If asked who the biggest game-changer in Japanese pop music has been since the 2010s, many people would undoubtedly mention one name in particular. I still vividly remember the first time I encountered him. Beneath the curious and impressive album art of “diorama” were songs that showed me an unexplored world that would make me feel almost obligated to continue to follow his career. This debut work triggered a butterfly effect that, 10 years later, would have completely reshaped the trends of J-pop. This is the story of Kenshi Yonezu.

Today, with the rise of stars like YOASOBI, Yorushika, and Ado, Vocaloid and utaite have become essential parts of mainstream music. Kenshi Yonezu has been at the forefront of bringing this subculture into the mainstream, leaving his mark on the J-pop scene since the early years of the 21st century. Starting in 2009, he uploaded songs like “Matryoshka” and “Panda Hero” on Japanese video sharing site Niconico under the pseudonym Hachi, gaining recognition early on not only for his music but also for his hand-drawn illustrations. After stepping out from the virtual world and into the real one, he transitioned from his early style into using his own voice in “diorama,” signed with a major label, began recording with real instruments, and released “YANKEE.”

While his reputation as a rising star grew strong among rock fans, it was “Lemon” that helped him reach a tipping point and break into the mainstream. The song served as the theme for the TV series “Unnatural” and explored his views on death with heavy lyrics that left a deep emotional imprint on listeners. Once it became clear the kind of impact his collaborations could have, people from across the entire entertainment industry started to reach out to him.

Yonezu’s latest album, “LOST CORNER,” shows he’s reached a new high on his current trajectory. Songs like “KICK BACK” for the anime “Chainsaw Man,” “Tsuki wo Miteita - Moongazing” for the game “Final Fantasy XVI,” “LADY” for a Georgia coffee commercial, and “Chikyugi - Spinning Globe” for Studio Ghibli founder Hayao Miyazaki harmonize perfectly with the work or brand they represent, balancing commercial appeal while showcasing the artist’s signature sound.

In the midst of this whirlwind of activity, Korean fans eagerly prepared to roll out the welcome mat for him. Yonezu had already amassed a significant following in Korea, even before the recent wave of Japanese music took off in the country. That explains why fans cheered particularly loudly when news broke late last year that he’d be holding a concert in Korea, even with the flood of other Japanese artists doing the same. It was official: “KENSHI YONEZU 2025 WORLD TOUR / JUNK,” celebrating his new album and his first time playing stadiums, would include a stop in Korea. Anticipation for the event was obviously immense, as the two-day INSPIRE Arena concert, far from modest in scale, sold out instantly.

Arriving at the venue two hours early, I was met by throngs of fans already dressed in the t-shirts and draped in the towels. Inside, the passion from the crowd was tangible as the excitement built and the lights dimmed right on schedule to signal the start of the concert. A red spotlight illuminated the stage as the visual art unfolded for the opening number, “RED OUT.” It was an impressive entrance, one met with deafening cheers, and as the crowd repeatedly sang the word “kiero” along with the lyrics, it properly dawned that we had all entered a world where Kenshi Yonezu was king.

Yonezu sang “Kanden,” complete with a dynamic brass section and a musical-like performance involving more than 10 dancers. The mood shifted as blue light bathed the stage for “MARGHERITA” and he put on an unforgettable show that made the audience go wild. “This is my first show in Korea, and I couldn’t be happier,” he cried out. “I hope you enjoy the whole show!” He then worked the crowd up even more with songs like “Melancholy Kitchen,” which sounded particularly reminiscent of his Hachi days, and “LADY,” now with a piano intro for an added twist. The dancers’ lively choreography injected extra vitality into “Sayonara, Mata Itsuka!” and seeing Yonezu flash a peace sign with a radiant smile at the end of the song made my heart skip a beat.

“This is my first time in Korea, and I can truly feel the passion here tonight,” Yonezu told the audience. “I’ve been wanting to come here for so long, and now that I’m finally here, I couldn’t be happier. I was a little nervous about how Korean fans would feel about me, seeing as it’s my first time coming, but like I just said, I don’t think I’ve ever seen so much passion in my life. When you sing along, even despite the language difference, just the fact that we’re singing together feels truly amazing. Thank you from the bottom of my heart, and I promise to come back again soon. I hope to see you then.” Overwhelmed by the cheers, he struggled to continue talking but did his best to express his feelings anyway. After his little speech, he showed off his emotional vocals with “Chikyuugi - Spinning Globe,” followed by hits like “Lemon,” where dancers with lights in hand made the whole stage feel like one big music video, and the dramatic “Spirits of the Sea,” complete with video backdrop for that extra cinematic feel.

As the concert neared its climax, Yonezu sat on a sofa to perform “Mainichi - Every Day” and better capture the song’s characteristic listlessness, while the electrifying guitar intro of “LOSER” signaled everyone to unleash the last bit of energy they’d saved up. That gave way to the pinnacle of the evening, none other than “KICK BACK,” once again setting the audience ablaze. Towards the end of the song, Yonezu grabbed a handicam and projected himself and the other performers onto the big screen in all their raw glory for a never-before-seen touch of dynamism. Without missing a beat, he strapped on his guitar and raised a triumphant two-fingered sign high above his head as he began to play “Peace Sign.” He turned into a true rock star, transforming the venue into a virtual rock festival with his soaring guitar riffs. The atmosphere was already at a fever pitch, but things turned absolutely explosive with his touching choice to pull out some old memories at that point and revisit the Hachi-era song “DONUT HOLE,” a nostalgic nod to his beginnings.

The mood shifted one more time as he closed the main set out on a poignant note with “Garakuta - JUNK.” I gave my body over to the whole final section, exhilarating as a rollercoaster ride. After stepping offstage, Yonezu came back out some 10 minutes later for an encore. He performed some newer material like “BOW AND ARROW” and “Plazma” before putting any sadness aside with “LOST CORNER,” a choice that felt like the closing credits to a two-hour spectacle. It was a performance that made the long wait worthwhile—the best artist today showcasing absolutely everything he’s got.

In short, the concert captured, without a doubt, the very essence of where Kenshi Yonezu’s headed these days. It took what makes him so overwhelmingly popular not just in Japan but worldwide and translated it flawlessly into an onstage experience. Rather than try to create a whole new kind of entertainment, the show effectively took the very essence of music and merely added in extras that could enhance that core aspect. For example, the way the screen near the stage floor was made to look like an ice rink during “BOW AND ARROW” per the anime “Medalist,” and the video reminiscent of the movie “Shin Ultraman” accompanying “M87,” added a kick to the production by going beyond what fans could have anticipated. The dance team’s choreography, which bordered on contemporary dance, offered another unique visual spectacle. Their improvisational movements blended seamlessly with Yonezu’s unrestrained songs. It all added up to an extraordinary level of harmony onstage.

As I stood there, reflecting on the connection between my discovery of Kenshi Yonezu through “diorama” 13 years earlier and witnessing him perform in front of 22,000 fans in Korea, I felt deeply moved. For fans, many of whom first connected with him online, sharing in this expansion on his musical journey on such a large stage must have felt particularly meaningful, as it must have for Yonezu as well. That’s why “DONUT HOLE” struck such a powerful chord when Yonezu performed it towards the end of the show—he was revisiting his beginnings at a time when he’s living his best, most impressive life. I think the experience of having followed along with his journey for so long, seeing the mark he’s made, is what made the way he worked his personal journey with music into the show so naturally resonate so deeply.

It was a miraculous moment. He never followed trends or expectations, only his own vision. This singer and his fans found salvation together in what they built. And now, miraculously, he has become the trendsetter.

This is how I would describe Kenshi Yonezu’s first concert in Korea. That this miraculous meeting took place is more than mere coincidence—it was made possible because everyone there had been true to themselves in life. Though we only crossed paths briefly, Kenshi Yonezu and the 22,000 fans who attended his concert will, as always, continue to weave countless stories of their lives, all with the anticipation of meeting again someday soon. Just like a spinning globe.