JO1 Open Up About “Tropical Night,” Produce 101 Japan, and Their 3-Year Journey Since Debut

On a cold November night, Japanese pop group JO1 split the darkness enclosing Osaka’s Kyocera Dome, where the 2022 MAMA Awards are held. JO1 members Ren Kawashiri, Takumi Kawanishi, and Issei Mamehara appear in a dim blue glow, while the screen displays the opening line, “I am, I wish, I will.” It’s a culmination of dreams, a continuation of the journey that got them here, on one of the world’s most influential stages.

Haunting piano and violin chords usher in the entrance of JO1’s remaining members, Sho Yonashiro, Ruki Shiroiwa, Junki Kono, Keigo Sato, Syoya Kimata, Shosei Ohira, Sukai Kinjo, and Shion Tsurubo, who join them to present an orchestral rendition of their song, “SuperCali.” The tectonic combination sets ablaze a resounding spectacle that pulsates through the night, becoming a statement for tomorrow. With the performance nearing its end and the adrenaline still running high, the youngest member, Issei, declares: “You can now ask me what’s next.”

It’s an open invitation to shine a light on 11 intersecting lives destined to rise in unison.   

I am

When Teen Vogue makes the virtual connection to Tokyo for this interview with JO1, it’s the end of a spring day teeming with schedules and celebrations. The 11-member group — barefaced, comfortably dressed, and with a carefree disposition — just finished a YouTube livestream a couple of hours earlier to commemorate the release of their latest single, titled Tropical Night.

But also — of equal or greater importance — it’s the birthday of Syoya, JO1’s self-proclaimed sub-leader (this could be considered official), whose role has expanded to be a safety net for everyone in this team. He’s 23 years old now, a more fully-formed performer than ever, and a person who doesn’t hesitate to dance whenever our chat gravitates around topics of music. “I used to do a little bit of cover dancing [when I was younger] and I couldn’t forget the rush and excitement that I felt when I was going through that experience,” he says at the beginning of the conversation. “It really was the drive for me to want to become an entertainer — to make everybody happy.”

In essence, this shared belief brought him and the rest of JO1 together. The group was born from Produce 101 Japan, a survival series that assembled 101 independent trainees from all over the country, ages ranging between 16 and 30, who competed for a chance in the limelight to debut as J-pop idols. A majority of the young performers didn’t have experience in the entertainment industry and left their everyday occupations for this once-in-a-lifetime platform.

Enter Junki, for instance, who raises his hand to explain that working part-time as security in a concert venue while in college made him realize he couldn’t give up on his aspirations — no matter how unreachable they felt. “Music is something that moves my emotions,” he says, earnestly. An impressive vocalist, Junki is also known for his forthright personality. “Watching people on stage or singing by myself, I can’t count the times that I’ve been moved to tears, and it’s something that’s been my one true support in life.” 

Even though Produce 101 Japan mirrored the competition format of the now-disappeared South Korean franchise — the same number of rounds and an audience voting system — it differed in one way: the resulting group would be permanent. With this rewarding premise came endless hours of practice, days of exhaustion, and nights without sleep.

At this point, I wonder about the exact moment when they grasped the direction of their lives was about to change, and after a few meditative seconds, Aichi-born vocalist Keigo starts looking around the room to find someone. He spots the adept and thoughtful Sukai — also JO1’s certified mango-lover — sitting behind him and proceeds to indicate that both of them were never part of the top 11 in previous episodes. Because of this, he was shocked when his name was called during the finale. “I didn’t think I would make it and I was extremely anxious,” Keigo says. “My parents were there…and I saw them move to tears [when my name was called]. That brought me to tears as well.”

His words ensue another brief but significantly quiet rumination because dimensioning the magnitude of the lineup announcement isn’t about either-or notions. All of the members perceived it differently, but each one felt the new beginning. “I had never been placed first before, so it was very intense for me [to feel] that tension,” says Issei Mamehara – affectionately called Mame-chan by his groupmates. Issei was a high school student who worked as a dance teacher for children before winning the show. “Hearing that I was number one at the very last moment, I felt like it was a burden lifted off my shoulders. It was a mix of complex emotions at the final stage where I was determined and committed to make this work for us to become successful.”

I wish

Following the conclusion of Produce 101 Japan, the newly-formed ensemble signed with LAPONE Entertainment, a merger company between Japanese conglomerate Yoshimoto Kogyo and South Korea’s juggernaut CJ ENM. The objective: To establish an enduring and innovative artistic identity that could resonate within and beyond borders. The group’s name alludes to this resolution, with JO1 standing for “the trainees who pursued their dreams together in Produce 101 Japan will become one and aim for the top of the world.”

Since the first steps are always the hardest, the group suddenly found themselves navigating a fast-paced ecosystem. It was disconcerting, considering the 180-degree shift from their usual daily routines. “It’s been a lot of surprises for us,” says Sho, JO1’s keen-eyed leader and oldest member at 27. He often acts as the group’s spokesman, and his silvery voice is imperative to their music. “We thought the entertainment industry would be much more glitz and glamour, but now we’re really feeling the pain of each step we need to stealthily take behind the scenes.”

In the lead-up to their debut, JO1 traveled to Seoul, South Korea, for what Keigo calls a “one-month boot camp in the truest definition of the word,” to piece together their first single, Protostar, helmed by its titular song “Infinity.” It involved an intense preparation process of multi-tasking to enhance their skills while trying to bind their chemistry. “It was [a preparation process] from dawn to dusk,” Keigo recounts while gesturing with his hands and exchanging glances with Sho, who nods in return. “We were going through our vocal training in the morning and then dance training in the evening. We were also learning the lyrics and the choreography at the same time.”

JO1 formally entered the Japanese music industry in March 2020, and Protostar peaked at no. 1 in both the Oricon and Billboard Japan charts. It was a first triumph, albeit short-lived, as the surge of COVID-19 dramatically altered the plans for that year. Still, looking back, they don’t see those months as setbacks but rather as a space for contemplation and progress. “It was a time for us to reflect on ourselves, to really feel, and to go through enough training,” Sho says. “[After all], we didn’t have enough practice before our debut, and it was a moment in time when we were able to raise our fundamental levels.”

Amid border closures and limitations, the group had to adapt and Ren, JO1’s performance leader, took the baton during their practices. “We were learning from a Korean choreographer before the pandemic, but then it was difficult to have him right next to our side,” he says with that serene tone so distinctive of him. Throughout his Produce run, Ren excelled as one of the most promising trainees, having worked as a backup dancer for artists like Tomohisa Yamashita and K-pop groups such as Pentagon and Wanna One. For the group, his persona has become a source of stability, always offering guidance with a strict yet caring standpoint. “We [ended up] learning the choreography through videos and from the other end of a screen, and it was very challenging,” he continues, “but even during those times, we would talk through and say, ‘Maybe this move will look cooler,’ or ‘These transitions would be more smooth.’ I think this improvement [we achieved] through these conversations led to how we perform now.”

Naturally, coexisting with different personalities proves a demanding endeavor, and JO1 concede that not everything was a bed of roses. “Since every one of us is so unique in character, it was difficult [to find balance] as a group in the beginning,” Sukai elaborates, saying that they clashed, especially during the early pandemic, but they managed to work through it. “We all have different opinions, but all the events or media appearances we have done over time helped us to be more rounded out as a group while shining at the same time.”

He’s right. Their bracing synergy is, indeed, shining. Each of JO1’s releases – two full-length albums and seven singles – has found its way to the top of the Oricon charts and Billboard Japan, and their sales exceed four million copies. They have won three MTV Video Music Awards in Japan, three MAMA awards (including Favorite Asian Artist in 2022), and one Japan Gold Disc Award from The Recording Industry Association of Japan. And with the lifting of COVID-19 restrictions, the group also had their first concert tour, Kizuna, in Japanese arenas last fall, with more than 100,000 fans in attendance.

Once they set foot on the stage, the 11 members own it. JO1 pull the mental strings of spectators with a sharp synchronization and commanding presence, making it hard to look away. They’re enthralling artists and the shaping of this creative signature it’s been a positive trigger for their unity. “It’s a very healthy conflict that we often encounter when we’re on tour, and we discuss our performances,” Sho says. “We’re really passionate about how we [present] ourselves to our fans, so it’s these moments when we’re in healthy conflict.”

It’s harmony that manifests when the lights are out as well, through their documented trips and adventures on YouTube, the relaxation time they share — like going to an onsen (hot springs) — and navigating the everyday challenges they face together. 

I will

By definition, a tropical night occurs when the temperature remains above 68 degrees Fahrenheit after sunset. It’s intense yet double-edged, transforming into a synonym for restlessness as the body cannot cool down. This atmospheric theme traces the heart of JO1’s seventh single, a body of work that is, according to Sho, “challenging and with an ambitious production.” “We had to be conscious of coming out of our shell and breaking from what we’ve had in the past,” he says.

Title track “Tiger” depicts a protagonist whose story involves an incessant pursuit of dreams, not knowing when or how it will end. When JO1’s magnetic all-rounder Takumi first listened to the demo, he knew there was a lingering impact this song could convey. “The word choice and the lyrics, [everything] was hitting all the right notes and marks,” he says. Doubling down on this stance, Junki describes the nature of the lyrics as “powerful.” 

“To really state that we’re at the top, that we are number one, this is the soul that we embody in the song and through our performance as well. We allow the tiger spirit to take possession of ourselves,” he says. Beside him, Issei starts discreetly (but not really) dancing to the choreography that goes with the chorus of “Tiger,” in a (possible) attempt to illustrate Junki’s words. It takes around two seconds before Syoya follows suit, creating a spontaneous but coordinated demonstration that prompts a hearty laughter from the rest of the group. However, in all seriousness, Syoya reiterates they want to express the group’s unyielding aura “and being very aggressively strong. I think that is what we [want to] encapsulate.”

Though bravado is a component JO1 wield for the performances of “Tiger,” they all agree with Sho’s assessment that the overall development of Tropical Night cracked their comfort zones. It required an increase in efforts and commitment, constantly pressing ahead to avoid stagnation. “There are many aspects that we, as a group, can fix, including things only applicable to myself,” Ren says. “There is no right answer for a performance and it is purely up to the viewer to evaluate us, so I want to create a moment in which many people can sympathize and are astonished. I feel there is still room for that.”

For Shosei, whose blue-tinted hair elevates his enigmatic charisma, it also meant an open door to inject more of his vision inside the studio. “Before it was just being directed in the way that the producer wanted me to do the recording,” he says. “This time around, I put in the thought myself and I would have opinions on making [my voice] sound more cool, and the producers [usually] agreed. It was an experience where I went through my own process of recording as I thought it would be better.”

Segueing towards the latter half of the record, we can find the upbeat “We Good” and the ballad “Romance,” songs used as soundtracks for drama series in which Shion and Syoya took part. Most of the group’s members have also ventured into acting. “It was a process of battling with myself because I was going through the shooting of my drama series and [practicing] the choreography for ‘Tiger’ at the same time,” Shion says. Today he’s reserved and attentive, a striking contrast to his burning stage presence. “[There were] late night shoots and the next morning, I would have to get up early to do it all over again. It was a lot of tough work, but being able to overcome that challenge was a learning experience for me.”

Adjusting to this balance between individual schedules and group activities has nurtured a sense of clarity too. Syoya explains that his mindset has grown more independent. “I was always protected within this group, but now being in dramas and on TV means I have overcome things alone,” he says. “It’s a new challenge for me, but acting and being able to be in that character, it’s difficult and fun. I’m able to discover a new kind of self too, so it’s something that I wish to pursue further.”

While continuing on the matter of JO1’s sailing trek on the small screen, the conversation moves to Takumi, who’s currently starring in the real-live adaptation of the popular web manga series Cool Doji Danshi (“Play It Cool, Guys” in English), where he plays the charming, flame-haired Souma Shiki. “It’s just a lot of hard work!” He says with a wide grin and lifting his index finger that was previously resting on his forehead — bringing another round of laughs from JO1. But even through thick and thin, Takumi’s well-known endurance since his Produce days has prevailed. “It’s been a great experience for me because of my co-stars. Talking to them, just that alone, really stimulates me a lot.”

Go to the top

Tropical Night arrives at a transitional phase of sorts. A month before this interview, JO1 celebrated their third anniversary with an appearance in KCON Thailand and several other projects lined-up. Ruki, ever-princely and radiating a sweet demeanor even when he’s wreaking havoc in the kitchen, talks for the first time to delineate this perspective, affirming they understand how their potential keeps deepening every year.

“We feel that amongst our members, I’m sure our fans feel it too,” Ruki reflects. “If I were a fan myself, I would be very much disheartened if I saw the members downgrade themselves or be lackluster or drop their quality while performing. But it’s the other way around, and we’re really seeing ourselves come together and the fruits of our efforts are starting to really produce results.” 

“As we move into our fourth year, fifth year, there will be many more challenges in terms of our technical capabilities, and people who have a more discerning eye will see us with much more expectations,” Ruki adds. His words come across as so solemn that even birthday boy Syoya begins clapping, which causes him to laugh shyly.

Three years doesn’t seem that long, but for JO1 the past three years have shifted everything. Three years of learning about who they are and what they can do — and what they still have to learn and achieve. “All of our live concerts have been a really great lesson,” says Shosei. “I think the lessons learned are probably different for each member. But for me, I would say that when we [performed] on Kōhaku, the year-end program in Japan, it was a moment where I felt that we were perhaps accepted into the Japanese music industry.” 

Kōhaku Uta Gassen is the most prominent year-end music festival in Japan, and to receive an invitation to participate equals public recognition. Last year, JO1 attended for the first time, marking another pivotal moment for their trajectory. There’s certainly an existing pressure, but Junki says that, personally, he’s not feeling it in a negative way. In fact, he believes it’s a “good thing” because it reminds them of their initial drive. “I think we’re here to always come back to our roots and emotions that we went through at the beginning of our path and this is how we are able to grow as a group,” he says. 

After all, this growth isn’t just for them to thrive, but to motivate others as well. “[Despite the language barrier], the emotions that transcend words through our music and performances can spread a ring of happiness,” Junki finalizes with a bright smile. “This is what we always fight to achieve.”

Reaching this horizon, then it feels appropriate to ask: What’s next?

Sho answers: “Get our name, JO1, known in the world.”