koko ni kaettekite.” The CD launched with 438,438 copies to hit No. 1 for sales, while the song also comes at No. 35 for radio and No. 33 for video.
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Creepy Nuts’ long-running hit “Bling-Bang-Bang-Born” holds at No. 3, followed by BOYNEXTDOOR’s “One and Only” at No. 4. “One and Only” is the lead track from BOYNEXTDOOR’s first single called “And,” which sold 238,859 copies in its first week to come in at No. 2 for sales.
“Fatal” by GEMN, the duo consisting of Kento Nakajima and Tatsuya Kitani, rises 21-8 to break into the top 10. “Fatal” is being featured as the opener for the anime series Oshi no Ko Season 2, which began airing July 3. The track jumps 42-11 for streaming, 20-4 for video, and bows at No. 65 for radio.
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Other notable chart moves this week include ONE OK ROCK’s “Delusion:All,” the theme song for the movie Kingdom 4, debuting at No. 21, and Ado’s “RuLe,” the theme song for the drama series Billion x School, bowing at No. 40.
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 July 8 to 14, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
On Dec. 23, 2023, fans were fortunate to see “Thanks,” a final, additional performance by GARNiDELiA at Tokyo’s EX THEATER ROPPONGI as part of their GARNiDELiA stellacage 2023 -stella ship- Re:CoNNeCT world tour. Six months later, on June 30, 2024, GARNiDELiA premier stellacage ‘TOKYO’ World Tour 2024 -TEN- [MAKUAKE] was held. This was the opening show of their world tour and their first time performing in Tokyo’s Hibiya Open-Air Concert Hall. The mood of the show was dramatically different from the previous show, and you could immediately see and feel the support GARNiDELiA enjoyed from its passionate Chinese fanbase. The first thing one saw upon stepping into the outdoor theater was the huge number of Chinese-speaking fans.
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The popularity of GARNiDELiA’s songs exploded throughout China with member MARiA’s performance of “Gokuraku Jodo” on the Chinese audition show Cheng Feng 2023, launching the band into stardom. MARiA now enjoys overwhelming popularity in China, even serving as the advertising face of various brands.
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Unfortunately, it was rainy on the day of the outdoor show. In the midst of the drizzle, sound effects with a distinctly Asian feel began playing and toku and the band’s supporting members took to the stage. Then MARiA appeared, wearing a dress evocative of the Middle East and a long veil covering her face. The show began with “-TEN-,” a song from their latest album, TEN, which represents GARNiDELiA’s resolve to reach the pinnacle of all they survey. The sound production featured deep bass, the product of the band’s experience in China. This combined with MARiA’s singing voice, whose emotional strength had reached new heights, to produce a chemical reaction that resulted in a simply overwhelming performance. During the band’s performance of “Diamond,” she removed her veil and was joined by a team of dancers. For the rest of the show, they put on intricate dances as MARiA commanded the stage. The crowd shouted along and banged their heads to “COLOR,” bringing the audience even closer together, and then the band launched into “True High.”
After toku and MARiA’s self-introductions, MARiA loosened up the audience with her cheery personality, saying “What a wonderful, sunny day, huh! (laughs) We’re really fortunate to have such great weather! Okay, everybody, I want you just as soaked as me by the time you leave today!” She mentioned that they had added music with a “sky” theme to the set list because of the Hibiya Open-Air Concert Hall location.
Her soft voice as she sang the line “a blue sky, free of clouds” in their performance of “ONE,” accompanied by the gorgeous, melodious synth line played by toku, was so powerful it felt like it could even part the rainclouds. MARiA’s piercing eyes glittered, showing the sincerity and honesty she always brings to her songs, as she performed “Soten.” This was followed by “Akatsuki Zakura” and “Oka Ramman,” whose Japanese tones took the splendor of the music to a new level.
MARiA, wearing a cat’s ear headband, and toku, donning a cat’s ear cap, then performed “CAT PLANET” (with a quick detour to perform a cover of Anri’s “CAT’S EYE”). The choreography, featuring cat paw gestures, was a stand-out, and the audience sang along to the “nya nya nya” (“meow meow meow”) part. Still wearing their cat’s ears, GARNiDELiA then played “PiNK CAT,” “Gen Ai Yugi,” and “QUEEN(S) GAME,” all accompanied by their dancers. The active back-and-forth with the audience is one of the hallmarks of the band’s live performances, marked by its global sensibilities.
The rain, however, showed no signs of stopping, instead growing fiercer and fiercer. MARiA, having changed into a black costume with gold decorations, sang a lush rendition of “Fiction,” a song of heartbreak with a piano refrain that lingers even after the song ends. Then the band performed “Hoshi No Uta” and “Suzuran.” The ‘80s flavor created a soundscape that felt both nostalgic and new, drawing out both the wistfulness and beauty of MARiA’s voice. The rain, now pouring down, was perfectly matched to MARiA’s emotional performance. The struggles and hard work beneath her artistry were highlighted even more sharply than in the band’s usual concerts, creating an overwhelming sense of authenticity.
“Sometimes your voices and your love feel like my wings. When I’m with you, nothing can stop me,” said MARiA before diving into the song “Future Wing.” This was followed by the hard-edged rock songs “SPEED STAR,” “ambiguous,” and “BLAZING.” The show’s finale was a special version of “FRONTiER,” which also felt like a beginning. In the encore, which began with “Gokuraku Jodo,” MARiA talked to the Chinese-speaking fans, who cheered in response. It was a truly international moment. “I want my fans in Japan to feel the Chinese vibe,” said MARiA, and the band covered Ikimonogakari’s “Blue Bird,” a song that enjoys a lot of popularity overseas. Many of the Chinese-speaking fans sang along with the chorus in Japanese. Seeing the success GARNiDELiA is achieving around the world, such as the growing range of reactions from the audience, with my own eyes, I was sure that GARNiDELiA’s music was poised on the edge of a dramatic transformation.
“No matter how hard things were, no matter how I struggled, no matter how dark the future looked, I kept pushing forward. I kept fighting. I knew that if I kept doing that, a miracle would happen. Our life, and the love you have all given us, is a testament to that,” said MARiA.
The Hibiya show was the opening of a five-month tour starting in summer that would see GARNiDELiA playing roughly 50 shows, mostly in China and nearby areas. The duo shows true strength, taking change head-on, unflinchingly, in the midst of our rapidly changing environment. This strength was demonstrated again by their performance in the middle of a merciless rainstorm.
The show came to a close with toku, a keytar over his shoulder, leaping to the front of the stage to perform “G.R.N.D.” MARiA and toku’s paths crisscrossed as they listened to each other’s music. Enveloped in generous applause and cheering voices, the duo left the stage.
This article by Mio Komachi first appeared on Billboard Japan.