Images via Kaneyorimasaru; LAUSBUB; DARUMA Rollin’; littlesuri; ruthdanielaas; ooqi__; Lauren Karina

If you’ve been wondering what the Japanese music scene (and industry) feels like, wonder no more.

We composed several local frontwomen to talk to Japanese musicians – all set to perform their set at Cherrypop Festival 2026.

Littlesuri | Stars and Rabbit’s vocalist

Has there been a time when making music felt difficult? What helped you stay close to it instead of walking away?

Natsumi | DARUMA Rollin’: Yes, there have been times like that.
During one of those periods, someone I deeply respect told me, “The most important thing is to keep your hands moving.” Since then, whenever I struggle with songwriting, I try to start by shaping the rhythms or phrases I want to create and focus on completing at least one chorus.

Recently, I’ve also found inspiration not only in music, but in other forms of entertainment such as art and film. Being able to draw input from many different sources has been a big reason why I’ve been able to keep pursuing music.

Kaneyorimasaru: There have definitely been difficult moments, but the feeling we get when we’re able to write a song that we’re truly happy with is irreplaceable.  Because of that, we never felt like walking away from music.

Mei | LAUSBUB:  There was a long period when both of us felt a strong sense of obligation that “we have to do LAUSBUB properly,” and I think that made us a bit rigid. We knew what we wanted to create, but it felt like we were unable to make it happen right away, and that situation continued for quite some time.

Now, the feeling that “this is how we should be” has become much weaker than before. Instead, we approach our work with the mindset of making LAUSBUB a place where each of us can bring in what we want to do. What has made a big difference for me is realizing that if there is a person I want to be or a kind of music I love, it’s okay to move toward it little by little. If I have an ideal in mind, I can start from where I am now and gradually work toward it.

Has your relationship with your own voice changed since you first started making music?

0C | DARUMA Rollin’: Since I started creating music for DARUMA Rollin’, I’ve become less constrained by the idea that “this is how a voice should sound in a band.”  Instead, I’ve spent more time exploring the possibilities of my own voice and expression.  I hope to continue experimenting and enjoying that process.

Mina Chitose | Kaneyorimasaru: I think I’ve become more conscious about how to deliver lyrics in a way that truly moves people, and I spend a lot of time reflecting on and studying that.  I’ve also become much more careful about maintaining my voice through proper sleep, stretching, and vocal exercises.

Mei | LAUSBUB: In the past, I think I saw singing mainly as one of my “roles” within LAUSBUB. As we continued our activities, I came to realize that there are people we can reach only through singing, and that the way our music is perceived is also greatly shaped by the act of singing itself. Because of that, I have come to value singing more than I used to.

Recently, through writing lyrics myself, I have also started focusing on what I want to sing about on stage as a vocalist. Singing has gradually become a way of expressing the voice that existed inside me and bringing it out into the world.

Has a song ever surprised you while you were writing it? If so, what did it reveal to you?

Natsumi | DARUMA Rollin’: Yes. I usually have a fairly clear image of the finished song in my mind and work toward that vision.  However, there was a time when I was struggling to come up with a melodic phrase for one of the lead parts, so I experimented by drawing characters in MIDI.   Surprisingly, it ended up fitting the song perfectly.  (It’s actually an unreleased DARUMA Rollin’ track.)  Since it wasn’t something I could have planned intentionally, it reminded me of how important playfulness and experimentation can be in the creative process.

Kaneyorimasaru: A song called “i was”.  We arranged it so that the atmosphere changes midway through the track.  It felt very impulsive and free, and it reminded us that it’s okay to embrace that kind of freedom in music.

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Talitha Belinda | Biru Baru

Have you ever felt that being a woman affected how seriously your music was taken—by industry professionals, other musicians, or audiences? What did that experience teach you?

SAE | DARUMA Rollin’: People often didn’t perceive us as a “band,” and that used to bother me.  However, I’ve repeatedly experienced how performing live can completely change people’s impressions.   Because of that, I now focus on proving that we are artists through our performances, regardless of gender.

Kaneyorimasaru: There are times when people form preconceptions based on appearance or gender, but we believe that, in the end, people connect through music itself.  That’s why we feel it’s important that we ourselves approach music without being constrained by gender!

Mei | LAUSBUB: As we became widely known as “two girls in school uniforms,” I often felt that people were not really paying attention to the music we genuinely loved and cared about. There was even a period when we wanted to break away from that image.

 But now, I realize that people enjoy music not only through sound, but also through visuals, concepts, and the stories behind the work. Because of that, rather than denying our past image and trying to escape from it, I want to cherish our own story as artists, including that image and everything that came with it.

What’s something happening in Japan’s music scene right now that you wish more people outside Japan were paying attention to?

0C | DARUMA Rollin’: I’m very happy that Japan’s unique music scene, including anime music and idol music, is reaching audiences around the world through digital streaming and social media.

Going forward, I hope more people will also discover the beauty, subtlety, and unique charm of Japanese-language lyrics.

Kaneyorimasaru: We’d love more people to discover the incredible energy and passion of Japan’s band scene!

As independent artists, how do you balance staying true to your own artistic identity with the pressures of an industry increasingly shaped by algorithms, commercial expectations, and global audiences?

Natsumi | DARUMA Rollin’: Rather than simply adopting whatever is trending, I always think about how I can incorporate popular trends into my work in a way that feels authentic to me.  I believe filtering those influences through my own perspective is what allows me to preserve my individuality while continuing to grow as an artist.

Kaneyorimasaru: While we do our best to study trends and understand what people want to hear, we also make a conscious effort not to lose sight of the things that are at the core of who we are. We often ask ourselves: “Is this something only we can do, or is it something that anyone could do?”

Mei | LAUSBUB We are still figuring out how to strike that balance ourselves. It’s not that we completely ignore algorithms or the way music is consumed today, and we do want to pay attention to what is happening in the world.

At the same time, we believe that the things we genuinely want to do are meaningful, and that they can also become something people need. That’s why we try not to let the things we create drift too far from those ideas.

On the other hand, when it comes to how we share our work, I think we need to stay flexible and embrace new methods and systems.

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Ruth Daniela | Domapine

How do you, as independent musicians, negotiate creative autonomy amidst the algorithmic logic and commodification brought about by platforms such as Instagram, TikTok and YouTube, etc.?

SAE | DARUMA Rollin’: We study algorithms closely and constantly analyze data.  However, rather than simply following trends, we focus on finding ways to blend them with our own musical identity and with our identity as Japanese artists working internationally.  Every day, we explore different ways to bring our music to audiences around the world.

Kaneyorimasaru: We always ask ourselves whether something is truly what we want to do, or not!

Mei | LAUSBUB: I still struggle quite a lot with this, and I often feel that we are not particularly good at using social media. Sometimes it is difficult to keep up with how quickly things change or how rapidly new trends emerge, and there are things we think we should be doing but have not been able to do.

Recently, we’ve stopped thinking of social media as something we have to do simply because we’re musicians. Instead, we’ve started seeing it as a tool for connecting with the people who listen to our music, and we’ve been exploring whether there’s a way of using it that feels more like us, and trying to put that into practice.

Would you guys prefer to be produced by a famous producer, or still produce music by yourselves?

Natsumi | DARUMA Rollin’ Self-producing allows us to bring our own ideas and the things that make us think, “This would be interesting!” to life with our own hands.  In that sense, I really enjoy self-producing.

At the same time, being produced by someone else could lead us to ideas and creative outcomes that we might never have discovered on our own.

So rather than choosing one over the other, I’m interested in maintaining our own artistic core while also being open to new perspectives from outside.

Kaneyorimasaru: Both options have their own unique appeal. At this point, we feel that it would be great to learn from the wide range of musical perspectives a producer can offer while ultimately finding a way to make those influences our own.

Mei | LAUSBUB: We want the core decision-making and creative aspects of LAUSBUB to remain in the hands of the two of us.

That said, it’s not that we want to do everything entirely on our own. In order to take what we want to do even further, we think it’s important to seek advice from people we trust and make use of their support.

Even now, Shohei Amimori contributes to the sound side of our work, and he is someone who helps guide our music to a more refined place.

If, whilst you’re performing, one of the items on your riders isn’t available, can it be replaced with kimpul?

0C | DARUMA Rollin’: No problem at all. We can use kimpul as a percussion instrument to keep the rhythm, slice it into thin pieces and play chords with it, or even use it as a microphone while having a speed-eating contest.

Kaneyorimasaru: Kimpul is totally fine!!

Mei | LAUSBUB: As long as we can test the kimpul during rehearsal and confirm that it works properly, there will be no problem. Just make sure it’s a good-sounding kimpul.

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Lauren Karina | notyourwife

Hi! notyourwife here. Love the music. Heard that you guys moved to Jakarta to grow an international audience; why decide on Jakarta out of all the different places you could have gone to?

SAE | DARUMA Rollin’: We wanted to meet people we couldn’t have met in Japan and create music in a different culture and environment, so we decided to challenge ourselves by moving overseas.  When we visited Indonesia before relocating, we felt a tremendous sense of potential in the energy of the people there, and that’s what led us to choose Jakarta.  Today, Indonesia has become the foundation of our musical activities.

⁠Do you think ever since moving to Jakarta there has been any shift to your creative process in making music? If so, how?

0C | DARUMA Rollin’: Every aspect of Indonesian music has been a unique and refreshing experience for us.   Beyond the sound of the language itself, Indonesians are incredibly good at shortening words and giving them entirely new sounds and nuances, which makes it feel as though we’re constantly encountering new language.  It’s shown us the limitless possibilities of words, and we’re excited every day about how we can incorporate that into our music and share the experience with others.

Is there any significant difference that you notice between Indonesian vs. Japanese audience in the way they consume music or treat artists?

SAE | DARUMA Rollin’: Indonesian people really love singing and dancing, and what stands out to me is how they’re willing to have fun together even when they don’t know the songs.  In Japan, I felt there was a stronger emphasis on presenting something polished and complete.  In Indonesia, I’ve come to feel that a live show is something everyone creates together.

You guys have been in the industry since 2014; as musicians who write and arrange their own songs, how do you adjust to the ever-changing trends in popular music?

Kaneyorimasaru: Trends may come and go, but we feel that the things at the core of our musical roots remain the same, and that the trends often come full circle. That’s why we try not to lose sight of the things we genuinely love!

What song of yours do you wish more people listen to?

Kaneyorimasaru: All of them!

 ⁠I think it’s so cool that you’ve known each other since high school and established a successful band ever since. We hear stories all the time about bands breaking up over disagreements with one another. Based on your experience, do you have any advice on how to stay in sync with one another as musicians in a group?

Kaneyorimasaru: It’s natural for each person’s goals and aspirations to change over time. What’s important is to keep communicating openly so that no one has to suppress their feelings or quietly make sacrifices!

Hi LAUSBUB! I read that you first blew up back in 2021; what was that shift like? Did it overwhelm you to receive so much attention all of the sudden? How did you manage at the time?

Mei | LAUSBUB: Suddenly, we started receiving all kinds of opportunities and offers, and I remember being completely occupied with simply dealing with what was right in front of us. With the support of the adults around us, we gained experience one step at a time, and little by little we came to understand the situation we had found ourselves in.

What advice do you wish someone had given your younger selves in terms of navigating the music industry?

Mei | LAUSBUB: Looking back, I think I was too focused on trying to do everything “the right way.” Instead, I would tell my younger self to have more faith in the time, places, and people around me.

There will always be many things you do not understand, but you do not need to fully understand everything before moving forward. Even while carrying that uncertainty, I hope you continue to enjoy music, experiment with the things you love, and have the courage to step into unfamiliar places.

I heard that one of your biggest inspirations is Yellow Magic Orchestra (I love them too by the way!!!) and I wish Japanese techno were more well known. As Japanese musicians who make techno yourself, do you ever feel a sort of pressure to try and popularize J-Techno globally as Japan is arguably most well known for JPop and JRock?

Mei | LAUSBUB: I do not really feel that we represent anything in particular, so I do not feel a strong pressure to spread it around the world.

YMO and many other artists have influenced us, but rather than simply recreating those influences, we want to reinterpret them through the music we are listening to now, our own experiences, and the environment we live in, and then create something that feels uniquely ours.

We have also received things from music of the past that connect to the present. If our music encourages someone to become interested in the music and culture that inspired us, and if that interest is then passed on to the next generation, that would make us very happy.