Talking About Boku-Ao

#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.

#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 second day, April 20th, was for the free live performance and the handshake event. In the morning, I checked my reference number for the free live: it was in the 600s. Apparently, that's right on the edge of not being able to get in. I had to check out of my hotel at 10:00 AM, but the gathering time for the live wasn't until noon. I was at a loss for how to kill time. I remembered there were handwritten messages from Suzuki and Ami at the Tower Records in Parco, so I went to see them—but even then, it was only 10:15 AM.

I decided to wander around aimlessly. As I was "uron-koron" (strolling) about, the Fukuoka Kyotei (Boat Race) Track appeared right before my eyes. "Well," I thought, "let's go in."

I don't gamble at all normally, but honestly, it was a great way to pass the time. I bet on two races and won one. Thank you, Boku-Ao! Watching the human drama unfolding there was so fascinating that I almost ran late for the free live. Idol handshake events and boat racing... it’s a strange pairing. But really, other than the age group being several decades higher, the sight of a crowd of middle-aged men staring intensely at something was exactly the same. Though, the boat races had a lot more shouting.

I made it into the free live successfully, watching from the very back. They performed "Best Friend," which I had been dying to see because Nana has so many parts in it. I love the choreography in the middle where they split into two groups and face each other for the "Best Frie-nd!" line.

That day, I managed to reunite with two of the three fans I had met in Kagoshima last year. I had noticed them the day before—"Ah, that's definitely them"—so I reached out. Their dedication to the fandom remains impressive. Like me, they had traveled from outside the prefecture, but listening to the conversations around me, it felt like many fans had made the trek all the way from Tokyo.

The handshake event started in the afternoon. It was my first time. I realized quickly that there is a lot of downtime. Since it's a one-hour session followed by a 30-minute break, if you only have one ticket for a slot, your entire experience ends in a few minutes. I spent the gaps riding the Nishitetsu trains and the subway, even catching a nap while sitting down.

What I found most interesting was the crowd density for each lane. If most lanes were like light meringue, Ami Kanazawa’s lane was like heavy whipped cream, and Suzuki Hayasaki’s was as dense as "anko" (sweet bean paste). During Part 1, I told Eren Sugiura that I’m registered as her fan club member. In Part 3, I told Nana Shiogama that I had attended the Yokado opening event last year. Nana replied, "Ah! I might actually remember that!" That made me happy.

In Part 2, I went specifically to see Hitomi, but since I was holding my Nana towel, Nana reacted first: "Ah, thank you for coming to the live yesterday, too!" I gave her a clumsy, business-like reply—"I'll be back for Part 3!"—and by the time I turned to Hitomi, she looked at me like, "Wait, me? Aren't you Nana's fan?" I managed to tell her that her MCing yesterday was great, but it was a bit of a mess.

I say this now, but I intend for this handshake event to be my first and last. (Though, who knows?) For me, there's something that feels slightly "off" about interacting so directly and closely with someone from "the other side" of the world. I don't mean this as a criticism at all—everyone has their own way of enjoying things. For me, I was able to say what I’ve wanted to say for a long time, and I'm satisfied with that.

#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.

Well, last time I ended up writing something rather pedantic and gloomy... but finally, April 2024 arrived! On the 19th and 20th, I attended the Fukuoka performances (both day and night shows) and the handshake event!

In a word: it was spectacular. I thought about posting an article immediately while I was still riding the high, but I realized it would be so "creepy" that it wouldn't be fit for public consumption. So, I’m writing this a week later. (It’s probably still plenty creepy, though.) I’ll record this chronologically as a personal memoir.

First, the tension spiked the day before when the reference numbers were revealed. My number for the day show was in the 20s. This was it—the chance of a lifetime. I wasn't familiar with the layout of Toyota Hall, but a number in the 20s meant at least the second row, and if I played my cards right, the very front.

On the day of the show, I left home with plenty of time to spare. I wanted to buy merch and had no idea how the venue operated. After an early lunch, I joined the merch line around 11:00 AM. There were maybe 20 or 30 people—not too crowded. I successfully bought a Nana Shiogama towel as planned and stepped away for a bit.

When I returned before 1:00 PM, a large crowd had gathered. The staff began announcing reference numbers with surprisingly firm voices. Their words were polite ("Please do X"), but the nuance was pure command. I suppose you need that kind of authority to manage a crowd. It was amusing to watch the relationship between the "sheepdogs" and the "flock."

I panicked for a second because the drink ticket was cash-only (I thought I’d read on Google Maps that they took mobile payments), but since they gave change, I relaxed. I couldn't afford any delays during entry. Finally, the doors opened. I didn't even stop for my drink; I headed straight into the hall. I managed to secure a spot on the far right of the front row! I hesitated for a moment because a speaker was partially blocking the stage, and I considered the center of the second row instead. However, the lack of heads in front of me, the ability to lean on the railing (though you get scolded the moment you do), and the fact that Nana often stands on the right side of the stage made me prioritize the front row. I waited there for an hour, barely moving.

Seriously, the front row is dangerous. As expected, during the initial self-introductions, Yuan and Yuuho were hidden behind the speaker, but for the performances, I could see the members from head to toe. Members on the far opposite side were distant, but while early songs had fixed left/right positions, the newer choreography is much more diverse. Members were constantly rotating right in front of my eyes.

And my god... they are all ridiculously cute. During the first song, "Koi wa Baisoku," I was mesmerized by Mana Mochinaga. During the following "Seishun no Tabibito yo," I was overwhelmed by Kokoka Hagiwara’s beauty. Truly, Kokoka was so beautiful it almost brought tears to my eyes.

It was my first live show since last year's One-man, and while my number then (in the 300s) wasn't bad, seeing them this close is a different reality. I was so starstruck that my "calls" became weak. I lost all vocabulary. All I could manage was "Whoa..." or "Amazing..."

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

It’s late January 2025. It feels a bit early to call it "spring," but for the sake of a clean break, I’ll mark this as the beginning of "Boku-Ao: Spring of the Second Year."

This period should have been full of excitement—a new single release, the start of a nationwide tour, and the announcements for a one-man live and Aozora Fes. Yet, somehow, there’s been a lingering mood of stagnation, a sense of frustration. Writing this was actually a bit painful.

However, one epoch-making event did occur: around the start of the tour, the music video for "Koi wa Baisoku" finally surpassed the view count of "Ao-Zora ni tsuite Kangaeru." A song has finally emerged that exceeds the numbers of their symbolic debut track. Of course, one could argue whether we should treat the debut song—which built its views steadily and honestly—on the same level as the third single onwards, where the numbers seem… "managed" in a different way.

Then there was the YouTube series documenting their training camp at the start of the year. In the opening of Part 1, the selection for the fifth single was announced. To everyone’s shock, the lineup was exactly the same as the fourth. The community was buzzing with confusion, but a staff blog post updated immediately after clarified the intent: "We believe there is still so much this specific lineup can achieve."

I think many fans accepted that reasoning. Personally, I was surprised because I fully expected either Riko Iwamoto or Kokoka Hagiwara—or both—to move up to the Aozora-gumi. But then again, if they moved up, who would move to the Kumo-gumi? That’s a difficult question in itself. Still, I’m not thrilled that the group’s structural flexibility seems to have stiffened so early in their second year. That’s why I was so excited by Mocchie’s (Mana Mochinaga) position in the fifth single’s music video—ranked 4th or 5th, even higher than Kokona. Seeing someone finally break into that "core seven" was thrilling.

To borrow a phrase from Puchi Kashima: "Personnel changes are the most interesting part." Who is evaluated how, and where are they placed? It sounds a bit cynical, but ultimately, the whole world runs on personnel management. If two people gather, they fight; if three gather, they form factions. While "faction" isn't quite the right word, there is a distinct bond between Toa Yagi, Suzuki Hayasaki, Karen Yanagihori, Kokona Yoshimoto, and Aoi Anno. These five, who match the core members from the very beginning, aren't just "friends." There is an intimacy there that feels a bit impenetrable to other members.

But honestly, that makes sense. They experienced everything for the first time, starting from zero, together. It’s what you’d call "Sisterhood." There’s a scene from a sparsely attended release event for the first single where Poli (Yuuho Aoki) is giving a tearful speech, and Toa is crying right beside her. Later, Toa commented, "I felt like the venue wasn't full because I was the center." There is a massive difference between the members who confronted that reality at the very front and those who watched it over their shoulders. That solidarity comes from enduring that specific pressure together. I wonder when it was that Kokona said she "cried on Suzuki's shoulder"?