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Entertainment
REIRIE Talk Reuniting After 5 Years Apart, Break Down Tracks in First Major-Label EP ‘Amethyst’
Stepping into a new phase with their major-label debut, REIRIE — the duo comprised of RIE (Rei Kuromiya) and REI (Rie Kaneko) — are moving forward with renewed momentum. The two first performed together in the same group before going their separate ways, only to reunite after roughly five years apart. Soon after reconnecting, they launched REIRIE.
Reflecting on how the pair came together and the unique bond they share, they spoke to Billboard Japan about the full scope of their first major-label EP Amethyst and the thoughts behind each track.
First, could you tell us how REIRIE began as a unit?
RIE: We originally performed together in a group called LADYBABY but ended up going our separate ways at one point. Then about five years later we reconnected, and it was like, “Yeah, it has to be the two of us,” so that’s how REIRIE formed. Right?
REI: Nothing to add. [Laughs] Exactly what she said.
RIE: There are so many different kinds of groups out there, but honestly, we don’t even really feel like we’re “doing a group.” It’s more like we just want to be together, and the music and live shows naturally fall into place around that.
It sounds like there’s a very fateful bond between you two. Going back further, could you tell us about how you first met?
RIE: It really felt like we were destined to meet. It wasn’t like becoming friends with a classmate at school because you get along. We first met in an elevator at an event venue. I was lost, and REI happened to be there. When I spoke to her, she kind of glared at me. [Laughs]
REI: [Laughs] I really wasn’t glaring at you.
RIE: But something about her presence and reaction completely got me. Not just in a visual way, but overall I thought, “She’s so cute.” And that was before I knew anything about her!
So it wasn’t only REI’s striking visuals, but you also picked up on something else.
RIE: Exactly. Her whole existence was totally my type. It went beyond something typical like admiring a boy who runs fast. The moment we met, it was like a shock went through me. After that I was always tagging along behind her, going, “REI, REI.”
From your side, REI, that must have been quite an intense approach off the bat.
REI: I was basically like, “What is this girl…?” I was on guard. [Laughs] RIE had this slightly performatively cute vibe going on at the time — I’d turn around and she’d be smiling, then she’d switch to a worried face out of nowhere, then smile again, that sort of thing. I had no idea what she was thinking. That was my first impression.
What was it like when you reunited after five years?
REI: Purely by coincidence, we both happened to be in Shibuya the same day. A mutual acquaintance told me, “RIE is doing an event nearby, she says we should come.” I hadn’t seen her in five years, so at first I wondered what we’d even talk about. But I figured maybe it was fate. I went to the venue where she was performing, and the first thing we did when we saw each other was shout “Yay!” and throw up double peace signs. [Laughs]
RIE: [Laughs] Yeah, “Yay!”
REI: The moment I saw that, I realized words weren’t necessary. Time had passed, but whatever flows between us hadn’t changed.
RIE: I never quite found the right timing to reconnect, but I’d always wanted to see her. More than being nervous, it just felt like, finally, we meet again.
REI: We exchanged LINE (chat app) contacts on the spot, and the next time we met it already felt like, “Let’s do REIRIE.” Not even “Want to try working together?” Just, “If it’s the two of us, of course we’re doing this.” “OK!”
RIE: The pull between us is like Dyson-level suction! [Laughs] Not exactly magnet poles, but no matter how far apart we are, we get drawn back together.
REI: If you had to use an existing word, it’s probably “fate,” but to us it feels heavier, more unavoidable — kind of like carrying something bigger than ourselves. Even in our previous group we were practically a pair, and even after separating we snap back together instantly.
Yuma Totsuka
So it’s a one-of-a-kind bond that doesn’t quite fit friend, family, or romantic categories.
RIE: I guess you could call it being soulmates, but for me there’s always been a sense of not being able to resist being drawn to REI. Literally since the day we met. It’s not friendship, we’re not sisters, and it’s not romantic — it’s all of those things combined, but also something bigger than that, maybe?
REI: There probably isn’t a word for it yet, so we can’t express it. But whatever it is, that’s what REIRIE represents.
You’ve now stepped into a new field with your major-label debut. Has that changed how you approach pressure or music?
REI: In a way, we don’t really think of this as a job. With the major-label move too, it was basically, “Seems fun, maybe let’s try it once.” Of course our team works incredibly hard on numbers, sales, promotion and all that, but (RIE and I) don’t focus on it too much. REIRIE exists so the two of us can be together, and that stance hasn’t changed. We won’t push ourselves in ways that would break that.
RIE: Still, moving into the major sphere lets us give something back to our fans, which makes me really happy. I do want to show some kind of result. But at the same time, I sometimes wonder, “Are the label folks sure they want to keep up with us?” I’m deeply grateful they chose to work with us, but we see ourselves as embodying freedom and a certain precariousness, so if there’s something we don’t want to do, we’ll say so. The fact that the current team respects “REIRIE-ness” and lets us do what we want means a lot.
It sounds like you’ve built a strong trust relationship with the label team.
RIE: Even the things we want to do just because we want to do them get realized with “REIRIE-ness” as the starting point. It’s a really comfortable environment, and we’re able to express ourselves freely.
REI: Of course, when it’s time to work, we do it properly! If outside support expands what REIRIE can do, that’d be wonderful.
Your first major-label EP Amethyst feels like an explosion of REIRIE’s raw individuality. The opening track “BaD=DoLL” that was pre-released in August is especially striking.
REI: It puts our rebellious spirit and slightly dangerous vibe right up front. The contrast between RIE’s shouts and her cute singing voice really comes through. This is probably the closest to our “default mental state.”
RIE: Yeah, pretty much our baseline. We’ve mostly worked with heavy sounds like this, so it was pretty easy to channel strong emotions directly into the music. Personally, I feel like I’ve lived outside the conventional path compared to what society expects, but there’s this core inside that never wavers, and I’m glad this song let me express that. I think people are often surprised when I shout, “Annoying as hell!” given how I look. [Laughs]
The closing track is “Aishiteyo.”
REI: There are strong lines in this song too, like “There’s no such thing” and “No way that’s true,” but underneath it all is a pure desire to be loved by someone. It’s a song that carries the parts of REIRIE we can’t always say honestly.
RIE: In my case, more than wanting to be loved, I first want to love. It’s like, “Let me love you — then will you love me?” As REI said, it really expresses REIRIE’s heart and the songwriter who wrote it is a genius.
All five tracks flow beautifully in sequence.
REI: We left the track order to our label team. I listened all the way through myself, and it really works. Starting with “BaD=DoLL” and ending with “Aishiteyo” feels very REIRIE.
REIRIE has also drawn strong reactions outside of Japan, fueling anticipation for further global expansion.
RIE: When I look at the comments on our music videos, I see that a lot of people from overseas are checking us out. Knowing REIRIE is reaching someone somewhere out there in the world, not just in Japan, makes me really happy.
This interview by Yukiko Kawakura first appeared on Billboard Japan.
Entertainment
Dame Dash Recalls What Drove Early Success for Ye: ‘He Could Fail & Make It a Learning Experience’
Ye’s struggles for acceptance as a rapper are well documented in the early stages of his career. Dame Dash admitted he originally signed the artist formerly known as Kanye West to Roc-A-Fella for his prowess as a producer, but the Chicago native had much grander aspirations.
Dash joined the TFU Podcast on Tuesday (March 3), where he recalled Ye’s status within the Roc-A-Fella army in the early 2000s, doubting his rapping ability and the mentality that allowed Yeezy to break through and become a full-blown A-list superstar.
“I didn’t necessarily think he was so talented like that. I didn’t think he could rap, I thought he made good beats. He had good beats, but he showed up,” he explained. “For example, ‘We Are the Champions‘ was the record that kind of broke him and I produced that with him.”
Dame continued: “I was giving that sample to Just Blaze. Had Just Blaze done what I asked him to do and given me the respect, that might have been a Just Blaze big record for him. It was the first time Queen cleared the sample. Just Blaze didn’t do it, so after a while I said, ‘Kanye, you do it.’ He did it that day and reaped the benefits of it.”
It wasn’t until West broke his jaw in a 2002 car accident that Dame thought Ye could be special — West remained gung ho in his pursuit of greatness even with a wired jaw. “I saw that he was still proactive and turned something that could’ve put him out of business [into] something that put him into business,” Dame said. “I’m more into a person’s hustle and respect.”
“He’s not a quitter. He could fail and make it a learning experience — which he did in fashion — and that he was fearless,” the Roc-A-Fella cofounder added. “Kanye won because of his hustle and the fact [that] he went and did other verticals and he’s also polarizing.”
West turned his tragedy into triumph with the No. 15 Billboard Hot 100 hit “Through the Wire” and cemented his superstar status with his debut album, The College Dropout, in 2004, which arrived at No. 2 on the Billboard 200. The set contained anthems such as the Hot 100-topping “Slow Jamz,” as well as “All Falls Down” and “Jesus Walks.”
In the years since, Ye’s decorated résumé includes earning 11 No. 1 albums on the Billboard 200, five No. 1 hits on the Hot 100 and 24 Grammy Awards. However, has star has dimmed considerably since he began spewing antisemitic hate speech in recent years, which led to the loss of many of his brand deals. He has since apologized several times for his remarks, with the most recent apology coming in January 2026, during which he claimed that a brain injury led to his “reckless behavior.”
Watch the clip of Dame Dash talking about Ye below:
Entertainment
Baby Keem & Kendrick Lamar Tell a Hood Love Story in ‘Good Flirts’ Video Featuring Momo Boyd
Hours after previewing the “Good Flirts” visual at a surprise NYC show, Baby Keem released the music video to his Kendrick Lamar and Momo Boyd-assisted collaboration on Thursday (March 5).
Keem has to be a Grand Theft Auto fan, as he references a GTA V campaign mission featuring Franklin and Lamar flaming one another with the opening scene of the “Good Flirts” video.
Directed by Renell Medrano, the 25-year-old rapper finds himself in various social settings, flirting with a potential love interest, which takes Keem from the ice cream parlor to riding the bus and eating at a Chinese restaurant with different women.
Draped in all-black and a leather jacket, the scene pivots to a barren church room with Kendrick Lamar surrounded by a hanging cross and a water fountain. K. Dot’s hood love story takes him to the basketball courts, where he delivers his soulful assist.
The visual seemed to be celebrated by fans. “pgLang shoot these videos like a HBO drama. Greatness,” one person wrote in the YouTube comments while lending their stamp of approval.
Another added: “This video is full of so much dark skins it’s too beautiful. Wow. Celebrating us has always been sweet.”
Keem performed a pop-up show at New York City’s Webster Hall on Wednesday (March 4), where he previewed a teaser of the “Good Flirts” video. The Las Vegas native is set to hit the road for the Ca$ino Tour in April, with the North American trek kicking off in North Carolina.
Ca$ino arrived on Feb. 20 and debuted at No. 4 on the Billboard 200 with 72,000 total album units earned, according to Luminate. “Good Flirts” notched the highest Billboard Hot 100 entry from the album, debuting at No. 34.
Watch the “Good Flirts” video below.
Entertainment
Charlie Puth Has ‘Anxiety Attack’ on ‘Hot Ones,’ Explains Why National Anthem Is ‘Most Difficult’ Song Ever
What’s more difficult: singing “The Star-Spangled Banner” in front of millions or appearing on Hot Ones? Charlie Puth — who performed the song at the 2026 Super Bowl — still isn’t sure.
While guesting on the episode of the show posted Thursday (March 5), the singer-songwriter barely made it through host Sean Evans’ ultra-hot wings while answering questions, one of which was about Puth’s past classification of the United States’ national anthem as the most difficult song to perform of all time.
“It’s constant tension and release,” the hitmaker told Evans of the anthem penned by Francis Scott Key. “Listen to it. It’s constant tension and release. It’s major chord, minor chord. And I don’t know, it just has a melody that soars and when you put it in 4/4 timing, it’s just good.”
Earlier in the video — before the wing-eating commenced — Puth had confessed, “I haven’t been this nervous since the Super Bowl, I’m going to be honest.” That’s saying something, as the Big Game — which is watched by tens of millions of people yearly — is famously one of the most high-stakes gigs a performing artist can snag.
Puth performed “The Star-Spangled Banner” on Feb. 8 before the Seattle Seahawks faced off against the New England Patriots, winning 29-13. He was one of a few artists involved in the pre-game show, with Brandi Carlile performing “America, the Beautiful,” Coco Jones singing “Lift Every Voice and Sing” and Green Day delivering a medley of the Bay Area band’s hits.
On X after his high-pressure performance of the anthem, Puth revealed that he’d specifically used it as an opportunity to pay tribute to another New Jersey native. “I wrote the arrangement in a very specific way to honor Whitney Houston,” he posted at the time. “I hope that was heard.”
Elsewhere on Hot Ones, Puth — who was recently named chief music officer of AI company Moises — had a progressively more difficult time chewing, burping and spitting his way through the spicy wings, at one point saying he was on the verge of an “anxiety attack” and discussing his love of SpongeBob SquarePants. He also shared his thoughts about the future of pop music.
“I like the fact on a logistical standpoint, that there’s no longer people telling you what song you have to sing in order to get played on this radio station, or to get played on Spotify,” the producer told Evans. “It’s just best song wins, which is what I’ve always wanted. I love artists like sombr, who are putting a lot of reverb on their vocals. And I do think pop music, in my opinion, will expand because of hip-hop. It’s always expanded because of hip-hop. Katy Perry, “Dark Horse,” would not be here without Juicy J, Three 6 Mafia and Memphis, Tenn.”
Watch Puth struggle to endure the Hot Ones challenge above.
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