Ado, ATARASHII GAKKO! & YOASOBI Showcase Best of Today's J-Pop at matsuri '25 Event in L.A.
YOASOBI opened the show, and when the duo's name on a banner flashed on the screen behind the stage, the 7,000 fans in the audience cheered loudly. As the banner was torn down by the hand of a monster, low-pitched sounds and mysterious music played over the speakers. ikura and Ayase appeared on stage to the announcement, 'Welcome to the world of Surrealism,' and the crowd shouted and waved their glow sticks to express their excitement. The intro to 'Seventeen' began to play after a brief silence, and ikura said in English, 'Welcome to matsuri '25. We are YOASOBI from Japan. Get ready to have a blast tonight. L.A., are you guys ready?' Fans responded with shouts of 'Oi! Oi!' and the band kicked off the event with a bang.
More from Billboard
For the 'Win': Tamela Mann Scores Record 12th No. 1 on Gospel Airplay Chart
Lady Gaga Announces Dates For North American, International 2025 Mayhem Ball Tour
Selena Gomez Hates Feeling a 'Tad Bitter' About Trolls Commenting on Her Weight While 'Nobody Cares' About Those Things With Men
ikura took a moment to explain the purpose of the event, saying, 'Three acts from Japan — Ado, ATARASHII GAKKO!, and YOASOBI — have come this time, hoping to enjoy great music, J-pop music, with everyone here.' She then asked the audience to light up their phones and sway to create a sense of unity, and the duo performed the poignant mid-tempo ballad 'Tabun.'
Following 'The Brave,' the band performed 'Monster,' a fast-paced track with thumping low beats that satisfy performed live. 'As a J-Pop artist, we've been trying to spread our music from Japan to the world,' said ikura in English. 'We are so so so happy to be able to share with all of you. Thank you very much. I love you guys. We dive into the second half. Let me see your passion, OK? You ready to go loud? Can you give us some more? Ok, let's sing together.' The pair then went on to perform some of its biggest hits back-to-back, with the exhilaration of 'Into the Night,' the unity of the chorus in 'Blue,' and the energy and enthusiasm of the audience in 'Idol' filling the venue. The overwhelming delivery of the last three songs proved that YOASOBI has indeed become one of Japan's top acts whose concerts sell out instantly whenever they perform overseas today.
Following a 15-minute changeover, the four members of ATARASHII GAKKO! appeared from the audience aisle to the sound of ringing school bells, holding big white flags over their heads. When the members — SUZUKA, RIN, MIZYU, and KANON — gathered on stage, SUZUKA greeted the crowd with the sound of a trumpet in the background: 'Hello everyone. We are ATARASHII GAKKO! Everybody, are you ready?' The words 'Seishun Nihon Daihyo' (Youth Team Japan) appeared on the screen and the women began their set with 'Change,' the members swinging their arms around and performing immaculate choreography off the bat. During 'Fly High,' RIN called out, 'L.A., are you ready? Jump!' and fans were more than happy to comply. For 'Arigato,' each member sang while holding a broomstick like a microphone stand, or fake-played it like a guitar, playfully reminding us of our school days. The audience reacted enthusiastically to the intro of the group's breakout hit 'Otona Blue,' and the members captivated the crowd with their signature head-shaking dance and distinctive choreography.
Following a group chant with SUZUKA, who hyped up the audience calling out, 'Everybody, ganbatte (hang in there)! Woo!' the women performed 'Toryanse.' Fans waved their glow sticks towards the stage during the intro and danced to the lively rhythm accompanied by electronic sounds of Japanese instruments. Each of the four members called out, 'Everybody jump!' 'Say yeah!' and 'Say change!' in time with the lyrics during the set, confidently charging the crowd with their energy.
An image of the Tokyo metropolis appeared on the screen and ATARASHII GAKKO! launched into 'Tokyo Calling.' SUZUKA came down from the stage and sang enthusiastically while making her way through the crowd, regally marching back to the lyrics of 'We are marching.' The women closed their set with 'One Heart,' the word 'SAIKO' ('the best') appearing behind them on the screen, and the audience joined in and sang along. The lyrics 'AG want to take you higher' is like the Japanese modern version of Ike & Tina Turner's 'I Want To Take You Higher,' and the song uplifts and inspires like the best kind of music.
Watching ATARASHII GAKKO!'s performance, this writer couldn't help but agree with what Creativeman Productions' Rob Kelso said during the press conference before the event: 'The best way to integrate these [artists] is to realize we lost the last excuse. Their last excuse was it must be in English…anything in the U.S. must be in English. And that doesn't exist anymore. Now it is ok not to be in English…let's take advantage of that. Doors are opening again to other languages.' The members of ATARASHII GAKKO! know how to entertain the crowds at their shows overseas, encouraging call-and-response with fans using short Japanese words like 'ganbatte' and 'saiko,' and getting them excited in English, saying, 'Everybody jump!' and 'Say yeah!' Plus, the group's shows never look cheap or over-the-top, thanks to the four members' well-coordinated dance moves, SUZUKA's vocal prowess, and the individuality of each member. Whether you're Japanese or American, anyone who sees ATARASHII GAKKO! will be able to enjoy its performances to the fullest, and the group's set at matsuri '25 was a testimony to that.
Then the 'Ado Box' was set up in the center of the stage for the event's final artist, the enigmatic singer Ado, who never shows her face. The 22-year-old songstress immediately launched into her hit banger 'Show,' then performed 'New Genesis,' 'Usseewa' (which sounded faster and more powerful than when this writer saw her on her North American tour a year ago), and 'Lucky Bruto' in succession. The stage production was designed to be visually enjoyable as well, with Ado performing 'RuLe' by dancing and singing while seated on a chair in her box.
After calls of 'Let's go, Ado' from the audience, the singer addressed the crowd for the first time, talking about how living in Los Angeles for a month last year was one of the best experiences of her life. She shared some episodes that showed her personality, like how she enjoyed In-N-Out burgers and going to Macy's. 'I'm proud to be able to share the stage with ATARASHII GAKKO! and YOASOBI,' she said, expressing appreciation for the opportunity to perform at the event. 'I'm so happy that you've come to experience Japanese music and culture today. It will really make me happy if you'll continue to love Japanese music and culture. This has been a really great evening. Thank you.' She then invited the audience to sing and dance with her before performing the last song of her set, 'Odo.'
It was unthinkable in the past that an artist who maintains her anonymity by never revealing her face would perform on stage in a box. But it's true that many people listen to Ado's music and when she announces shows outside of her home country, many fans rush to buy tickets. This is in line with what Goldenvoice vice president Ellen Lu said at the conference that 'festivals are booking with a global sense now. Because that is what people are listening to, so if we are to stay in touch with what people are wanting to see that is not just exclusive to the U.S. or Europe which historically has been the case. It just puts these [international] artists in front of audiences that want to see them or have never had a chance to see them.' This is why Ado was able to successfully tour the world last year, and is set to embark on her second global trek this summer at even bigger venues including arenas.
The three acts that performed at the matsuri '25 event all had previous experience performing live in North America, and it was a luxurious and precious experience to be able to see them at once. It was an evening that surely made fans want to support other Japanese artists that will follow these groups and go on to perform on the world stage.
—This article by Tomoya Ogawa first appeared on Billboard Japan
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Los Angeles Times
16 minutes ago
- Los Angeles Times
Eva Longoria follows ‘Welcome to Wrexham' script as she tries to boost Liga MX's Necaxa
Her name was etched in the memory of millions thanks to her role as Gabrielle Solís in 'Desperate Housewives,' a series that established Eva Longoria as one of the most influential Latina actresses in Hollywood. She went on to become a producer, director, entrepreneur, activist and, in recent years, an investor in the world of sports, where she has earned the nickname 'La Patrona' — or 'The Boss' in English — which easily could be the title of a Mexican soap opera. After more than two decades of credits and awards earned in the entertainment industry, Longoria has shifted her focus. Today, her role as 'La Patrona' of Liga MX team Club Necaxa draws on her family's roots, her passion for storytelling and her commitment to giving Mexico visibility in the world. Her involvement was not limited to serving on Necaxa's board of directors as a celebrity investor. From the beginning, she knew she wanted to tell a story. Inspired by Rob McElhenney and Ryan Reynolds' 'Welcome to Wrexham' docuseries, she decided to produce the the docuseries 'Necaxa,' which premiered on Aug. 7 on FX. Cameras take viewers behind the scenes, follow along on road trips and offer an intimate look at the soccer team. Few could have imagined a Mexican American actress would become the leading front office voice for a historic Mexican soccer club, whose home stadium — Estadio Victoria — is located in the city of Aguascalientes in north-central Mexico. In 2021, Longoria joined a group of investors who acquired 50% ownership of the team. McElhenney, the actor best known for the TV show 'It's Always Sunny in Philadelphia,' and Reynolds, who turned the mercenary Deadpool into one of the most beloved antiheroes in the Marvel universe, later joined the ownership group. While restoring Necaxa to prominence in Liga MX was only a business and creative venture, it also had a deep personal component. Longoria grew up in Texas watching sports with her father, Enrique Longoria Jr. 'My dad can't believe it. He doesn't believe I'm 'La Patrona,'' Longoria told L.A. Times en Español. 'I'll always be his little girl. ... But I love sports because of my dad. My dad always watched the Dallas Cowboys, the Spurs, the Texas Rangers. ... Every sport, I watched with him. I love sports because of the drama, the excitement, the ups and downs.' In 2020, McElhenney and Reynolds acquired Wrexham AFC, a Welsh team that had been stuck in the National League — the fifth division of English soccer — since 2008. The team has steadily climbed the ranks to reach the Championship, just one step away from the top division, the Premier League. Although promotion and relegation is no longer used in Liga MX, Longoria aspires to see Necaxa's 'Rayos' return to prominence in the Mexican soccer playoffs and is therefore seeking to mirror what her colleagues achieved with Wrexham AFC while flying the flag for her Mexican roots. 'This opportunity came from a group of investors who called me and asked if I wanted to be part of this project in the Mexican league. When they explained to me that the league has a huge audience, because there is so much beauty and talent coming out of Mexico, I decided to go for it,' said Longoria, who grew up in Corpus Christi, Texas, but now primarily splits her time between homes in Mexico and Spain. 'I invested in the Necaxa team because I saw a great opportunity, not only as a business venture, but also as a great way to showcase Mexico and the most passionate sport in this beautiful country, to put Mexico on the map. 'When I have the opportunity to put Mexico or Mexicans on the map, I will always do so. Whether I'm producing or directing, that's my philosophy in storytelling. That's why I wanted to do this with the docuseries because I knew there was a story there that we had to tell.' Despite her ambition and determination, her first visit to Aguascalientes was fraught with uncertainty. 'I was very anxious and afraid because I am a woman, I am Mexican American,' she said. 'I didn't know if they would welcome me with open arms, but the truth is that they have welcomed me with open arms and I have been impressed by the local support.' Although filming the docuseries is as important as any of her other projects, her work also involves finding the formula to return Necaxa to the prominence it had in the 1990s when it won its only three championships in the first division. Her power as an international star has allowed her enter the locker room, which is considered a sacred space in the world of soccer. After watching her confidently enter spaces around the club, the players dubbed her 'La Patrona.' 'It's a lot to manage a soccer club, behind the scenes, behind the docuseries,' Longoria said. 'We're so lucky to have access to the locker rooms, to go home with them. For me, it's very important to have everything in one series, because I want the world to see it all. It's not just about points and games; you're talking about real lives.' Longoria has also become a bridge between cultures and markets. As co-owner and original investor in Angel City FC in the National Women's Soccer League, she recognizes the differences between soccer in the United States and Mexico. That experience, coupled with her connection to McElhenney and Reynolds, has shaped a broader vision. 'Here in Necaxa, there's a saying: 'If there's no suffering, it's not Necaxa.' I'm explaining this saying to them, because the fans have embraced the idea that you have to suffer to win,' she said. 'Rob and Ryan know a little bit about this, and we wanted to explore that idea in the series.' Diego González, Necaxa's head of media relations, said Longoria's arrival marked a turning point for the club. 'It's something unexpected, something surprising to have something like this with Necaxa and Aguascalientes,' he said of the docuseries. 'It's seeing inside Club Necaxa. Getting to know not only the player, but the people, the city ... lots of emotions, lots of feelings that represent what soccer is and how it's lived in Necaxa.' Opening the doors to the cameras was not easy, according to González, but Longoria's presence made it possible. 'It's something that is highly respected, that intimacy of the locker rooms, the training camps, the trips. The players had to get used to it, but the professionalism of the club and the production team helped. You'll notice it in the series: it feels so natural because that's how it was,' said González, whom the players call 'Sheldon' because of his resemblance to the character Sheldon Cooper from the sitcom 'The Big Bang Theory.' He describes Longoria's relationship with the team as close and genuine. 'When she arrived in Aguascalientes, she showed herself as she is, even nervous, but without wanting to impose anything,' González said. 'That naturalness helped the players feel comfortable. You don't know how to treat a superstar, but she gives you the confidence to approach her and talk about anything.' The influence of Longoria, McElhenney and Reynolds has gone beyond the locker room. They have put Necaxa on the international map. 'The most visible thing is the international showcase they can give you,' González said. 'Necaxa was already known for its soccer merits, but now you have fans of Rob, Ryan, Eva, even Wrexham. A whole range of important possibilities has opened up for us, and that's thanks to them.' This article first appeared in Spanish via L.A. Times en Español.
San Francisco Chronicle
an hour ago
- San Francisco Chronicle
"Weapons" maintained top spot during second weekend, scaring off newcomer "Nobody 2"
LOS ANGELES (AP) — 'Weapons' scared its way to the top of the box office in its debut and managed to stay there during its second box office weekend, beating out 'Freakier Friday' and newcomer 'Nobody 2.' Zach Cregger's horror earned $25 million in 3,450 North American theaters, a 43% drop from its first weekend. The highly anticipated film benefitted from strong audience reviews and social media trends to attract large crowds. 'Freakier Friday,' which lost the battle for first place to 'Weapons' during its double premiere, also maintained its second spot, bringing in $14.5 million domestically. The films' staying power comes during a slower box office weekend, said Paul Dergarabedian, senior media analyst for the data firm Comscore. Both films also prevailed against 'Nobody 2,' the R-rated action sequel. The Bob Odenkirk-led film earned $9.25 million across 3,260 North American theaters in its debut weekend. 'August came on strong last year, so it makes comparisons tough,' Dergarabedian said, noting the box office success of movies like 'Deadpool and Wolverine' and the horror sci-fi 'Alien: Romulus' that premiered this time last year. This summer is unlikely to hit the $4 billion benchmark, but succeeded in provided movie goers a dynamic and diverse slate of movies, he said. "I can't find a genre that's not represented or a demographic that wouldn't be attracted to one of these films out there," Dergarabedian said. 'It's just that eclectic mix of films with appeal to every demographic.' 'Nobody 2' follows the pandemic success of the first in the series, 'Nobody," which released in 2021. In the sequel, Hutch Mansell, the assassin-turned-nice-guy, played by Odenkirk, returns to the big screen, this time taking a much-needed family vacation that goes awry. The calm weekend turns anything but as Mansell uncovers a corrupt town. Jim Orr, president of domestic distributions at Universal Pictures, said he hopes the movie's reaction scores — a 89% Audience score and B+ CinemaScore — point 'to a long and successful run at the domestic box office.' 'The Fantastic Four: First Steps" took the fourth spot during its fourth weekend in theaters, bringing in $8.8 million domestically. The film stumbled at the box office after its initially strong $118 million debut. Another sequel, 'The Bad Guys 2,' took fifth place with $7.5 million during its third weekend in theaters. Notably, Dergarabedian said, international movies made a splash in the top 15 this weekend. 'Coolie,' an Indian action thriller, debuted domestically and snatched the tenth spot, followed by 'War 2,' another Indian action movie, at number 11. The domestic re-release of 'Shin Godzilla," a Japanese film that initially premiered in 2016, came in at the 12th spot. Top 10 movies by domestic box office With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore: 1. 'Weapons,' $25 million. 2. 'Freakier Friday,' $14.5 million. 3. 'Nobody 2,' $9.25 million. 4. 'The Fantastic Four: First Steps,' $8.8 million. 5. 'The Bad Guys 2,' $7.5 million. 6. 'Superman,' $5.3 million. 7. 'The Naked Gun,' $4.8 million. 8. 'Jurassic World Rebirth,' $2.9 million. 9. 'F1: The Movie,' $2.6 million. 10. 'Coolie," $2.4 million.
Chicago Tribune
an hour ago
- Chicago Tribune
‘Weapons' maintained top spot during second weekend, scaring off newcomer ‘Nobody 2'
LOS ANGELES — 'Weapons' scared its way to the top of the box office in its debut and managed to stay there during its second box office weekend, beating out 'Freakier Friday' and newcomer 'Nobody 2.' Zach Cregger's horror earned $25 million in 3,450 North American theaters, a 43% drop from its first weekend. The highly anticipated film benefitted from strong audience reviews and social media trends to attract large crowds. 'Freakier Friday,' which lost the battle for first place to 'Weapons' during its double premiere, also maintained its second spot, bringing in $14.5 million domestically. The films' staying power comes during a slower box office weekend, said Paul Dergarabedian, senior media analyst for the data firm Comscore. Both films also prevailed against 'Nobody 2,' the R-rated action sequel. The Bob Odenkirk-led film earned $9.25 million across 3,260 North American theaters in its debut weekend. 'August came on strong last year, so it makes comparisons tough,' Dergarabedian said, noting the box office success of movies like 'Deadpool and Wolverine' and the horror sci-fi 'Alien: Romulus' that premiered this time last year. This summer is unlikely to hit the $4 billion benchmark, but succeeded in provided movie goers a dynamic and diverse slate of movies, he said. 'I can't find a genre that's not represented or a demographic that wouldn't be attracted to one of these films out there,' Dergarabedian said. 'It's just that eclectic mix of films with appeal to every demographic.' 'Nobody 2' follows the pandemic success of the first in the series, 'Nobody,' which released in 2021. In the sequel, Hutch Mansell, the assassin-turned-nice-guy, played by Odenkirk, returns to the big screen, this time taking a much-needed family vacation that goes awry. The calm weekend turns anything but as Mansell uncovers a corrupt town. Jim Orr, president of domestic distributions at Universal Pictures, said he hopes the movie's reaction scores — a 89% Audience score and B+ CinemaScore — point 'to a long and successful run at the domestic box office.' 'The Fantastic Four: First Steps' took the fourth spot during its fourth weekend in theaters, bringing in $8.8 million domestically. The film stumbled at the box office after its initially strong $118 million debut. Another sequel, 'The Bad Guys 2,' took fifth place with $7.5 million during its third weekend in theaters. Notably, Dergarabedian said, international movies made a splash in the top 15 this weekend. 'Coolie,' an Indian action thriller, debuted domestically and snatched the tenth spot, followed by 'War 2,' another Indian action movie, at number 11. The domestic re-release of 'Shin Godzilla,' a Japanese film that initially premiered in 2016, came in at the 12th spot. With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore: 1. 'Weapons,' $25 million. 2. 'Freakier Friday,' $14.5 million. 3. 'Nobody 2,' $9.25 million. 4. 'The Fantastic Four: First Steps,' $8.8 million. 5. 'The Bad Guys 2,' $7.5 million. 6. 'Superman,' $5.3 million. 7. 'The Naked Gun,' $4.8 million. 8. 'Jurassic World Rebirth,' $2.9 million. 9. 'F1: The Movie,' $2.6 million. 10. 'Coolie,' $2.4 million.
