Talking About Boku-Ao

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

After the June anniversary live Aozora Yagai wrapped up, their fourth year began. At that concert, the members declared that they would sell out the tickets for their August debut anniversary live, Aozora Summer Festival. However, for a while after that, no concrete moves were visible. The first sign of action came about a month later, on July 15, starting with an "Emergency" YouTube live stream hosted by four members: Shiogama, Yanagihori, Hayasaki, and Kanazawa.

Right at the beginning of this stream, they promptly announced that there would be no guest performers this year. Last year, when it was announced at the very last minute that a male dance unit would appear as guests, the fan community went into quite an uproar, after all.

After that, while looking back at concert video clips from 2024 and 2025, they announced that this year would once again feature cover songs and a unit shuffle. Back in 2024, there was Parachute centered by Ami-chan. I feel like ever since then, the image of "Parachute = Ami-chan" has somehow taken root. The 2025 performance of Spare featured Ai-chan, Yua, and Mocchi. Around this time last year, there were still 23 members. I wonder what it will be this year. I feel like there were a lot of wishful comments hoping for things like Natsu-YASUMING performed by the older members, or the same for Shinji. I'd really love to see the older members perform!

They also announced the #BokuAoToyosuPIT完売計画 (#BokuAoToyosuPITCookoutPlan / #BokuAoToyosuPITSoldOutPlan), revealing that they would host daily YouTube live streams every single day until the day before the concert. Furthermore, they mentioned that they were brainstorming various other ideas as well. Hayasaki said, "Because we're throwing ourselves into this with reckless abandon, there might be moments where you think, 'Isn't that a bit off?'" while Shiogama shared, "We want to make the day of the Aozora Live a day where both we and the fans can feel that we are still pushing forward."

The YouTube live streams kicked off the following week, on July 24. Starting with Poly's karaoke stream on the first day, each member centered their main projects around their own strengths—Miuna did cooking, Yua-ty made sweets, Miisa did an acoustic sing-along, and Yuzu-chan showcased costume designs she came up with herself. Rikopin's solo stage stream was packed with enthusiasm. Having been idols for three years, I felt there were members who could confidently say "This is my thing" in a setting like that, as well as those who couldn't yet.

More than just being entertaining because she's my favorite, Hitomin's stream was hilarious—she taped an earphone microphone to her chin and answered questions while doing ASMR. It was completely surreal. Yet, strangely enough, as time went on, the feeling of weirdness faded away for both her and the viewers. Yuuho's soccer juggling stream was also fun as her true self—or rather, her raw personality—came through more and more. On top of that, her wide array of conversation topics stood out as remarkably rich compared to other members, as always.

In typical years, August always brought a new single release: their debut in 2023, their 3rd single Spare no Nai Koi in 2024, and their 7th single Shisen no Love Letter in 2025. While there was no new release this year, they participated in three joint (taiban) events. It seems ticket hand-sales for the Aozora live were conducted at those events, though due to various circumstances, some were canceled or lasted only a short time. Even after that, a steady stream of joint event appearances kept getting announced, signaling a shift from their previous schedule, which had been centered mainly on solo concerts. I mean, just how many joint concerts are there?! They seem to be performing somewhere almost every single week.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

The second nationwide tour, the release of their 8th single, and their 3rd anniversary live.

If I had to sum up the messages the members have been sending out during this period in a single word, it would probably be groping in the dark.

The selection announcement for the 8th single took place on March 1, 2026. When the lid was opened in front of the audience at the venue, it turned out to be an all-member selection. However, it seems some members had already sensed it to some extent when the application for audience attendance was announced. By the time more than half of the names were called, most of the members had a look of understanding on their faces. I could see a mix of various expressions: joy, confusion, relief, and a sort of "Ah, I see" look. Normally, the announcement order is basically based on the Japanese alphabetical order of the current Aozora-gumi, but this time, it felt like the order was switched around in places—like with Hasegawa-san, Annou-san, and Nishimori-san—which added a bit of a thrill.

In their blogs posted that day, while there was relief and joy, some members also put up defensive walls, writing things like, "If possible, I wanted to move up on my own merit," or "I might not get to stand in a prominent spot for this release." I wonder if the all-member selection was because the group's numbers have decreased, because it's an anniversary single, or to make it easier to make moves for what comes next. In Hagiwara-san's blog after the announcement, she shared that back when the selection system was first introduced, they were told, "Whether we return to an all-member selection depends on the growth of the Kumo-gumi members." I wonder what will happen to the Kumo-gumi performances now. They've built it up so diligently, step by step, that it feels like a waste to lose it. I hope they continue it, even if it takes a different form. As of right now, there has been no announcement regarding this.

For this release, Kudo and Iwamoto are positioned right next to the center. This feels fresh. It must be the first time for a title track that not a single one of the five members who had solo parts in the debut song—Yagi, Hayasaki, Yanagihori, Yoshimoto, and Sugiura—is among the front three. It's interesting. The current Boku-Ao has nothing left to protect. In other words, they have the strength of being able to do anything.

The music video for the new song was released later, and out of the 20 members, 12 have solo parts while the remaining 8 do not. Among those 8 are the leader, Nana-chan, and Aya-chan, who has never missed being in the Aozora-gumi before. There is a reality there that goes beyond a simple "Congratulations on the anniversary all-member selection."

Their activities around the release period felt relatively calm. It felt as though they were detachedly carrying out the things they have always done.

In stark contrast, however, the number of interviews published and broadcast during this period was quite large, and the content was overall heavy. The SPA! interview was particularly memorable. In it, Hayasaki-san said, "I can't say what I want to do or how I want things to be in our fourth year. Because I already know things don't turn out that way." Nana-chan admitted in her B.L.T. interview that she had been "gloomy lately," and in her blog on June 9, she revealed that she had made a self-deprecating MC speech at a joint-event that day, to which Rikopin replied, "I don't think that's right." The certificate I randomly received after the Lake Kawaguchi show happened to be Nana-chan's, and even there, she wrote about her mentality, saying, "Lately, I've been overthinking things especially." On the other hand, she has started using the expression "Nogizaka's Official Rival" again, which they hadn't used much recently. I had thought they were in the process of taking down that banner.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

It has been a while since the national tour performance in Fukuoka ended.

Looking back, it really was a deeply moving and wonderful live show.

To be honest, having experienced the very front row at the same venue last year, I thought it couldn't possibly get any better than that. Of course, that doesn't mean I wasn't expecting Boku-Ao to surpass last year's performance. It was more a question of how much I, personally, would be able to enjoy the live show this time around.

Just before the Fukuoka performance, articles covering the opening day of the tour were published by B.L.T. and SPA!. They detailed the production of this tour and the members' enthusiasm, but if you were to ask whether either article built up the excitement for going to the concert, that wasn't quite the case.

What I gathered from the articles regarding the content of this live show included things like:

It would be fan-participatory.

The production would have a sharp, edgy style.

Many of the members' own opinions were incorporated.

The variations in how they hype up the crowd had increased.

There would be live instrument performances by the members.

And on top of that, the aspect of portraying a cohesive world-value might be diluted.

Wait, what exactly did that mean?

While I felt certain that my love for Boku-Ao wouldn't change no matter how they evolved, a part of me worried, "What if I end up feeling like something is off?" If this concert became the catalyst for me drifting away from Boku-Ao, then I was actually scared to go see it. This anxiety might closely connect to Nana-chan's words, which I will bring up in the latter half of this post.

So, I decided to go without letting my expectations or excitement get too high. I kept thinking that way until the morning of the show. Since I had won the lottery to watch the rehearsal, I figured I would treat that as the main event instead.

As it turned out, that approach worked beautifully.

It wasn't the explosive, "wow, this is insane" feeling of last year, but rather a deep appreciation that grew on me gradually.

On my way home, I wondered why I felt it was so exceptionally "good," and it seems there are two reasons: a positive one and a negative one. I'd like to start with the positive reason, though this time the text will focus heavily on specific people.

To be completely honest, I spent about 60% of the time just watching Hitomin (Hitomi Hasegawa). I don't even know how to put it into words—has she always been this incredibly charming?

In my 9th and 18th posts, I wrote that I wanted to see "how someone with this kind of aura will change or stay the same in the future," but I never anticipated a transformation this massive.

Is she really the same person who, at the 1st-anniversary live, spoke so half-heartedly and lacked the confidence to say whether she even belonged there or if she could contribute anything?

Exactly one year ago, in the Hiroshima performance video on YouTube, she said, "I'm going to give it everything I've got this year," and I think she executed that brilliantly.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

A few things have happened since the year-end live.

Yuuho Aoki finally opened her X (formerly Twitter) account on the day of the Seishun Osame concert. To my pleasant surprise, she updates it quite actively, posting in a relaxed style that feels very "Yuuho." Meanwhile, on New Year’s Eve, Hitomi Hasegawa reached her goal of 10,000 Instagram followers. She is the fourth member to hit this milestone, following Hayasaki, Yoshimoto, and Kanazawa.

Looking back slightly, Hitomin and Miuna appeared on NHK Saitama radio on December 10th. Hitomin modestly referred to herself as the group’s "intellectual representative." I’d love to see her on quiz shows this year. She also spoke enthusiastically about her appearance on Abema News, which seemed to be a highlight of her 2025 activities.

Moving into the New Year, we had the Boku-Ao New Year’s Party. Surprisingly, Mocchii (Mochinaga), who graduated at the end of the year, participated as well—likely due to contractual details. However, seeing as she ended her blog abruptly on the 28th and didn't even post on the 31st, it felt like she personally considered Seishun Osame her true finale. A part of me thinks it might have been kinder to let her finish there (just a quiet observation).

Since the start of the year, things have been relatively quiet, aside from Nana’s musical role. In February, there was a 10-hour SHOWROOM marathon. I tuned in and was struck by Yua Kudo’s skill. She naturally picks up comments and weaves them into her own stories with a very calm, steady tone. While she sometimes struggles to stand out in group streams, her solo talks are perhaps the most engaging to listen to.

In early February, it was announced that events for the 7th single would be extended through March 1st. This effectively pushes the activity period for the 7th single by nearly a month. I had assumed the selection announcement for the next single would happen around mid-February (specifically on Ami Kanazawa’s birthday, the 14th). The change of the website's top image to a simple white blouse in late January was a sign of this transition.

If the announcement happens in March, the release will likely be in June. Last year, the 5th single was released just before the national tour, leading to a frantic schedule and health issues among members. A June release this year would allow the group to wrap up the Nagoya leg of the tour in early May, focus on promotion, and then head into the Lake Kawaguchi finale on June 20th with a fresh single.

Let’s turn back the clock for a moment.

During the Boku-Ao Christmas event, Nana Shiogama and Karen Yanagihari discussed the group’s future. Karen spoke with her usual earnestness, saying, "I want to perform at big venues, appear on music shows, and perform on Kohaku... I think about it constantly." Nana responded by saying that even the members haven't been told what the plans are for next year.

Then came the latest B.L.T. interview with management head Mr. Tamura. The article noted that Tamura seems to prioritize the members' growth as human beings and performers over raw sales, believing that "success" will naturally follow "growth." He addressed the members' desire for arenas and domes, explaining the importance of gaining experience in smaller live houses first.

However, he did mention that if they work hard on the spring tour and the June anniversary live, the next Seishun Osame (year-end live) might see even better results. This has me wondering—could a year-end arena show be in the cards for late 2026? He specifically called it the "Spring" tour, which implies there might be an autumn tour leading up to it.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

From the autumn of 2025 through the end of the year, it wouldn't be an exaggeration to say that the "face" representing Boku-Ao was Shinsuke Morimoto from the comedy trio Tontukatan.

Of course, it's a joy to see such a good relationship being built. However, whether it was a release day or Christmas, everything was centered around Boku-Ao Night. Because Morimoto-san was the MC every single time, it’s become hard to distinguish which event was which or who specifically stood out.

What I do remember is the announcement of Ami-chan’s first solo photo book, the fact that the latest single reached record-high sales, and Yuria-chan being adorable in the "God-tier Fan Service Challenge"—showing a certain "suburban mom" vibe while still being cute (how is that possible?). I also recall Kotchan (Kokona Yoshimoto) doing great in the blind orange and chocolate tasting segments.

As the year drew to a close, December 28th marked the "Seishun Osame" (End of Youth) concert at Tachikawa Stage Garden. The venue looked quite full, and seeing the blue light of the penlights spread softly all the way up to the third floor was a beautiful sight. The stage was spacious, feeling nearly twice as large as Zepp or PIT.

While last year’s concert featured every song since their debut, this year focused on performing every track released in 2025.

During Seishun no Tabibito yo, Eren Sugiura waved to the audience. Eren always shows a wide range of emotions, but occasionally she has these moments of pure, innocent "kyurun" expressions. That sudden shift in intensity really gets me.

In the 6th-single track Niji wo Kakeyou, there was a part where I wondered, "Wait, whose voice was that?" In the original version, that part should belong to Miyakoshi and Yamaguchi, followed by Aoki and Kinoshita. Since Yamaguchi and Kinoshita have left and Aoki likely moved up a part, it felt like the backing track was more audible than usual—a rare occurrence.

One funny story from the year-end lookback involved Toa Yagi. Apparently, during the breaks for Natsugasumi, Toa was talking non-stop in the dressing room. Mocchii (Mana Mochinaga), who was in the next room, finally had to come over and quite seriously ask her, "Could you be a little quieter, please?"

Toa-chan is so good at telling these stories; she always invites a laugh without making the situation feel tense. It reminded me of a time when Toa kept talking despite having a raspy throat, and Karen Yanagihari asked her, "Toa... want a lozenge?" Later, Karen appeared on stage alone, calling out "Are you having fun?!" to each floor—something the members had said they wanted to do once they reached a big venue. Karen just went ahead and did it by herself!

At this event, the spring nationwide tour was announced. The venues are the same as last year, but since every location will have both a day and night performance, the total number of shows will increase.

After a few non-2025 songs, "Angry Yuzu-chan" brought Yua Kudo out for the "Yacchimatta (I Messed Up) Grand Prix." Yua’s story about boiling over a soy milk hot pot while washing her face had a great "Sansuke" vibe. The Grand Prix winner was Miuna Sunaga for her "Suki Nari" double-center performance; her determined face looked as if it were part of the original choreography.

Toa-chan’s solo, This is Heaven!, from the 7th single, was performed for the first time. Even with her movement restricted by a stand mic, she proved she is a true performer. Tipping Point was also debuted. Toa’s versatility is incredible—no matter who else rises up, she remains the axis of Boku-Ao's performance. Every single to date has featured a Yagi-centered track.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan.

In January 2025, I wrote a two-part series titled "Reflections on Boku-Ao Members," ranking my impressions of the group. A year has passed, and as we move into the third year, I’ve run the "Boku-Ao Sort" again.

The rankings below are as of December 17, 2025. Please note that I excluded Yuan Yamaguchi (graduated), Mana Mochinaga (graduating), and Ai Kinoshita (on hiatus) by marking them as "draws" in the sort. As always, I am a "box fan" (supporting the whole group)—ranking them doesn't mean I dislike anyone; it’s simply a reflection of my current focus.

1. Hitomi Hasegawa (Previous: 4th) Finally, she reached Aozora-gumi in the 7th single—and as a front-row member! Watching your "oshi" climb the ranks is an addictive feeling. Last year, I said she was a "curiosity" rather than just a favorite; I wanted to see how she would evolve. She is a hard worker, not just a natural genius, and her determination to seize opportunities is palpable. Watching the 7th single MV, my eyes are so fixed on her that I still haven't processed the full choreography.

2. Nana Shiogama (Previous: 1st) On the October 17th broadcast of IT!, announcer Miyake-san spoke glowingly about Nana. He noted how she faced the "washout" (owakon) rumors head-on during the 2nd-anniversary event, saying, "A team where the leader can speak such strong, direct words is a strong team." Her ability to lead with such grit—especially when the group is facing criticism—is truly electrifying.

3. Riko Iwamoto (Previous: 5th) Rikopin is becoming Boku-Ao’s media savior. She has appeared on nearly every major commercial network recently—TBS, Fuji, TV Asahi, and finally Nittele. People are starting to recognize her as "that person from TV." Her directness and spirit feel like a perfect fit for NHK, and I wouldn't be surprised if a morning drama is in her future. Despite her upcoming ankle surgery, her "heroine aura" remains unshakable.

4. Kokoka Hagiwara (Previous: 8th) She is one of the few who hasn't experienced Aozora-gumi yet. While she came close during the 4th and 6th singles, she hasn't quite broken through. Seeing her in person at the front row of a concert, her beauty was peerless. Her challenge now is to find and express a charm that is uniquely "Kokoka."

5. Miisa Yaegashi (Previous: 11th) Beyond her beautiful voice, I’ve grown to love her acting. She landed a major role in Natsugasumi and appeared in an FOD short drama. She has a dignified yet powerful presence that reminds me of actress Nao Minamisawa. I’d love to see her in a period piece—perhaps a daughter of a samurai house.

6. Yua Kudo (Previous: 19th) Management clearly sees her as a future star. While her popularity hasn't quite caught up to her pushed positions yet, she shouldn't let the noise get to her. Recently, she’s become much more talkative and has developed a sharp, dry wit that catches people off guard.

7. Yuria Miyakoshi (Previous: 18th) She has noticeably slimmed down, and her beauty has sharpened. Whether it’s a result of personal resolve or the challenges the group has faced, her sincerity shines through. Her "clueless" humor on Boku-Ao Night is a weapon only she possesses.

8. Yuki Imai (Previous: 16th) As she mentioned in the "Leader's Struggle" documentary, she needs to find "the one thing" that defines Yuki Imai. Seeing her in a Kumo-gumi show, I realized she has a massive aptitude for being a center—one very different from Toa or Miuna.

9. Rian Akita (Previous: 21st) Her goal is to "one day get a main member song again." She seems to struggle with the gap between her early-day prominence and her current position. Watching her give her all in the face of that reality makes it impossible not to root for her.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

November 1, 2025, midnight. Following the first graduation in the group's history, a new chapter for Boku-Ao began with the unveiling of a fresh artist profile.

What stood out most was Hitomi Shiogama’s position. She was placed in the front row—specifically the second or third spot from the center. To see a member leap into such a prominent position immediately upon joining the Aozora-gumi selection is unprecedented. Until now, those top three spots were almost exclusively reserved for the core six: Yagi, Hayasaki, Yanagihori, Yoshimoto, Kanazawa, and Sugiura. Hitomin herself later described this on her blog as a "miracle."

Interestingly, Hitomin seemed a bit playful about the photo itself. During a recent livestream, she jokingly complained about the heavy editing and how she's often asked to play a "cool" character rather than her natural, smiling self. She even teased that for the next shoot, she might just smile anyway when told to look cool. It’s refreshing to see her show a bit of "poison" and rebel against the strict production that often leaves little room for individual personality.

As the positions for the 7th single mirror this new artist photo, Hitomin is set to be the symmetry partner for Toa Yagi, flanking the center, Ami Kanazawa. In recent interviews, she’s admitted to a mix of pressure and a lingering fear that she might "fall back to Kumo-gumi" in the next release.

The end of the year also brought back "Rikopin Season." After her backflip at a baseball event last summer went viral, Rikopin (Riko Iwamoto) has become a fixture in the world of physical challenge shows like SASUKE and KUNOICHI. In the latest KUNOICHI, she was treated as a top contender rather than just a guest idol. Though she unfortunately failed at the first obstacle, it was her reaction that captured everyone's hearts. Immediately after falling into the water, she stood up and slammed her fists against the surface in pure frustration. She later called it her "evil face," but to me, it was a beautiful, honest expression.

This raw emotion is exactly why creators want to work with her. On the YouTube channel "Chiisai Ossan no Kai," featuring SASUKE director Inui-san and other producers, they spoke passionately about her. Inui-san even noted that she has an "NHK Morning Drama face" and suggested she pursue acting. They argued that her "heroine aura" is so strong that it’s actually more dramatic when she struggles or fails. Like Marika Ito (formerly of Nogizaka46), Rikopin is proving that you don't have to be the "center" of a group to possess a talent that catches the eye of the industry's top creators. She is the kind of person who makes you want to create something for her.

A few other notes from this period: Nana Yanagihori appeared in the idol qualifiers for SASUKE, showing great spirit in the interval run. However, the group faced a rough patch in late November as several members fell ill, forcing a last-minute shuffle for the Boku-Ao Night radio broadcast.

Just as I was finishing this entry on December 7th, the news broke that Rikopin will undergo ankle ligament surgery early next year. I truly hope it isn't serious and that she recovers fully.

I initially planned to cover the entire winter, but with the 7th single release and the main SASUKE broadcast approaching, this felt like the right moment to pause. I’m currently working on a "Year 3" edition of my member profiles, which I hope to share during the New Year holidays.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

The period from the release of the 6th single in August 2025 through the end of October is impossible to discuss without mentioning one specific topic. On August 8th, just two days after the single's release, Yuan Yamaguchi announced her graduation. It was a bolt from the blue.

Though she had spoken at One-man Live Vol. 2 about finding "confidence and strength," she revealed that her anxiety about standing on stage had never truly faded. Her graduation was set for the end of October. Soon after, Ai Kinoshita announced a hiatus for academic reasons. The community was shaken by these consecutive departures. While rumors swirled about "true" reasons, it seems the physical and mental demands of being an idol—combined with the rigorous path of elite university entrance exams—were simply immense.

Before reaching the major Aozora Fes at the end of August, tensions rose further. An announcement of a solo concert for the Aozora-gumi (the "main" selection) sparked debate: "If Aozora-gumi is for media work and Kumo-gumi is for live shows, why is Aozora doing a solo live?" Then, rumors of a male dance unit guesting at Aozora Fes set X (formerly Twitter) ablaze with confusion.

I watched Aozora Fes via livestream. The highlight for me came early: Yuuho Aoki’s tears during Best Friends. During the line "Memories start to shine from beyond the night," she broke down, her voice trembling through the microphone. Seeing her flanked by the departing Kinoshita and Yamaguchi made the moment incredibly heavy.

The guest segment lasted nearly 40 minutes—about 30% of the show. Whether this was a new direction or an external obligation, it felt intrusive. That space should belong to the members and the fans alone. There was no announcement for a 7th single or a new TV show, only news of a December year-end live. During the encore, they performed a choral version of Ao-zora ni Tsuite Kangaeru. Some fans wanted the original version for the "final 23-member performance," but as an anniversary show, the nostalgic choral arrangement felt appropriate.

In September, the atmosphere reached a breaking point following a management interview in B.L.T. magazine. When the interviewer expressed the fans' frustration—"Why aren't they more popular yet?"—the management responded with, "Isn't it fine to just be ourselves?" This was perceived by many as irresponsible. However, I saw it differently. By remaining calm, perhaps they were trying to reassure fans that the group’s intrinsic charm is enough. The "Official Rival of Nogizaka46" label is becoming a shackle; the group needs to establish "Boku-Ao-ness" as its own entity, not defined by who they are rivaling.

The stage play Natsugasumi returned in September with a double cast. While comparing performances is subjective, Rikopin Iwamoto’s raw portrayal of the scene encouraging the leads to move forward resonated deeply with me. During the final show, Toa Yagi gave a moving speech, acknowledging it was the last time all 23 members would perform their debut song together.

Just as Natsugasumi ended, a third blow landed: Mana Mochinaga announced her graduation. To see "Mocchii"—who had been moving toward the front in recent singles—depart was another shock. Finally, the 7th single was announced for December: 11 members in Aozora-gumi and 10 in Kumo-gumi. Hitomin Shiogama returned to Aozora, and Yuna Hasegawa joined for the first time. Meanwhile, Rikopin Iwamoto continued to be the group's "media warrior," leaving a massive impression on variety shows like Chidori no Oni Renchan with a desperate, spirited headslide during a race.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group Boku ga Mitakatta Aozora (Boku-Ao), written by a fan living in Kyushu, Japan. The author shares their personal journey with the group, and AI was used for translation and voice synthesis.

I previously wrote about how my interest in Boku-Ao never seems to fade, but I must confess: during the summer of 2025, leading up to the 6th single release, my "Boku-Ao fever" cooled down a bit. Even with a week-long archive available for the One-man Live Vol. 2 stream, I only watched it during the live broadcast.

I started writing this during the rainy season—hence the umbrella header image—but my spirits didn't quite rise, and summer arrived before I could post it. I’ll leave the header as it is to reflect that stagnant mood. Ironically, the music video for the new song turned out to look exactly like this photo, but I assure you, it’s just a coincidence from a stock photo site.

This entry covers events up to the release date on August 6th. Significant events occurred after that, which I won't address here, so please forgive any descriptions that may seem out of sync with current reality.

At the end of June 2025, their variety show Saka-Ao (Boku-Ao no Sakamichi Nobiritai) came to an abrupt end after one year and eight months. A few weeks before the finale, Toa Yagi and Miuna Sugiura appeared on the radio show Tokyo Speak Easy with Chocolate Planet. It was an insightful talk. Chocolate Planet shared their raw impressions: Rian Akita is still "a mystery," while Miuna and Rikopin (Iwamoto) are "aggressive" in a good way. They noted that Kokoka Hagiwara and Ami Kanazawa need to "show themselves more."

Interestingly, the goal for the group was phrased as "an arena show someday," a slight step back from the "this year" target mentioned last December. They also discussed the harsh reality of handshake event popularity. Chocolate Planet noted that while Suzuki Hayasaki draws huge crowds, others feel lonely in the dressing room. Matsuo-san offered some comfort: "Even if you're not popular now, miracles happen. I was never the popular one. Everything the management tries is a result of them thinking desperately for the group."

It’s a bit sad that the show ended just as these relationships were forming. The hosts didn't even know the difference between Aozora-gumi and Kumo-gumi yet. Due to scheduling, the Kumo-gumi didn't even appear in the final studio recording. Given the current state of Fuji TV, perhaps it couldn't be helped.

However, I’ve noticed a growing connection with TBS. Their YouTube documentaries now credit TBS as a production partner, and One-man Vol. 2 will be broadcast on TBS's CS channel. With Rikopin’s strong ties to Sasuke, could a new variety show be on the horizon? Rikopin's contribution is immense. During the One-man encore, she said, "Sasuke changed my life." That balance beam was her literal turning point.

Meanwhile, in the first Kumo-gumi show under the new system on June 10th, the lead roles were distributed among Nana (3 songs), Kudo (3), Hitomin (3), Miisa (2), Rian (1), and Yuki (1). Kokoka had no lead. The contrast between Rikopin’s rise and the others' struggles is a reminder that they are all constantly "on the balance beam."

June 15th brought One-man Live Vol. 2. The show opened with the members in their first-single outfits. Back then, the outfits felt a bit rustic, which suited them. Now, after two years of growth, they looked almost "too polished" for those clothes—a striking imbalance.

#J-Idol #Boku-Ao #Boku-ga-Mitakatta-Aozora

This text and podcast are based on essays about the Japanese idol group, Boku ga Mitakatta Aozora (commonly known as Boku-Ao), written by a fan living in Kyushu, Japan, and originally posted on the Japanese platform "note." The author resides in Kyushu and shares their personal journey with the group. AI was used for translation, and voice synthesis software was used for the audio.

The first nationwide tour took a breather after the Nagoya show in late April. We entered May with the news that the selection announcement for the 6th single would be streamed at midnight on the last day of the Golden Week holidays.

Golden Week kicked off with GirlsAward on the 3rd, featuring Suzuki and Yagi. I believe it was streamed on ABEMA. Someday, I want to see Boku-Ao as a standalone group walking that runway-style flower path while singing. Live houses where the stage is almost at eye level are great, but there’s something special about seeing them on a stage you have to look up at. I love the visuals of them standing on a high stage, with the penlights in the stands blurring into a soft glow in the background. Of course, when that time comes, I want to see it in person, not through a screen.

On the 5th, the Boku-Ao Music Festival was held in Yokosuka. TikTok provided generous hour-long streams for both the day and night sessions. This event had a different structure from their usual lives, and watching it on TikTok, I felt it might have been one of their most satisfying events to date. They were blessed with beautiful weather, too.

For both sessions, they performed songs by Kimaguren, and I was struck by how incredible professionals are—the way they hyped the crowd was master-class. The acoustic version of Seifuku no Parachute was teased on TikTok beforehand, and while members told us in their blogs to "look forward to this," it truly exceeded expectations. Then there was Toa-chan covering Miyuki Nakajima; her low register is simply magnetic.

During the live portions, Hitomin (Hitomi Hasegawa) showcased an English rap part and a flute performance. She also appeared in several small-group vocal units, seemingly having more stage time than most. In her blog that same day, she mentioned, "I did a bit of rapping during my lessons in Korea." It confirms she really did have a period where she was aiming to be a K-pop idol. Hitomin has been revealing a lot of "first-time" information lately. She has so many "drawers" to pull from; I’m excited to see what else she has in store.

Speaking of revealing things, have you noticed managers popping up more often in SHOWROOM streams lately? We don't see them on screen, of course, but I’d love it if they just did a two-person dialogue format. They are undoubtedly the closest adults to the members and share so many experiences; it would be fascinating. For the older members, these managers are likely like slightly older sisters, and I bet they often find more in common with their managers than with some other members.

Back to the Music Festival: while songs like Suki Nari, Aokan, and Ano Hi were performed by everyone, most other tracks used smaller units. From the stream, I saw Yagi and Suzuki doing solo covers, alongside appearances by Iwamoto, Yanagihori, Yoshimoto, Sugiura, Shiogama, and Hasegawa. It gave the impression that stage time was reserved for those evaluated as capable of singing live. Since they were co-starring with professionals, they couldn't show anything below standard. It felt like a glimpse into a certain professional severity: if you don't have the skills, you don't get the spotlight.

In that context, Hitomin’s frequent appearances stood out compared to her usual position. Even so, at the time, I didn't think she'd make the 6th single selection. I want her to, of course, but if she moved up to Aozora now, she might get buried. She actually wrote something similar in her blog after the announcement.