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Malay Mail
4 days ago
- Entertainment
- Malay Mail
J-pop, ‘Enka' and a whole lot of laughs: What's on at Japan Malaysia Expo 2025 in KL
KUALA LUMPUR, July 19 — The Japan Malaysia Expo 2025 (JEMY 2025) has opened its doors for a three-day celebration of Japanese culture at Hall 1 of the Kuala Lumpur Convention Centre (KLCC), with its Entertainment Zone drawing crowds eager for a taste of J-pop, Enka and comedy — straight from Japan. Here's a look at three standout Japanese acts bringing their talents to Malaysian fans: J-pop soloist Manaka Inaba, Enka singer Leon Niihama, and physical comedy trio Wannabes. J-pop star Manaka Inaba has been performing solo since 2022. — Picture by Firdaus Latif Manaka Inaba on Malaysian food and flying solo If you think Malaysia has great food, you've got something in common with J-pop soloist Manaka Inaba — who's not only performing at JEMY 2025 but also on a personal mission to sample as much local food as possible. The 27-year-old managed to get her first taste of satay on her first night in Malaysia and was surprised by its sweet and savoury flavour. She's also excited to try durian, pineapple and watermelon during her stay. Despite being in the Japanese entertainment industry for over 10 years, this is her first time in Malaysia — and she was touched by the warm welcome from fans who came out in droves for the JEMY 2025 launch. 'First of all, Japan to Malaysia is not a short distance, and to be able to see some fans who flew over just to catch me here is truly heartwarming,' said Manaka, adding that she even met fans who had travelled all the way from Japan. A former idol under Hello! Project, Manaka was previously part of Country Girls and Juice=Juice before officially 'graduating' in 2022 to pursue a solo career — a move she admits comes with fresh challenges. 'As a group, we had other members, so you'd only need to sing your part. But now that I'm on my own, every single part is mine, and I have to decide how I want to deliver each line,' she said. Her setlist for JEMY 2025 includes a mix of solo hits such as Pink Temperature and Attoeteki Love, as well as nostalgic favourites from her Hello! Project days. Enka singer Leon Niihama also performed the ending theme for the popular anime 'Detective Conan'. — Picture by Firdaus Latif Leon Niihama: Second visit, first performance For Enka and pop singer Leon Niihama, this trip marks his return to Malaysia — but his first time performing here. Best known for singing the Fun! Fun! Fun! ending theme from the Detective Conan anime series, Leon is now in his seventh year as an Enka singer. According to Masterclass, Enka is a traditional Japanese music style built around pentatonic scales and a melismatic vocal technique called kobushi. It often takes the form of sentimental ballads with roots in ryūkōka, a genre popular in 19th- and early 20th-century Japan. Leon said his love for Enka started with his father, who was also an Enka singer. 'I've loved Enka and pop songs since I was a child, and I've always felt that it's my duty to share their greatness with all generations and the rest of the world,' he said. The 29-year-old recalled his last visit to Malaysia during a high school trip. 'Malaysia is truly a country of many memories for me,' he said. 'I was in a hotel when a malfunctioning alarm went off, and my friends and I rushed out into the hallway, accidentally locking ourselves out. With our shaved heads, wearing T-shirts and shorts, we had a really tough time at the front desk,' he added with a laugh. He's also hoping to relive one of his favourite local eats: Nasi lemak. Wannabes is made up of Gon (centre), Chiro (left), and Guri (right). — Picture by Firdaus Latif Wannabes: The comedy trio that's going global Formed two decades ago as a duo, the comedy group Wannabes — originally known as Bicsmalln — now consists of three members: Gon, Chiro and Guri, who joined in 2019. Specialising in 'physical comedy', the trio are known for transforming themselves into objects using a blend of acrobatics, choreography and slapstick. They say they're currently the only performers in Japan focused on this style. The group recently saw their international profile skyrocket after appearing on Britain's Got Talent, leading to invites from Italy, the Philippines, the US and Spain. Their rebrand from Bicsmalln to Wannabes, said Gon, was to make their name easier to pronounce and remember. Wannabes are a regular live act at Tokyo Tower, but since the Covid-19 pandemic, they've also focused on YouTube, where their channel now boasts over three million subscribers. As for their performance at JEMY 2025? Dressed in their signature striped outfits, the trio simply said, 'We just want to make sure everyone has fun.' JEMY 2025 is on now at KLCC from July 18 to 21. Entry to the Exhibition Zone is free, but tickets for the Entertainment Zone cost between RM25 and RM40. For more info, visit:
Malay Mail
4 days ago
- Entertainment
- Malay Mail
J-pop, ‘Enka' and a whole lot of laughs: What's on at JEMY 2025
KUALA LUMPUR, July 19 — The Japan Malaysia Expo 2025 (JEMY 2025) has opened its doors for a three-day celebration of Japanese culture at Hall 1 of the Kuala Lumpur Convention Centre (KLCC), with its Entertainment Zone drawing crowds eager for a taste of J-pop, Enka and comedy — straight from Japan. Here's a look at three standout Japanese acts bringing their talents to Malaysian fans: J-pop soloist Manaka Inaba, Enka singer Leon Niihama, and physical comedy trio Wannabes. J-pop star Manaka Inaba has been performing solo since 2022. — Picture by Firdaus Latif Manaka Inaba on Malaysian food and flying solo If you think Malaysia has great food, you've got something in common with J-pop soloist Manaka Inaba — who's not only performing at JEMY 2025 but also on a personal mission to sample as much local food as possible. The 27-year-old managed to get her first taste of satay on her first night in Malaysia and was surprised by its sweet and savoury flavour. She's also excited to try durian, pineapple and watermelon during her stay. Despite being in the Japanese entertainment industry for over 10 years, this is her first time in Malaysia — and she was touched by the warm welcome from fans who came out in droves for the JEMY 2025 launch. 'First of all, Japan to Malaysia is not a short distance, and to be able to see some fans who flew over just to catch me here is truly heartwarming,' said Manaka, adding that she even met fans who had travelled all the way from Japan. A former idol under Hello! Project, Manaka was previously part of Country Girls and Juice=Juice before officially 'graduating' in 2022 to pursue a solo career — a move she admits comes with fresh challenges. 'As a group, we had other members, so you'd only need to sing your part. But now that I'm on my own, every single part is mine, and I have to decide how I want to deliver each line,' she said. Her setlist for JEMY 2025 includes a mix of solo hits such as Pink Temperature and Attoeteki Love, as well as nostalgic favourites from her Hello! Project days. Enka singer Leon Niihama also performed the ending theme for the popular anime 'Detective Conan'. — Picture by Firdaus Latif Leon Niihama: Second visit, first performance For Enka and pop singer Leon Niihama, this trip marks his return to Malaysia — but his first time performing here. Best known for singing the Fun! Fun! Fun! ending theme from the Detective Conan anime series, Leon is now in his seventh year as an Enka singer. According to Masterclass, Enka is a traditional Japanese music style built around pentatonic scales and a melismatic vocal technique called kobushi. It often takes the form of sentimental ballads with roots in ryūkōka, a genre popular in 19th- and early 20th-century Japan. Leon said his love for Enka started with his father, who was also an Enka singer. 'I've loved Enka and pop songs since I was a child, and I've always felt that it's my duty to share their greatness with all generations and the rest of the world,' he said. The 29-year-old recalled his last visit to Malaysia during a high school trip. 'Malaysia is truly a country of many memories for me,' he said. 'I was in a hotel when a malfunctioning alarm went off, and my friends and I rushed out into the hallway, accidentally locking ourselves out. With our shaved heads, wearing T-shirts and shorts, we had a really tough time at the front desk,' he added with a laugh. He's also hoping to relive one of his favourite local eats: Nasi lemak. Wannabes is made up of Gon (centre), Chiro (left), and Guri (right). — Picture by Firdaus Latif Wannabes: The comedy trio that's going global Formed two decades ago as a duo, the comedy group Wannabes — originally known as Bicsmalln — now consists of three members: Gon, Chiro and Guri, who joined in 2019. Specialising in 'physical comedy', the trio are known for transforming themselves into objects using a blend of acrobatics, choreography and slapstick. They say they're currently the only performers in Japan focused on this style. The group recently saw their international profile skyrocket after appearing on Britain's Got Talent, leading to invites from Italy, the Philippines, the US and Spain. Their rebrand from Bicsmalln to Wannabes, said Gon, was to make their name easier to pronounce and remember. Wannabes are a regular live act at Tokyo Tower, but since the Covid-19 pandemic, they've also focused on YouTube, where their channel now boasts over three million subscribers. As for their performance at JEMY 2025? Dressed in their signature striped outfits, the trio simply said, 'We just want to make sure everyone has fun.' JEMY 2025 is on now at KLCC from July 18 to 21. Entry to the Exhibition Zone is free, but tickets for the Entertainment Zone cost between RM25 and RM40. For more info, visit:
Japan Times
6 days ago
- Entertainment
- Japan Times
Idol-pop project redefines kawaii for the TikTok generation
Misa Kimura was still a student from Tatebayashi, Gunma Prefecture, when she visited Tokyo's Harajuku neighborhood for the first time. It felt like stepping into a dream. 'Every kind of clothing or accessory was just there on Takeshita Street,' recalls Kimura, now 34. 'It was like, 'Oh, I saw this on TV! I saw this in a magazine!' Everything was shiny and sparkling — I loved all of it.' These days, she's working a few blocks from that same street, helping turn a very specific corner of Japanese pop into an exportable art form. As the main producer for Kawaii Lab, a project by entertainment agency Asobisystem that is officially stylized in all caps and with a period at the end, Kimura is leading an idol experiment with global ambitions. Since its 2022 launch, Kawaii Lab has cooked up four high-energy groups: Fruits Zipper, Candy Tune, Sweet Steady and Cutie Street — and the initial experiment has proved successful. Every group under the Kawaii Lab umbrella has found traction on platforms like YouTube and TikTok. Fruits Zipper's 2022 single, 'Watashi no Ichiban Kawaiitokoro,' drew more than 500 million views on TikTok alone. Cutie Street's 2024 'Kawaii Dake Jya Dame Desu Ka?' nearly matched that number. Earlier this year, Fruits Zipper's dreamier synth-pop track 'Kawaii Te Magic' moved over 227,000 CDs in a single week, topping the Oricon singles chart. Kawaii Labs' success has helped spark something of an idol renaissance. While the hyper-sweet subgenre of J-pop has always maintained a core fan base, Kimura's groups have broken through by pairing a social media-first strategy with a fresh perspective. Whereas many legacy idol acts were produced by men imagining teenage experiences, Kimura — a former idol herself — brings a different lens entirely. On July 20, all four Kawaii Lab groups will take the stage at Asobiexpo 2025, a celebration of Asobisystem and its trailblazing acts like Kyary Pamyu Pamyu and Atarashii Gakko!, who showed the potential of J-pop to reach a global audience. Kimura hopes to do the same — but with idols. 'I think there's something different about Japanese idol culture,' she says. 'Something that's going to be very new to the West.' Idol beginnings In elementary school, Kimura and her classmates fell under the spell of Morning Musume, a multimember idol group that debuted in 1997 and hit its peak around the turn of the century. 'Everyone was listening to their music. Everyone wanted to be them,' she says. 'There were a lot of elements about how they danced or dressed that you could easily imitate. That drew me in.' That fan devotion followed Kimura into her college years in Tokyo, where she spent her free time chasing down idol shows, especially those by the high-energy unit Momoiro Clover Z, a clear sonic ancestor to today's Kawaii Lab output. Kimura began modeling for fashion magazines like Zipper, and producing her own pop culture content. 'It's not like I wanted to be an idol, though. I always wanted to produce,' she says. Kimura joined Asobisystem and began working behind the scenes on a group called Musubizm in 2014 — but soon found herself pulled to center stage as the group's leader. 'Having that firsthand experience allowed me to understand how the fans were feeling, and what sort of things the members themselves were going through,' Kimura says. Musubizm disbanded in 2017, but Asobisystem was eager to launch another idol outfit, this time with Kimura as producer. She turned it down — not because she didn't want to do it, but because the structure wasn't quite there yet. 'The biggest worry I had came from when I was an idol,' she says. 'The group itself and the staff weren't really aligning. I didn't want my idols to experience that kind of environment.' By late 2021, things began aligning. The company's brass made the pitch to Kimura again and, after confirming a few details on rehearsal time and commitments, she agreed to launch what would become Kawaii Lab. 'I definitely had hesitation at first,' she says, 'but it really was my dream to become a producer.' A former idol herself, Misa Kimura says she doesn't want the young women she's working with to have a negative experience in the music business. Rather than chasing trends, Misa Kimura says she talks directly with Kawaii Lab idol members to learn what's grabbing their attention both online and off. | Johan Brooks Short-form cute In the 1990s, Morning Musume leveraged TV for fame. In the 2010s, AKB48 pioneered the 'idols you can meet' strategy along with viral campaigns. The Kawaii Lab crew has mastered the short-form art of TikTok. Fruits Zipper debuted in early 2022 and, within months, 'Watashi no Ichiban Kawaiitokoro' exploded on TikTok. The platform has since become the lifeblood for every Kawaii Lab outfit. 'My feed now is mostly just my idol groups now,' Kimura says with a laugh. The strategy goes beyond just uploading content, though. 'It starts with a big theme — like for the Fruits Zipper song 'Happy Chocolate,' it was 'Let's make Reiwa's defining Valentine's song' — and I narrow it down from there,' Kimura says. 'I think how can we get people's attention, what's going viral on TikTok?' She stresses they aren't straining to chase trends. Instead, they pay attention to what's gaining traction and learn from it. More importantly, Kimura talks directly with the members — who range from their late teens to mid-20s — to get a sense of what's capturing attention both online and off. 'I usually observe their language and behavior, and work with that too,' she says. While some songs still touch on traditional themes like romantic love, others tackle more current emotional terrain. One recent Candy Tune single, for example, is built around the highs and lows of oshikatsu — the all-in act of passionately supporting a performer, athlete or fictional character. New kawaii Fruits Zipper's 2024 single 'New Kawaii' offers something close to a thesis statement for the Kawaii Lab universe. In the pre-chorus, the group sings, 'I can't believe the majority decides ... that's not very cute at all!' It's followed by a declaration — 'I'm in the minority, and that's fine' — and a rallying cry to celebrate whatever feels kawaii to you, even if it's 'people who fall asleep at work.' Despite being central to the project's name — and featured in multiple song titles — 'kawaii' is something Kimura continues to grapple with. In interviews with Japanese media, she's described the concept as something of a curse: a label that often pressures people to conform to a narrow ideal of cuteness. With Kawaii Lab, she's aiming to flip the script. For Kimura, kawaii is personal — everyone should be free to define it themselves. 'I want people to feel a sense of self-worth and confidence,' she says. That philosophy shapes how she works with her performers. Kimura says regular communication on each member's goals is vital, and she often involves Asobisystem President Yusuke Nakagawa, too. She also encourages the members to participate in song creation from the ground up. Kimura's dual background — as both idol fan and former idol — is key. In the traditional setup, those in the pop trenches aren't usually producing the music. But Kimura and other performers-turned-producers, like =Love's Rino Sashihara, are changing that model, opening up new creative possibilities in the idol world. Back in the AKB48 era, who got to stand at the center of a single was a huge deal, sometimes decided by fan vote. In Kawaii Lab, no one is singled out. As Kimura once put it: Everyone is the protagonist. Even with all these innovations, Kimura hasn't let go of what makes idol music sparkle. It's still uptempo, bright and just a little bit bonkers. 'I think Japanese idols are about not being too perfect, and showing people the journey of how they work their way up and grow together with the fans,' she says. The foundation remains the same, but Kimura's take, focused on collaboration and inclusivity, feels tailor-made for the 2020s. 'I want to spread that kawaii culture to the world,' she says.
Malay Mail
15-07-2025
- Entertainment
- Malay Mail
Hatsune Miku Expo 2025 Asia tour heads to Kuala Lumpur
KUALA LUMPUR, July 15 — J‑pop fans in Malaysia are in for a treat: Hong Kong's famed virtual idol Hatsune Miku is set to perform live at Idea Live KL on November 22, as part of the Miku Expo 2025 Asia tour. Organiser iMe Malaysia confirmed that the Malaysian stop joins tour dates in Bangkok, Hong Kong, Jakarta, Manila, Singapore and Seoul, with the official announcement rolling out today across Hatsune Miku's global channels and local lineups. While details on venue layout and ticket pricing are still to come, fans at the Singapore stop earlier paid between S$98 and S$208 (RM325–RM690) depending on category, offering a price guide to what to expect next. Miku Expo 2025 Asia is known for blending Hatsune Miku's signature 3D hologram performances with a real-life live band, high-energy visuals, and fan interactions. It marks Miku's third visit to Malaysia — following sold-out shows in 2017 and 2024. iMe Malaysia has teased more details on pricing, merch, and exhibition areas to be revealed on their official channels later today.
BBC News
10-07-2025
- Entertainment
- BBC News
'They scream the choruses': How Japanese anime songs became Gen Z's latest musical obsession
Since the Covid-19 pandemic, music from Japanese animations is booming on Spotify and at gigs and club nights – especially among young people, who are drawn to its bold hooks and big emotions. Around 20,000 rapturous fans have packed out London's O2 Arena on a summer night. Pulsing light sticks pierce the electrified air; on the stage, the enigmatic J-pop diva Ado (who performs in shadowy silhouette) launches into a song that the entire crowd knows: Kura Kura, taken from the Japanese animation series Spy x Family. The track is stylistically unpredictable yet immediately catchy: it ricochets between a 1960s-style pop groove, jazzy riffs and hyper-dramatic rock opera – a modern example of an anime music anthem, in a scene that is increasingly taking on a life of its own. Japanese animation, or anime, has a legacy that stretches back to the early 20th Century, and a creative scope that spans seemingly endless stories and styles, from pirate sagas to sci-fi warfare; sorcery to sports action; martial arts mythology to star-crossed romance. The music used to soundtrack it is similarly adventurous. Songs vary significantly in their genres and tempos (often shape-shifting within a single track), but they also share common qualities: they elevate the visual action and deeply seal our bond with it. In the digital age, vividly evocative, insistently snappy themes are key to the viral impact of iconic Japanese animated series/films/manga comic adaptations – One Piece, Demon Slayer, Jujutsu Kaisen, Dragon Ball Z, Cowboy Bebop, Attack On Titan and Naruto, to name a few. "Anisongs", as they are known, are now a major musical force, particularly among younger people. According to a recent study by anime streaming platform Crunchyroll and the National Research Group, anime is almost as big as Beyoncé with Gen Z-ers, with 54% of them globally being anime fans. Meanwhile Spotify reported a 395% increase in global streams of anime music between 2021 and 2024, as well as 7.2 million user-generated anime playlists on its site (at the time of writing). A Spotify spokesperson also tells the BBC that users under the age of 29 account for nearly 70% of global anime music consumption. "Anime music has evolved into a global cultural force and Gen Z is really at the heart of that movement on Spotify," Sulinna Ong, Spotify's Global Head of Editorial, tells the BBC. "We're seeing fans connect with the music beyond the screen as the shows offer listeners a window into musical styles they may not otherwise have discovered. Our editors' curated playlists are built to help fans discover the full range of anime-inspired sounds. And as more artists take influence from the space, the sound is continuing to grow in bold and unexpected ways." This global boom isn't limited to 21st-Century releases; as it's now easy to tune into anime's expansive catalogue, decades-old anthems – like the original rousing theme to pirate fantasy One Piece, called We Are! and sung by Hiroshi Kitadani – are winning new devotees. Anime music's hooks are composed for enduring effect; the melodies and lyrics (easily translated online, or released in multilingual versions) typically spark a tantalising headrush of sensations: affinity with favourite characters or narratives; adrenaline; escapism; nostalgia. As Satoshi Uto, Crunchyroll's director of music acquisition, tells the BBC: "The OPs and EPs [opening and end credit songs] are critical to fans' emotional connection with anime." An example of a smash hit anisong is Japanese singer-songwriter Lisa's 2019 track Gurenge, which is the intro to anime series Demon Slayer: Kimetsu no Yaiba. This elegant power ballad with explosive rock flourishes has inspired countless tributes, from TikTok influencers (such as young British piano talent Joe Jenkins) to the 2020 Tokyo Olympics closing ceremony (where it was included as an instrumental symphony). It is also sentimentally character-driven, as Lisa explained in a Billboard Japan interview: "I tried placing myself in the shoes of the protagonists, who keep forging ahead, despite their tragic pasts." The reasons for the boom The timing of audience spikes does suggest that the pandemic era played a pivotal part in the mainstream awakening to both anime and its atmospheric tunes; this form's fantastical themes, emotional intensity and free-ranging sounds may have represented a heady escape from lockdown constraints. In a 2022 article, The Hollywood Reporter noted, that "anime might just be the world's most Covid-resistant form of popular entertainment", referencing a study that showed global demand for anime content grew 118% between 2020 and 2022. "You're looking at a massive spike in the availability of anime to new fans [based on a growing array of online platforms], and the time they had on hand to watch it," explains Jonathan Clements, author of books including the British Film Institute's Anime: A History. "And in the years since, a bunch of young fans have become consumerist teens with a love of anime. For young fans, anime music offers a gateway to Japanese pop culture and beyond. It also has lifted up a new wave of stars onto a worldwide platform. Examples include the vibrantly catchy J-pop duo Yoasobi, whose 2023 track Idol, taken from the manga comic adaptation Oshi no Ko, became the first anime song to top the Billboard Global Chart; hip-hop act Creepy Nuts, whose viral smash Bling-Bang-Bang-Born, which is the intro for anime Mashle: Magic And Muscles, is a surreal bop blending quickfire rap and Latin licks; and melodic rockers Radwimps' soaring anthems for Makoto Shinkai's fantasy-dramas (Your Name; Weathering With You; Suzume). Ado's catalogue contains numerous anime themes, and her worldwide breakthrough was fuelled by the blockbuster success of One Piece Film Red, in which she sang tracks including the exhilarating electro-pop banger New Genesis, in character as the antihero Uta. "When I first heard the demo for New Genesis, it felt like the world had opened up and a warm ray of light had shone through," Ado tells the BBC. "The character, Uta, is full of human touch in a good way," she says, adding that this song slickly captures the protagonist's complexity: "She is able to express feelings of joy and happiness, but also anger, hatred and sadness in a very simple relatable way." Keeping up with this prolific scene can feel dizzying, but it regularly yields thrilling discoveries, and its blend of bold hooks, gripping storytelling and persuasive nostalgia seems to bring generations together more than most music – as I've found as a Gen X woman, geeking out alongside my Gen Alpha son. "Someone to look out for is [anime soundtrack composer] Kensuke Ushio, whose attention to detail and realism is truly astounding," says Clements. "On [2024 coming-of-age drama] The Colours Within he had to come up with the sound of the in-film garage band, carefully crafting electronic pop inspired by the early days of New Order. He even went as far as recording ambient sound in Japanese church halls, to ensure that the on-screen rehearsal sessions had the right room tone." Anime music in the live arena Anime music also increasingly translates to real-life realms, whether it's international concert tours from veteran composers such as Joe Hisaishi, the maestro famous for his work on the films of Studio Ghibli, or contemporary hitmakers including Ado and Yoasobi, or inclusive meet-ups and club events like those hosted by UK "diversity-led anime and gaming collective" Anime & Chill. "For Gen Z specifically, anime hits differently," says Anime & Chill founder Eneni Bambara-Abban. "This is a generation raised on global internet culture, where J-pop, K-pop and anime AMVs [anime music videos] are part of the same online ecosystem. "Platforms like TikTok and YouTube have also given anime songs a second life – clips go viral, people remix them, and suddenly, a theme from a niche show becomes a global anthem. We see it all the time at our events… the crowd knows the lyrics, they scream the choruses and they feel it." She emphasises the "emotional imprint" of these songs: "Anime music isn't just background music – it's the heartbeat of the [work]." More like this:• The anime that captures millennials' greatest fear• Why Gen Z is nostalgic about 'indie sleaze'• The animation that showed me the meaning of life Notable too is how Western musicians are getting in on anime culture. Back in 2003, French electronic duo Daft Punk re-imagined their Discovery album as an anime feature: Interstella 5555 (supervised by legendary artist Leiji Matsumoto); it seemed like a quirky curiosity at the time. But nowadays, a surge of western musicians reference anime in their own material, whether it's US hip-hop stars like Lil Uzi Vert and Megan Thee Stallion, or alt-pop heroine Billie Eilish name-checking characters in their lyrics and song titles, or London indie rapper Shao Dow who writes personal tracks based around famous anime series, and tells the BBC: "I use anime as a vehicle to explore ideas within my life". He adds that One Piece's teenage captain Luffy provided early creative influence: "I would look at this character who'd scream about being the king of the pirates, and people would laugh, but he'd keep doing it. Even though it's a cartoon, that positive energy inspired me: he's pushing forward with this dream." Perhaps that's the ultimate power of anime songs; you can grow up with this music, but you never really grow out of it. -- If you liked this story sign up for The Essential List newsletter, a handpicked selection of features, videos and can't-miss news, delivered to your inbox twice a week. For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
