It's a sweltering afternoon in late July, and New York City is draped in a thick veil of humidity. The dew points are high, and the vibes are uncomfortable. Yet, inside a cozy, air-conditioned meeting room in Manhattan's trendy NoHo district, Ayase — one-half of the wildly successful Japanese duo YOASOBI — laughs it off. "It's nothing compared to Japan," he tells Teen Vogue with a grin, covered head to toe in an oversized khaki green tracksuit.
The juxtaposition is hard to dispute, considering that Ayase, 30, and his bandmate Ikura, 23, have been traveling across Asia and the U.S. for most of 2024. After conquering Japan's streaming charts and becoming the most listened-to Japanese artists in the world, YOASOBI is now poised to make their mark on the international stage, bringing their maximalist blend of music, storytelling, and visual art to audiences around the world. At the time of this interview, they're gearing up for a string of anticipated stateside performances in August, including an evening slot at Lollapalooza in Chicago and a sold-out show at New York's famed Radio City Music Hall.
"It's our first solo show in New York ever and at that historic, very iconic venue, so it's an honor and so exciting," vocalist Ikura says in Japanese, her words translated by an on-site interpreter. She can hardly contain her enthusiasm. In fact, Ayase recalls a recent dinner across the street from Radio City, where Ikura excitedly told the waiter about their upcoming performance and played YouTube videos for him at the table. "She had the server follow her Instagram," he says.
It's only been a year since the band first performed in the U.S. at the Head in the Clouds Festival in Los Angeles — a realization that still surprises Ayase. "It doesn't feel that recent at all," he says. Maybe that's because YOASOBI has accomplished more in this past year than most do in an entire career. The band's hit single "Idol," which serves as opening theme of anime series Oshi no Ko, topped Billboard Japan's year-end chart after breaking the record for most weeks at No. 1. They also dropped The Book 3 EP and its English-language version, E-Side 3, made their Coachella debut ("It's something we'll never forget," Ikura says of the festival crowd), and became the first J-pop act to attend a state dinner at the White House.
For producer Ayase, these accomplishments are more than just a series of fortunate events — they’re a testament to the universal appeal of their art, which transcends cultural and language barriers and even sound.
YOASOBI's creations aren’t just meant to be heard; they’re meant to be seen and felt. The duo mixes electronic sound with colorful visuals and engaging stories that captivate the senses and draw audiences into a world beyond the music. It's why they designed their 2024 Pop Out Zepp Tour to be an immersive experience, with Ayase and Ikura acting as game masters, navigating concertgoers through a vibrant, multi-sensory journey. At one point in the show, fans are instructed to put on a pair of 3D glasses while graphics "pop out" of the screen behind them, like the large-winged avian that takes flight during "ツバメ (Tsubame)," the pixelated video game that comes alive during "Biri Biri," and the starry skies that twinkle while Ikura sings "Yasashii Suisei (Comet)." The duo describes it as a theme park. "There's so many different types of stimulation and feelings," Ikura says. "It's all packed into one stage."
These dynamic effects echo the duo's distinct visual aesthetic, carefully curated to compliment their music’s frenetic energy and vivid imagery. For their North American shows, Ayase and Ikura wanted to illustrate the duality and depth integral to their sound through their on-stage fashion. Working with their stylist, Shota Funahashi, they identified three concepts to guide their looks: Luxury, grunge, and isekai. The last of these roughly translates to "another world," and it's also a popular fantasy genre in manga and anime where protagonists are transported to an alternate reality where anything is possible. The name is fitting because that's how they want their fans to feel when listening to their music.
"We like to link fashion to our music," Ayase says. "We combine a lot of clashing elements, like adding lace detail to a jersey tracksuit, because that's what our music is all about."
When Ayase and Ikura take the stage at Coachella and Radio City Music Hall in a few days, they'll wear pieces from Sentimiento, an art and design project founded by Mexican creative María Isas. The project transforms preexisting pieces into fresh works of wearable art by blending recycled textiles of various blends and textures. For example, Ayase’s track jacket features a dainty strip of lace carefully sewn onto it, adding an unexpected touch of elegance to an otherwise typical streetwear silhouette. Similarly, Ikura's gray polo is elevated with a delicate white camisole sewn over it, creating a striking and subtly subversive juxtaposition.
This approach parallels how YOASOBI crafts their music: deconstructing elements to their core and reassembling them into something entirely new. Ayase typically begins the process by encoding his emotions from fictional stories into beats using Logic Pro on his MacBook. He then synthesizes these melodies and lyrics with Hatsune Miku, a Vocaloid software that grants him abundant creative freedom to color outside the lines. Ikura subsequently reviews these demos and adds more personal touches, infusing her breathless vocal delivery with real human emotion.
"Whenever I make music, I see myself as the main character," Ayase says. "I put my soul and spirit into the track." On stage, however, Ikura shines as the duo's effervescent frontwoman while Ayase stands behind his synthesizer and electric drum kit. "I'm much calmer on stage, so the spotlight is on Ikura. I'm always mindful of that."
Ikura collaborates closely with hair and makeup artist YOUCA to complete her look. "They superimpose her face onto different hairstyles," Ayase says. It's essential that the hair makes a statement but does not interfere with Ikura's performance; it has to be attention-grabbing yet functional. At Coachella, she wore twin-tails adorned with hot pink hair wraps. At Lollapalooza, tiny bows cascaded down her hair, and a piece of hair was woven into a wrap for Radio City.
In person, Ayase and Ikura strike a natural balance, their contrasting styles and energies complementing each other in a way that enhances the other. Ayase’s spiky bleach-blonde hair, with dark roots peeking through, gives him a rebellious edge, further accentuated by his tunnel earrings, tattoos, and preference for baggy streetwear. He finds a lot of inspiration in how older men dress. "It's because old men dress for themselves, not to impress others," he says. "That's the ultimate goal of fashion — to please yourself." His look is consistent with the oversized proportions he often sports on stage. He's so in tune with YOASOBI's aesthetic that when Ikura wanted to change up her look for the duo's San Fransisco show in April, Ayase gave her one of his own jerseys to wear on stage.
Innately curious, Ayase likes to pick things apart, whether it's the nuances of music production or fashion history. He's meticulous about details. Lately, he's been reading about various counterculture movements and the fashion that defined them. "What is it about punk fashion that makes it punk?" he wonders aloud, offering a glimpse into his studied aesthetic. "What is grunge fashion, and why was Kurt Cobain dressed like that? Learning the history behind what I like to wear inspires me greatly." That's not to say he doesn't adhere to some contemporary trends — he loves bag charms.
Ikura, on the other hand, has a softer, more eclectic vision. "My style is not coherent," she says with a laugh. Her shiny brown hair is neatly pulled into a braid that lays down her back, a stark contrast to Ayase’s tousled mop. For this interview, she arrives dressed in a gray button-down shirt from the whimsical Japanese brand Doublet, founded by designer Masayuki Ino and artist Takashi Murakami. The shirt, embroidered with "Forever My Friend" just above the breast pocket, holds a small stuffed bear, a perfect symbol of her playful nature.
Ikura's style is more fluid, shifting between girly and casual looks, often influenced by her mood and latest vintage finds. She collects broken-in vintage t-shirts and says she's still riding the high of the rare designer shirt she scored at World of Vintage Tee Shirts in Los Angeles. While she's not immune to the magnetic pull of her Instagram algorithm, she’s more drawn to the personalities and philosophies behind the clothes. She reads celebrity interviews and watches house tours to glean how a person's environment and beliefs are reflected in their everyday style. It's why she's so drawn to vintage pieces that come with their own stories.
Ayase's self-assured, clear-eyed understanding of style grounds the group's aesthetic, while Ikura's more adventurous, ever-evolving spirit gives them an unpredictable charm. This balance also extends to how they prepare for live performances.
Before a show, Ikura begins with meditation to center her mind, which she believes is crucial for controlling the crowd and herself during a performance. "Mentally, you must be in a very stable place," she explains. "When I'm touring, I meet so many people, and these people are all coming from different environments, so I try not to be influenced by the people around me. I stay in a calm zone, mentally, where I can mitigate the influence from other people so I can give 100 percent every time." She also prioritizes sleep to perform at her best and takes special care of her vocal cords with massages and supplements like amino acids and vitamins. This regimen helps her become a "blue flame" on stage — a subtle but powerful energy that she channels to ignite the audience.
Ayase’s routine is similarly focused, with an emphasis on physical conditioning. He starts his day with stretching and a brief workout, using a massage gun to relieve any muscle tension. If there's a bathtub at the hotel, he takes time to soak because it helps him feel more rejuvenated. And the key to any successful show is good energy. In the moments before every performance, they join their touring band for a pre-show tradition: huddling up in a scrum to hype up the group before stepping onto the stage.
The demands of touring, especially when you're constantly changing time zones, can complicate other aspects of their work. For Ayase, juggling performances with his creative output is a particular struggle. "I'm always making music, so that's why I can't go out and celebrate [with the others]," he says. "Of course, it's always the goal to finish the music before we go on tour." Despite his best intentions, the pressure to consistently produce new music often leaves him feeling like he's racing against the clock — a challenge that has nevertheless fueled YOASOBI's meteoric success over the past five years. "The reality is, I'm always past the deadline," he admits with a laugh. "Me too!" Ikura adds amid giggles.
Neither Ayase nor Ikura plans to celebrate after their big show at Radio City Music Hall. There's no time; it's back to the grind the next day. But they don't seem to mind. YOASOBI is already much bigger than they could have imagined, and they're content to enjoy the ride. "Not giving up my dreams is what brought me here to New York," Ikura finally states, with the certainty of someone who knows they'll be back.
