250202 Post Supernova Zatsu
Youtube Transcript - ChatGPT-4 Translation(Shitty)
https://www.youtube.com/watch?v=5rd1fl-oGl0

(4:04) Like, yesterday, I woke up early... well, that’s normal, it’s just common sense.
(4:10) I woke up early, sang, came home, ate, and immediately passed out.
(4:16) But maybe because I woke up early, I ended up waking up again too soon.
(4:25) And when I woke up early, food was already ready, so I thought, "Well, I might as well eat."
(4:31) Then, before I knew it, there was no time for a nap, and now, here I am.
(4:37) ♪ [Music] ♪
(4:43) Sui-chan, did you get to take it easy today?
(4:50) Hmm... well, yeah, sort of.
(4:55) ♪ [Music] ♪
(5:01) Ahh, I'm exhausted. Like, all the weight on my shoulders is gone.
(5:10) This is freedom. Wait, no, there's still more left to do.
(5:16) But for now, my own live concert is wrapped up.
(5:26) Next week, there's Shiraken Fami. Then there's Fubuchan’s live concert.
(5:31) And next month, there's a Holofes too. So it's pretty non-stop.
(5:37) But when it’s other people’s concerts or festivals, I don’t have to sing as much, so I can just take it easy.
(5:43) Yeah, I’m in full-on relax mode.
(5:51) That’s a crazy schedule.
(5:59) Yeah, but at least it won’t loop endlessly.
(6:08) Compared to a full solo concert, it’s... yeah, it’s different.
(6:14) For real, take care of yourself, okay?
(6:21) So far, I don’t feel like I’m about to collapse or anything.
(6:30) Hmm... should I say this now, or should I wait a bit longer? Maybe I should wait for more people to show up.
(6:36) Eh, whatever, I’ll just say it.
(6:41) So, the second batch of live concert merch sales has been confirmed.
(6:49) Wait, do people already know about this?
(6:55) Oh yeah, it starts on February 1st.
(7:04) Some people already bought it? Oh, some didn’t know?
(7:14) Oh, it’s already been tweeted about, huh?
(7:20) Yeah, I was asked to do a quick promo, so let’s go over the lineup.
(7:26) First off, the pre-sale items: penlight, T-shirt, towel, and the bonus wristband—all in the support set.
(7:32) Wait, this isn’t the right one.
(7:41) Ah, this one!
(7:47) I got the wrong one, lol.
(7:54) So yeah, the support set items are also available for individual purchase.
(8:00) If you're interested, definitely check them out!
(8:00) The super popular can badges are back too. Those sold out fast last time.
(8:08) I think you saw a lot of different outfits during the Budokan live, and now we have stickers and acrylic keychains featuring those outfits.
(8:14) The random keychains are, well, random, but the sticker set comes as a full set.
(8:22) Where do people put stickers? Whenever I get a sticker, I wonder where to put it.
(8:28) What do you guys stick them on? Phones?
(8:34) These days, a lot of people use clear phone cases and put stickers inside them.
(8:41) Ah, I see, most people use their phone cases.
(8:46) Oh, laptops too?
(8:52) Yeah, I’ve seen staff members’ laptops covered in stickers.
(8:58) After thinking about it, I decided to stick all my stickers on the mini fridge in my room.
(9:10) And then, we have tapestries and acrylic panels featuring the key visual.
(9:15) Are these new goods?
(9:24) Oh, no, the new goods are these.
(9:31) And now, the main highlight—the new goods! I already showed it earlier, but here it is:
(9:36) A long-sleeve T-shirt with the key visual and live title in a cool design.
(9:42) The back has the logo and "Nippon Budokan" written on it, so it's a great keepsake.
(9:50) It comes in M and XL sizes, so pick the one that fits you best.
(9:56) I'm getting the M size to wear it oversized.
(10:04) Also, the updated version of my original outfit from Budokan Live has been turned into an acrylic panel.
(10:10) The acrylic panel includes a message that was shown at the venue.
(10:15) If you're interested, be sure to get one!
(10:24) It's different from the message I posted on Twitter.
(10:30) The second sales period is from February 1, 2025, at 9:30 PM to March 3, 2025, at 6:00 PM.
(10:36) Don't miss out! Check the special website or the official store for details.
(10:42) Phew...
(10:51) Today's quota...
(10:56) Done!
(11:03) Done for today!
(11:10) How do I buy a streaming ticket?
(11:15) First, check the description of this stream.
(11:21) So, you're Japanese, right?
(11:29) If so, click the ticket page for JP.
(11:34) Then, you can choose between "SPWN" or "Zaiko."
(11:40) Either is fine.
(11:47) For SPWN, you just register if you haven't yet, then scroll down and click "Buy Ticket."
(11:55) That'll take you to the purchase screen, where you select the number of tickets.
(12:00) For Zaiko, if you don’t have an account, you need to create one first.
(12:05) Then, click to select a ticket.
(12:12) Press the blue "Purchase" button, and that's it!
(12:17) Easy, right?
(12:32) Wait... why am I suddenly speaking Kansai dialect?
(12:39) Good thing my voice isn’t gone.
(12:48) After the live yesterday, my voice was totally wrecked.
(12:58) The dryness was crazy.
(13:06) I was inhaling steam backstage with a humidifier until the very last moment.
(13:11) But my throat still wouldn't get moist enough.
(13:18) I drank so much water I felt sick, but it still wasn’t enough.
(13:23) I sucked on throat lozenges, but they didn’t help.
(13:29) And then... what was it again?
(13:38) Oh yeah! The thing we call "Renjiya."
(13:46) I even used that, but it didn’t work.
(13:52) Seriously, I was so worried before it started.
(14:02) I was like, "Can I do this?"
(14:10) But I made it through somehow!
(14:15) Maybe I should’ve just drunk sesame oil before singing.
(14:24) People say drinking olive oil helps, right?
(14:30) Even though I sang all out, my voice isn’t hoarse today.
(14:37) I guess I have a strong throat?
(14:45) My voice is still a little rough, but I’m using a lot of humidifiers.
(14:50) So anyway…
(15:00) Let’s go over the setlist.
(15:05) Here it is.
(15:12) The text is tiny, though… I can’t see it well.
(15:20) Hmm…
(15:27) Do you decide the setlist yourself?
(15:35) For the tour, the general structure was made by the management, and I fine-tuned it.
(15:42) Like, "This song fits better here," or "This part should change."
(15:49) But for Budokan, I decided everything myself.
(15:58) I did consult with others, but the base setlist was all my own choice.
(16:04) The first song was "Taxi"—ah,
(16:10) Well, it’s the carriage of my choice. I’ll start from the beginning.
(16:17) But ah, the star is hidden, right? Yes.
(16:25) The staff told me, “Isn’t it a waste to use this in the free part from the start?”
(16:32) But no, I’m placing the most impactful song first. I’ve always done it that way.
(16:38) No, I’ve always started with the most impactful one, you know?
(16:44) I’ve done it that way so far. It's like "Alchemy"
(16:57) And even in the second sololive, right? The second part started with "Stella," didn’t it?
(17:05) Right, “Stella Stella” was from the beginning too. It’s not really a song you sing at the start, but it gives that surprise.
(17:14) It’s the kind of thing that’s surprising to everyone when it’s used early.
(17:22) That’s what makes it a surprise. The fact that it's unexpected is what gives the impact.
(17:31) But "Bibi deba" was great, right? It gave such a good impact.
(17:39) So, I went to see Shinaringo-san’s live show last year, and what really left an impression on me was when Shinaringo-san appeared from above.
(17:45) I wondered where she’d come out from. From the side? Where would she appear from?
(17:50) And then she appeared from above, saying, “Hello, Earthlings!”
(18:04) [Music]
(18:11) “World!” That was amazing. Ringo-chan appeared from above. The whole world vibe, the atmosphere, was perfect.
(18:17) It was like, “Wow, this is really Ringo-jo.”
(18:24) Her world-building was incredible.
(18:31) After seeing Ringo-chan’s live, I thought, “I want to do that too!” Not “Hello, Earthlings,” but I wanted to descend from above.
(18:37) So, I requested to ride a carriage, and that carriage would come into view on the monitor.
(18:50) Then, I wanted to descend while singing, and completely descend onto the stage.
(19:03) I requested that. But during rehearsals, they said, “Isn’t this boring? By the time you’ve landed, the carriage is gone, and you’re already on stage.”
(19:10) But that’s not what I wanted! I wanted to descend while singing! I wanted to hold the carriage's pillar while singing, not just descend.
(19:15) I wanted to do it while still singing!
(19:20) [Music]
(19:25) So, that’s my dedication point.
(19:31) It was such a “Bibi de” moment. The feeling of rock and roll, right?
(19:37) I got to do it.
(19:41) [Music]
(19:47) And "Bibi de," well, there’s one more thing I’m glad about. After singing it so many times, in all sorts of places, I’m used to it now.
(19:52) I’m very used to it, so I can sing with confidence. It’s a good song to get the engine running, you know?
(20:05) I really appreciate that.
(20:12) It’s a song I’ve performed a lot, so I wasn’t nervous at all. I don’t get nervous anymore.
(20:18) I was completely calm.
(20:25) [Music]
(20:31) I didn’t feel nervous. I did, but I didn’t think about it. I kept my mind blank.
(20:37) I just reminded myself, “This is the Budokan stage I’ve always dreamed of.”
(20:44) I thought, “I have to do my best because there are so many people in front of me.”
(20:50) I didn’t let myself think about it too much. I just thought, “I’m hungry. What should I eat after this?”
(20:57) I tried to make my mind blank.
(21:05) [Music]
(21:11) Otherwise, I’d get too nervous, like at the Mario Kart tournament.
(21:19) You know, I can always see the audience, right? I’m on stage, so I can see everyone.
(21:26) I see all of you.
(21:31) [Music]
(21:36) And then, “True Girl Show,” yeah, I was debating which song to sing, but since the opening greeting was in it, I thought it was best to sing “True Girl Show” at the start.
(21:43) So, I ended up singing it at the start.
(21:48) And the comments, they just keep floating up.
(21:55) The comments keep floating up.
(21:59) [Music]
(22:04) And then, the moment I was waiting for, right? Yeah, this part is actually different from when we did the Osaka live.
(22:11) But which was more nerve-wracking, the Mario Kart tournament or this live performance?
(22:17) Definitely the Mario Kart tournament. I was so nervous, I was shaking!
(22:23) [Music]
(22:29) I was that nervous.
(22:33) I think the greeting at the start helped. I was able to calm down a bit.
(22:39) Yeah, the greeting helped, and “True Girl Show” came with that greeting.
(22:44) And this “Newton” song, I hadn’t sung it during the tour.
(22:51) But I really wanted to sing it at the Budokan concert. I had to figure out where to put it in the setlist.
(23:05) It’s a song that doesn’t really fit at the start. It’s a little heavy, so I struggled to figure out where to put it.
(23:12) But since we also had “Orbital Period,” I thought this could be the final part to close the show.
(23:15) And this Newton, I hadn't sung it during the tour.
(23:23) But I wanted to sing it at the Nippon Budokan, so I was really struggling with where to fit it. Newton is, for better or worse, a final song.
(23:36) So it only really fits towards the end.
(23:42) It's not a song you would typically sing in the early part of the show.
(23:48) I struggled with where to place it, but this time I had a pretty solid idea of how I wanted the flow to go, so I couldn't find a spot for Newton.
(23:56) The staff even asked me why I didn’t include "Ghost"—there wasn’t room for it either. I told them there wasn’t a place for it in this set.
(24:06) So I thought, “Why not just do it at the beginning?” I think it's better to put a good song at the start.
(24:12) If you do it later, it might lose its impact. This time, I decided on the setlist after the fact, focusing on the flow for the second half.
(24:17) I had actually prepared two different outfits, so I wanted to show them off and decided to do it towards the end of the show.
(24:23) But the overall flow had been pretty clear in my mind, and I didn’t want to disrupt it.
(24:29) The number of songs was more or less decided from the start, but not exactly.
(25:05) From around 17:16 to 20:00, we had that planned.
(25:17) For the tour, we always had "Ghost" in the setlist.
(25:23) It was a bit of a back-and-forth, and we thought, "Well, we could just add it in later."
(25:29) Newton wasn't included during the tour, so I thought I had to sing it and decided to place it at the beginning.
(25:39) As for "Kiregomo," I debated whether to do it at the end or earlier, but when I decided on the setlist, I wasn't confident, so I just got it out early.
(26:00) The context for the latter part of the show was centered around the comet costumes, which is why I couldn’t fit "Kireigoto" there.
(26:22) I call it the “revolutionary part” in the set, and I felt like putting "Kireigoto" there wouldn't fit the mood.
(26:59) So, after the free part ended, I figured I’d get into it seriously with the first song in the next section.
(27:21) I asked for the lyrics to be displayed on the monitor, and my wish was granted. That’s a memory I’ll cherish.
(27:37) It was a really emotional time for me, with a lot going on.
(27:42) “Hana Midori” was a popular song we hadn’t sung on the tour, so I wanted to include it.
(27:56) The first half of the show had more chill songs, which isn’t typical since chill parts usually come later in the set.
(28:03) But I had no space for a chill section in the latter half, so I fit it in the first half.
(28:11) That’s why you have "Hana Midori," "Moonlight," and "Venus Bug" in a row.
(28:24) As for the bench, I had no idea it was coming out. I found out during rehearsal.
(28:37) I didn't know a bench would be part of the set, but they told me about it right before the general rehearsal last month.
(28:42) I was surprised when they suddenly brought it up.
(28:51) I thought, “Oh, does that mean I get to sit down?” because I’m usually standing.
(28:56) There’s barely any time to rest, but I got to relax during "Moonlight."
(29:05) Then came "Venus Bug," and I thought, "Why is this image not showing up?"
(29:11) Wait a moment...
(29:32) Oh, it’s showing up now.
(29:40) That’s the one in the top right corner.
(29:49) It looks like Enon Kawatani was watching. I had a chance to greet him, but this image didn’t show up.
(29:54) Why isn’t this image showing?
(30:01) Tell me the reason!
(30:07) Wait, let me try again.
(30:11) So, I switched to radio mode. ♪ [Music] ♪
(30:16) Hmm, I wonder if it’s the same for Seichan’s PC too.
(30:25) Yeah, maybe a banana... oh well, doesn’t matter.
(30:34) Anyway, from the chill part, we moved into the poem part.
(30:40) This was meant to be a live that connected the first and second albums.
(30:48) For the tour, we didn’t really get to express the little details, like...
(30:54) I couldn’t quite articulate my personal feelings, but staff helped with suggestions, and I was like, "Oh, that works!"
(31:04) But for the Nippon Budokan live, it’s more like the third one.
(31:28) That’s why I wanted to create a feel like the first and second albums. ♪ [Music] ♪
(31:41) And then, I added the poem. ♪ [Music] ♪
(31:47) Yeah, both the first and second albums had poems, so it was fitting.
(31:54) The poem for the first one... oh wait, I can’t remember if I wrote it or not.
(31:59) But for the third, I had to write it!
(32:06) It was clearly needed for the Nippon Budokan show. They asked me, "Are you going to write the poem?"
(32:12) I was like, "I thought I wasn’t supposed to," but they said, "No, you definitely are."
(32:18) So, I wrote it, but they told me to give it to them in three days.
(32:23) I got it done just in time!
(32:30) ♪ [Music] ♪
(32:35) That was a close call. How many hours did the live go?
(32:44) Oh, around 2 hours.
(32:49) ♪ [Music] ♪
(32:55) There were some parts with idealistic lyrics.
(33:05) The revolution part was around here, a revolutionary vibe.
(33:12) We wanted to capture that stormy, ominous feeling.
(33:19) Then we moved into "Caramel Pain." Singing that is so fun.
(33:25) "I love you, I love you, goodbye..." makes me tear up.
(33:30) But it’s also so much fun! It’s cute, but I didn’t sing it.
(33:36) Actually, I didn’t sing it, but they played the track for me.
(33:49) ♪ [Music] ♪
(33:54) They used the original track, so it was exactly the same as the original version.
(34:00) It’s such a huge shift in energy.
(34:28) Yeah, that’s true! Karaoke doesn’t even count that part for scoring.
(34:33) Ah, that’s why I wasn’t sure. It’s treated as a chorus.
(34:38) So, we’re supposed to jump right in towards the end, right?
(34:44) Yeah, that’s how it goes! "Caramel Pain" is a bit tricky.
(34:51) Did you see the VJ for "Caramel Pain"? It was amazing!
(35:04) I actually recommended the VJ creator to the staff, and they accepted.
(35:12) It was awesome. The "Caramel Pain" VJ, especially, had this creepy yet cute balance, almost like candy.
(35:39) It was such an interesting mix, I loved it!
(35:45) The whole thing with the donuts, the flashing lights... it was perfect!
(36:00) Ah, I was so grateful. Then we had...
(36:09) "If it’s a dream, it’s limitless, skyrocketing!"
(36:16) What was that VJ for? Oh, it's the same thing—VJ is the video part that plays alongside the music.
(36:23) It’s all about enhancing the atmosphere.
(36:35) ♪ [Music] ♪
(36:42) The "Wake Up" part, right?
(36:48) Oh, you don’t know it? "Wake Up" was just...
(36:56) After that, the backup dancers appeared, and I was already busy focusing on the performance.
(37:05) "Caramel Pain" ended, and I had to hurry to get into position!
(37:12) I was totally focused on that, though. After finishing the song, I had to lower the mic from above, move it from left to right, do the arm-reel-down, spin it around, and then make the big dramatic motion.
(37:28) It was a lot to juggle! There was also some dancing, but I couldn’t really focus on that much.
(37:35) But Seichan was able to do it! She can actually dance the chorus! We haven’t shown it in the short yet, but...
(37:41) We haven’t shown it yet, but... actually, it’s already ready. I can’t remember if it’s finished or not, but the "Wake Up" dance—yeah, I’ll be sharing that soon.
(37:46) I’m going to show the part where I did the dance. Please look forward to it!
(37:58) Oh, and about the dancing part, it’s hard to sing while doing all of that, so it was a bit difficult to pull off.
(38:11) Anyway, after that, the mic turned into a megaphone, right?
(38:20) Yeah, the megaphone!
(38:26) It was a great idea from the staff. They suggested using a megaphone, and I was like, "Yeah, that sounds cool."
(38:47) I respect Ringo-san, but I’m not sure if that’s what the staff had in mind. It probably was though, because I thought of Ringo-san immediately.
(39:01) Oh, and it was actually tricky. If I held the megaphone straight, it would hide my face, so I had to turn it to the side or lower it, but...
(39:18) If I lowered it too much, it would look bad. If I turned it too much to the side, I’d end up facing sideways the whole time, and then the voice wouldn’t come through properly!
(39:31) It was so tricky to manage with the megaphone.
(39:39) There were also camera angles to consider. I had to make sure I was facing the right camera.
(40:04) I could see which cameras were on me, so I had to turn towards the right one at the right time!
(40:16) It looked great on the stream, though.
(40:22) Oh, good! I’m glad it worked out. It really took a lot of effort.
(40:28) After the song, I took a quick spin, and during that time, I was holding a flag.
(40:40) The staff quickly brought the flag, and I was like, "Please, water! I need water!"
(40:51) I kept asking for water, and they were all like, "Huh?"
(41:03) Then, they brought me this small milk machine, and I was like, "I need water, not milk!"
(41:10) I didn’t have time to drink milk!
(41:17) Then the cue for the next part came, and I had to grab the flag and get ready.
(41:25) The timing for everything was so tight! I had to drink water to keep my voice up for the next part.
(41:51) So, I managed to grab the flag and hold it. It was a little chaotic.
(42:04) The dancers helped with the performance too. They brought out light-themed and dark-themed versions of Suichan.
(42:14) We had the light and dark Mercury! I wanted to use the MV concept for inspiration, mixing light and darkness.
(42:28) It was my idea to ask for that kind of theme, so I’m glad it worked out.
(42:33) It felt like I got the balance between the first and second Suichan.
(42:54) The whole three routes of Suichan were represented, and it was awesome!
(43:02) We didn’t talk much during the MC sections; the focus was on the performance.
(43:10) Yeah, we didn’t have much time for MCs, and I thought that was fine.
(43:16) It was better to focus on the performance.
(43:21) And with "Mayu to Kokoro," I really poured all my attention into those songs.
(43:43) "Mayu to Kokoro" is really the core of this live, but we added a little prelude at the start. I think that was the staff's idea—they wanted to add something mysterious.
(44:05) "Ruru...ruu...!" That part is really tricky to time. It’s like, "When is this part coming in?" It always confuses me, but every time I end up in the right rhythm.
(44:17) I keep zoning out a bit before the beat drops, but I make sure to catch the right timing when the melody comes in.
(44:26) When I hear it, I know it’s time to sing!
(44:37) It’s tricky, though! But I’m relieved that I didn’t mess it up even once.
(44:54) The "Kokoro" section really came together perfectly. I was super relieved when we got it right!
(45:01) By the way, who’s the voice doing the count-in?
(45:06) Oh, it’s from a website called AudioStock. It's a site where you can pay for royalty-free music and use it in your own work.
(45:13) You listen to samples first, and when I heard this one, I thought it sounded good, so I used it.
(45:19) The voice in the count-in is from one of those samples. I don't know who it is.
(45:42) Yeah, it’s just a sample voice. It's not anyone specific.
(46:06) The person doing the music manipulation for us is a guy named Mori-san. He’s been helping with everything!
(46:12) Mori-san’s been great, even when it was time to add the sound effects. He’s been making sure everything works.
(46:19) I was like, "Can you add the ‘Wato’ sound here?" and he made it happen. So every time, I know it’s coming.
(46:35) People might have thought the rhythm was off, but we didn’t mess up once!
(46:45) Thanks to Mori-san for making everything work so well!
(46:51) The penlight timing was tricky too, right?
(47:05) Yeah, the key was to follow the BPM and sync with the music.
(47:12) Exactly! The fan lights were in sync. I was really excited to see that.
(47:22) For the "Mayu to Kokoro" part, I wanted to change things up, especially towards the end. I thought about making it reverse lighting to enhance the impact.
(47:33) I also asked to add an outro after the Butterfly part. I wanted to make the ending more intense, with an exciting final burst.
(48:01) I suggested something that would build up to a big climax.
(48:07) I also provided a reference track to give them an idea of the vibe I wanted.
(48:21) The outro was added, but during the dress rehearsal, I realized they were going to remove it.
(48:29) I wasn’t sure what I should do during that outro part, so I asked the staff for advice.
(48:37) Bibi from the tour gave me some feedback and said that during the outro, we should keep the energy up, and I was like, "Got it!"
(48:43) After Butterfly, I figured I could exit the stage since it was the end.
(48:52) But then I realized that I should stay on stage for the revolution part, because it wouldn’t feel right if I left right then.
(49:10) I thought the ending needed me to be present for that dramatic moment.
(49:27) So, I decided I would stay, but I wasn’t sure what I should do while waiting. Just standing there felt a bit awkward.
(49:40) I asked Araki-sensei, my dance teacher, for advice. She told me, "You should dance, Suichan!"
(49:49) She said it would look cooler if I danced to the music.
(49:59) So, I started practicing, and about a week before the show, I posted about going to the Budokan for a dance lesson.
(50:05) That was when I began working on the choreography for the final part of the show.
(50:16) I only had about a week to prepare, but I did my best to get it ready in time!
(50:24) It was a last-minute decision, but I’m glad I did it. The choreography turned out amazing!
(50:38) And the two backup dancers were great too—they had been dancing earlier in the show and joined me for this last part.
(50:51) They quickly changed outfits and came back to help me.
(51:03) I was really grateful to them for jumping in to support me like that.
(51:11) I asked them to perform, and they nailed it with that incredible final dance.
(51:19) That last dance was seriously so cool, wasn’t it?
(51:25) After that, we had the big "Don!"
(51:30) "Dararararara... Bam!"
(51:37) It was amazing! That part is definitely my favorite—it’s so powerful.
(51:46) It felt like an explosion, like a supernova going off.
(51:52) So the dancers were also put on the spot?
(51:58) Yes, it was a last-minute addition. It was a bit of a surprise for everyone.
(52:05) The band also added a big "zing!" at the end, which you might not have heard clearly, but it was amazing.
(52:11) When I first heard it during the rehearsal, I thought, “This is a little different from what I imagined.”
(52:20) I’m not super familiar with music theory, but I thought maybe the brass section could add something to it, like a "la-la-la" sound at the end.
(52:35) And they did it! The brass played exactly what I was imagining.
(52:41) I’m so glad it turned out like this. Thank you to the musicians for making it happen!
(53:04) Everything came together perfectly. The whole impact was incredible.
(53:16) All of this was carefully thought out to make the performance stand out.
(53:23) I have so much respect for the professionals who made it all work!
(53:34) Now, the "Memories Bomb" part of the show...
(53:44) We showed a video I directed, with clips from my past streams, including some old moments I wanted to highlight.
(53:54) I asked the staff to pull some specific clips from older streams and even requested specific lines to be included.
(54:07) I wanted to include a video from my first solo live show at Akihabara Entas, but that footage was so old they weren’t sure if it would be available.
(54:16) They said it might be hard to find, since it was so long ago, but I insisted.
(54:27) I was like, "We really need this clip! It's crucial!"
(54:39) It was such an important moment, and thanks to their efforts, they found it.
(54:45) The scene was unforgettable!
(55:36) I’m glad we included that key scene. It really tied everything together.
(55:42) That video is now a key moment that fans can never forget.
(55:57) So we used the hashtag "#クソアカカナ," which is kind of a strange hashtag, but it popped up with clips and old footage.
(56:04) Honestly, thinking about it now, it feels like a weird hashtag, but it was just something we did back then.
(56:12) If we tried to use that hashtag now, it’d probably be considered inappropriate!
(56:25) It brings back so many memories.
(56:32) And back then, we had a live performance titled "Shishi Test Start," which was a bit of a joke—it had a rough start.
(56:48) It was so funny to see it now, but we all laugh about it.
(57:02) I was reflecting on that period and looking through old tweets.
(57:09) That "Memories Bomb" part really took people by surprise.
(57:16) Even during the rehearsal, I could see people tearing up.
(57:23) It made such an emotional impact on everyone—it was definitely a moment to remember.
(57:38) The video covered my journey from 2019 to 2025.
(57:49) At first, the staff wanted the video to be about a minute and a half long, but I insisted it be longer.
(57:56) It felt like the kind of video you’d see at a wedding, where they play a long montage of memories.
(58:02) So I said, “Let’s make it five minutes if we need to!”
(58:07) It was a bit too long, so they asked if we could cut it to about 3 minutes. I said, "Sure, let’s make it 3 minutes."
(58:13) So it ended up being around 3 minutes long.
(58:24) And then, we went back to 2018, with that iconic video about Suityan aiming for the Budokan.
(58:37) We discussed with Saf-san about making a video that would loop back to that, hinting at the past.
(58:43) We decided to use a silhouette, showing the past outfit with Suityan walking, which hinted at something exciting.
(59:00) That’s when the remix of "Comet" by Inoue played.
(59:12) This sequence was something I had been planning for a while, and I didn’t want to change it. That’s why the first part felt packed with meaning.
(59:19) It was the kind of moment I wanted to preserve.
(59:29) Oh, you might be able to see it now!
(59:38) Wait, I think you can—let me check!
(59:43) Oh, I think I might have heard something about being able to watch it, but I can’t remember if it was confirmed.
(1:00:01) Oh, this is so nostalgic!
(1:00:22) Wow, I look so different back then!
(1:00:30) Oh, here’s how it looked back in the day.
(1:00:39) Oh, I was so round back then, huh?
(1:00:46) Everyone’s saying, "Wow, you’re so round!"
(1:00:58) My charm point back then was the side tail that was a bit lower than usual—it’s so cute!
(1:01:03) Remember how that looked? So nostalgic!
(1:01:10) This is so nostalgic, it’s crazy!
(1:01:17) Anyway, that was the first outfit. So cute!
(1:01:23) Even the staff said, "You look so baby-like!"
(1:01:32) They said I looked like a baby, and it was definitely a different vibe back then.
(1:01:38) Actually, this outfit is the new Comet costume, and the old one had a more open neckline.
(1:01:57) It’s subtle, but there’s a difference!
(1:02:05) I came into the scene like a rising star, the new idol VTuber—Machi Suisei!
(1:02:16) And finally, I could share my voice with all of you.
(1:02:23) So, that was the vibe back then.
(1:02:28) Oh, I thought I might see the old outfit again!
(1:02:35) You were surprised, huh?
(1:02:42) I didn’t expect it, to be honest.
(1:02:49) Yeah, it was a surprise! I was a bit overwhelmed!
(1:02:54) But it worked! I’m proud of that emotional setup I came up with!
(1:03:02) I always wanted to create a revival of the old outfit, and I’m so happy I finally got to do it.
(1:03:09) It was such a surprising moment for all of us!
(1:03:22) So, the Comet remix—you might not know this, but it’s a special track from my first album.
(1:03:28) It was a limited bonus track, only available to those who got a specific music card.
(1:03:34) And that card was given out randomly, so not everyone had access to it.
(1:03:40) It wasn’t available for streaming, and once it was gone, it was gone.
(1:03:45) That’s why it’s so special!
(1:04:00) But we decided to share it later. After the show, I spoke with Inoue-san, and he was like, "It would be nice to share it now."
(1:04:08) So, we decided to stream it, but we had to clear a few legal things first.
(1:04:14) Once that was taken care of, we’ll share it with everyone.
(1:04:47) After the Comet remix, we went into "Stella Stella." This was the transition I had been wanting to do.
(1:04:53) I was so excited to finally make it happen!
(1:05:03) But you know, I had been crying during "Comet," so my nose was all stuffed up when I started singing "Stella Stella."
(1:05:09) It was tough.
(1:05:14) My voice was all shaky, and I wasn’t sure I could sing it properly.
(1:05:21) It was hard, but I got through it somehow!
(1:05:27) I definitely won’t listen to that recording again, though!
(1:05:33) I don’t even want to hear it.
(1:05:39) After that, we had a break with the band’s instrumental, so I had a chance to rest my voice.
(1:05:46) I was able to finish the performance, but it was definitely a struggle.
(1:05:53) I don’t think I’ll rewatch the live broadcast either. I’d rather you all watch it for yourselves!
(1:05:58) "Well, you can just watch it on your own, I don’t want to. I’m definitely not watching it."

(1:06:06) "I’m absolutely not watching it."

(1:06:11) "Well, you know, before the show even started, I was talking with the band members, and like, the keyboard band master, Ren-san, was like, 'Sorry, I might end up crying and not be able to play.' And I said, 'It’s okay, it’s okay, don’t worry.' We talked like that."

(1:06:17) "And then, after the show, everyone was like, 'Please, don’t listen to the recording or watch the stream after it’s over, okay? It’s just a joke!' They said, ‘Please don’t listen back, because we all have our mistakes,’ and everyone promised that."

(1:06:42) "So, please, feel free to listen back later. It was my dream, but I’m not going to watch it together with you guys. That’s totally different!"

(1:07:14) "Well, yeah, that’s separate. It’s like... well, that’s just how it is."

(1:07:23) [Laughs] "Yeah, I really want it to be on a DVD or Blu-ray soon."

(1:07:28) [Music]

(1:07:39) "Yeah, we did the ‘Kapura’ part, and then the ‘Kapara’ dance, and then an MC, and then we ended with 'Orbital Period.' Originally, I didn’t plan to make 'Orbital Period.' It wasn’t supposed to be there."

(1:07:55) "But, you know, I had wanted to make a new song, but I didn’t have enough time, so I thought I might not be able to do it. I was really struggling about how to end the show."

(1:08:02) "At first, they gave me a different draft, and it was totally different. It was like, 'Let’s sing something beautiful and end with 'Ghost,' like that. But, you know, I thought if we did that, it’d feel like the same as the tour. Ending with 'Ghost' in the same way just didn’t feel right to me."

(1:08:35) "Also, the context of the outfits. With the sparkly costumes, 'Ghost' didn’t really fit, you know? I felt like it didn’t match that outfit at all."

(1:08:44) "And I wanted to end it with something more idol-like, something that worked with the costumes."

(1:08:57) "So, I didn’t want 'Newton' because it didn’t fit with the outfit, and I didn’t want it to feel like the ending was too similar to the second one."

(1:09:02) "So, I decided to quickly create 'Orbital Period,' and thankfully, Honpo-san was available for it."

(1:09:52) "I was going through a time where my throat wasn’t in good shape, and I really started to dislike singing. But recently, it’s getting better, and I’m starting to think that maybe I still love music, that it’s fun."

(1:10:45) "For two to three years, I was going down, but I’ve slowly started recovering."

(1:10:51) "You know, back then, I used to do a week of singing streams, like five days straight."

(1:11:03) "But then my voice started deteriorating, and I hit a point where it was really hard to sing."

(1:11:17) "I thought if I rested, it would get better, but it didn’t improve for two years. It’s still not back to normal."

(1:11:51) "During that time, I had to reschedule a lot of things, but my voice still wasn’t getting better. And so, I had to push through projects even though my throat wasn’t doing well."
(1:11:58) "I had to reschedule some recordings and get a lot of help from others, but still, it wasn’t improving at all. Despite that, deadlines were tight, and there were so many cases where I couldn’t reschedule, so I had no choice but to push through."

(1:12:05) "Even with my throat not in great condition, I had to take those recordings."

(1:12:11) "Some of those recordings, I didn’t like the results, so I asked if I could re-record on a better day."

(1:12:17) "I was doing whatever I could to make it work, but back then, I had to make it through with whatever condition I was in."

(1:12:24) "It was really stressful. At first, I’d just do the recordings and feel like, 'Okay, I’m done.' But more and more, I’d think, 'My voice isn’t working today, and I can’t get a good take.' That was becoming more frequent."

(1:12:34) "It was really stressful, and I’d apologize to the staff saying my throat wasn’t doing well, but eventually, I stopped saying it because I felt like it was becoming an excuse every time."

(1:12:44) "One time, during the Moonlight recording, I couldn’t even sing properly. It was one of those days where I couldn’t get anything right."

(1:13:02) "I told them I felt terrible about it, and even though the staff kept saying it sounded fine, I couldn’t accept it. I felt like I could do better, but I just wasn’t getting the result I wanted."

(1:13:13) "So, even though I wasn’t happy with it, I thought maybe it was good enough since everyone else was saying it was fine."

(1:13:19) "But I still wasn’t satisfied with myself. I ended up crying in the bathroom during a break."

(1:13:29) "I came back out trying to act normal, but the staff probably noticed that something was off."

(1:13:39) "Listening to the mix later, I thought, 'This isn’t it, this isn’t the take I wanted.' I didn’t reply to them right away because I wasn’t happy with it."

(1:13:49) "Later, they pushed me to reply quickly because we were getting closer to the live performance."

(1:14:02) "It was a tight deadline, and I had to re-record just a week before the live show."

(1:14:10) "When they asked if I could redo it, I requested the chance to fix it."

(1:14:17) "So, by the time the final version of 'Moonlight' was ready, I was much more satisfied with it."

(1:14:24) "It was one of those moments where everything came together, and I could finally be happy with the result."

(1:14:35) "Even though my throat was in bad shape, everyone kept pushing me to keep going, and I did my best to make it work."

(1:14:51) "The song I created with that energy was something I really cared about."

(1:15:02) "But of course, with all the stress, there were moments where I couldn’t handle it and had to cry it out in private."

(1:15:08) "I had a rough time with the music, but in the end, I was able to produce something meaningful."

(1:15:23) "The lyrics turned out well, and I felt like they truly conveyed my feelings."

(1:15:34) "I wanted to share this story during my MC, but when it came time, I couldn’t say everything I had prepared. I ended up sounding a bit off."

(1:15:48) "But I’m glad the important message came through, and the song turned out great."

(1:16:01) "And the MV turned out amazing! It was a blast working on it."

(1:16:11) "Despite some leaks, the premiere happened, and I'm happy to see everyone enjoying it."

(1:16:34) "I was a little embarrassed about it, but in the end, everything worked out."

(1:16:51) "We had some fun surprises during the live, and I can’t wait to share more!"
(1:16:57) "For example, even if a little more sunlight touches my face, I still want to make something like that, something like those kinds of things, I asked for that."

(1:17:10) "I asked for that, but my sister’s bothering me. What are you doing? You’ve been running around since earlier."

(1:17:25) "People are having a good conversation now."

(1:17:32) "Running around everywhere."

(1:17:42) "Yeah, Emosan is flying around."

(1:17:47) "He’s always around, always."

(1:17:56) "So, that was a song made with those feelings, but I wanted to talk about that during the MC, but until the day before, I was thinking about what I would say, rehearsing it, but in the end, I couldn’t speak as planned."

(1:18:07) "It didn’t go at all like I imagined, and I felt like I didn’t have enough words. It was like, I started to dislike singing and playing music; it felt like I didn’t want to do it anymore, but I’ll sing anyway."

(1:18:14) "It’s not like that, it’s not supposed to be like that, right?"

(1:18:28) "But I’m really glad that it did get across. I’m glad it really did."

(1:18:34) "It really went well, it was great."

(1:18:42) "It felt weird, I thought that might be strange."

(1:18:48) "But somehow, the feelings I wanted to convey were well captured in the lyrics, so I’m glad that Mr. Hon did a great job turning them into lyrics."

(1:18:55) "By the way, the premiere release was really tight, nothing was fake. By the way, it had been set to limited release yesterday."

(1:19:07) "And because the URL was accidentally included in the playlist, it got leaked a bit, but we’ve reworked everything and are doing the premiere release today, so for those who saw it already, please watch it again."

(1:19:26) "The MV was amazing, they made it with such a great sense of direction."

(1:19:34) "I messed up, I watched it and had to erase my memory, thank you."

(1:19:41) "Please erase my memory. Also, when you put a period at the end, it’s like this live show with the ‘tan-tan-tan’ sound."

(1:19:53) "Isn't it a lot of intense progress? Yeah, sorry about that, really."

(1:20:02) "And now, for this encore, I was debating on what to sing, but the staff had brought something completely different from what I had in mind."

(1:20:10) "It was completely different, like, it’s not at all what I thought."

(1:20:15) "I’m going to choose something that feels right. I couldn’t imagine myself picking something like that."

(1:20:24) "I was like, ‘How could I pick something like that?’ When they brought it, I was like, ‘What’s going on? Kirameki Rider and Blue Rose? What does that mean?’"

(1:20:36) "But, surprisingly, I did sing Kirameki Rider for the first encore."

(1:20:41) "I chose that with the context in mind."

(1:20:48) "And as I mentioned in the MC, this Supernova live was intended to be a culmination of about seven years of my career, looking back on my past."

(1:21:02) "When I think about those seven years, it’s clear that it wasn’t just me alone. The reason I’ve been able to be this active now, with this wide scope, it’s not just because of me."

(1:21:17) "It’s because of everyone around me, like the staff at Hololive, and of course, first and foremost, it’s because of Hololive itself."

(1:21:24) "Hololive as an entity grew because of Yamo’s efforts to create this space, but it was the talents who made it exciting."

(1:21:30) "Everyone who was there, like Sora-chan, the first generation, the second generation, Gamers, everyone… everyone helped shape me and my presence."

(1:21:37) "Everyone worked hard to promote their own streams, thinking about how to make them more interesting, how to get more people to watch. Without being told, everyone made their own thumbnails, researched how to make them eye-catching, figured out what games were trending, and did it all."

(1:22:04) "That’s how Hololive grew. It’s really a collective effort."

(1:22:29) "Now, we’ve come to this point together, and it’s thanks to everyone. Yomo accepted me, and now we hang out every week, eating together, talking, and spending time with each other."

(1:22:38) "I’m really grateful to have become close with Sui-chan and to have shared experiences, like having discussions with each other."

(1:22:51) "Those are the really precious, important memories, and I think they were important, meaningful days."

(1:23:08) "I feel that I had to incorporate those feelings into this live performance."
(1:23:15) "At first, I was thinking of showing scenes with everyone from Hololive and doing collaborations with everyone, maybe in a nostalgic way, like showing some video clips connected together, but then I thought if I do that, it might feel like the second round of the previous comment, so I started wondering, 'What should I do?' It took a lot of thinking, and then I thought, 'Well, maybe I should get messages from everyone and incorporate those into the video.' So I thought, 'How about we do that?'"

(1:23:53) "So, I decided to get messages. It was quite a flash of an idea. I thought about whether I should collect them, so I said, 'Alright, I'll collect them myself.' I was like, 'I’ll handle it myself, I'll ask people for messages.' I made the request and said, 'Here’s how you write it, and here’s the deadline.' But then I realized the deadline was only a week away, and I was like, 'I’ll have to get them in that time.'"

(1:24:13) "I was wondering how many people would write, and then the staff said, 'What if it’s 50 people?' and I was like, 'No, no, no, 50 people is definitely impossible.' I thought it might be 10 or 15 people, maybe the people who were guests on the tour or something. I asked the management to reach out to them. It wasn’t an official request, but I asked them to write something. Then, after that, I thought it wouldn’t be that many people writing, but I ended up getting 30 to 32 messages."

(1:25:03) "I was genuinely surprised and really grateful. Thank you, everyone. But, there’s something I want to explain about the messages. If there were any complaints, like, 'This message was too short' or 'This one was too long,' I think it was mainly because the way I asked for the messages wasn’t very clear. I was in a rush and didn’t really explain what kind of message I wanted or if I wanted their names included. I just said, 'Please share a memory or a word you want to give me,' and that was it."

(1:25:48) "So, it was really up to everyone how they wrote the messages. Some people wrote really long ones, and some included illustrations. There were a lot of different kinds of messages, and I didn’t specify about including their names, so some didn’t include them. That was because I didn’t ask specifically for names. But yeah, the way I asked was a bit hasty. I understand the feelings of people who couldn’t make the deadline, and I received their messages too. I’m thankful for those as well."

(1:26:23) "I just want to say that I understand. I didn’t want to be misunderstood. If the messages came in a bit late, like a day late, it was fine. Some people sent them early in the morning or during the day, and I made sure they were included. It was all good, and I appreciated everything."

(1:28:01) "So, I want to say thanks to Holomen. Thank you for putting all of your feelings into the messages, and that’s how we came to the song 'Kirameki Rider.' I wanted to express the excitement of something fresh and new with it. After that, for 'Blue Rose,' I made it into more of a party song to finish off the set."

(1:28:29) "This 'Blue Rose' song, I had a lot of doubts. I was like, 'Should I add a reverb or some effects?' I thought about a lot of things, like doing an original version from 'Comet,' but I realized that I hadn’t sung 'Blue Rose' much. Plus, with the context of the outfit, it felt like it was the right song to perform, so I went with that."

(1:29:07) "I knew it would work well in the set, and it felt like a natural choice. And, I didn’t hesitate at all when it came to the maintenance song, 'I didn’t hesitate even a little bit,' I knew I would never perform it live again. (laughs)"

(1:29:39) "But, with the flower meanings and the lyrics of the song, it really felt like it wasn’t the end, but just a transition. I didn’t want to end on something too final, like everything was over. So, I felt it was a good decision, and I’m happy with how it turned out."

(1:29:55) "So, why did the staff specify the penlight colors? They did it without asking. (laughs) They just did it for everyone, without telling anyone."
(1:30:02) "The management, [music], kind of decided on the light stick color for everyone, and I was like, 'Sure, that's fine,' and I thought, 'Well, maybe it should be white instead of yellow.' And then for the body, I was like, 'Maybe green would be good,' and I had these little personal ideas... and there was maintenance going on, but it’s fine. I guess pink is okay, maybe that’s fine. So, I just decided on my own."
(1:30:36) "I just decided on my own! There’s no way I’m singing that song, I’m never singing that!"
(1:30:50) "Then, we had the double encore! They told me, 'If a double encore happens, let’s sing that song.' I asked, 'Wait, do you really think it will happen?' They were like, 'Yes, it will definitely happen.' And then they said, 'If it doesn't, I’ll make it happen.'”
(1:31:22) [Music] "So, I wanted to do that! If the double encore happened, I wanted everyone to sing along. A lot of artists do that, where they get everyone to sing, so I really wanted to try that!"
(1:31:29) "Everyone singing... I love it!"
(1:31:43) [Music] "It was so much fun! Then everyone was singing the end roll. I guess they’d been listening to it enough that they could all sing along. It was such a big chorus, and it was amazing. It was the best!"
(1:32:05) "Yes, it was the Nippon Budokan live. Wow, I’ve been talking for an hour and a half. And there’s still more I haven’t mentioned."
(1:32:13) "First, first... the outfit!"
(1:32:24) "Ta-da!"
(1:32:32) "Ta-da! This was designed by Ishihara-sensei."
(1:32:37) "Originally, the full version was this, and I was supposed to wear this outfit during the tour as well."
(1:32:42) "But everything was ready, so we were thinking, 'Let’s reveal this surprise during the Nippon Budokan live.'"
(1:32:57) "But then, the album was supposed to come out before the tour. We thought it would, but no, it was impossible with the schedule, so we thought, 'Okay, let’s do a live with the album reveal at Budokan.'"
(1:33:11) "But then we were thinking about doing a tour, mixing the songs from the first and second albums. So, I was like, 'That doesn’t really fit with the revolution theme of the outfit,' and I was unsure."
(1:33:18) "We had already started the outfit with the revolution theme, but the tour was more of a mash-up of previous works. So, it didn’t really match, and I was a little unsure."
(1:33:41) "But, in the end, I just removed everything. I ended up just wearing a shirt, which was simple, but I wanted to do that. So, I asked for that, and we did the tour like that."
(1:33:57) "The story is important. As a fan myself, I understand that fans care about context. The context matters, especially because it was the eve of a revolution."
(1:34:05) "It was the eve of a revolution."
(1:34:11) "Then, during the Budokan live, we revealed the full set and made everyone go, 'Wow, this is the complete version!'"
(1:34:25) "We wanted it to feel like, 'Wow, this is the full set!'"
(1:34:32) "Mikapika-sensei drew the key visuals, as you know. This... this thing. This one. The one with the merchandise at the venue."
(1:34:34) "So, in the end, I just removed everything and ended up wearing just a shirt. It was pretty casual, but I really wanted to do it that way, so I asked for that, and I did the whole tour like that."
(1:34:56) "Story is important, right? I’m a fan too, so I get it. Fans care about context. Context is important. It was the eve of a revolution, after all."
(1:35:11) "It was the eve of a revolution."
(1:35:18) "Then, for the Budokan live, we revealed the full set, and it made everyone go, 'Wow, this is the complete version!'"
(1:35:25) "We wanted it to be a moment like that!"
(1:35:32) "Mikapika-sensei drew the key visuals, as you know. This... this one. The one from the merchandise at the venue."
(1:35:50) "The color scheme was so striking that I saw a lot of fan art. I’m sure many fans didn’t know what color it was exactly."
(1:35:59) "I knew it because I was familiar with it, but to others, it might have looked yellow. The outfit’s color… Yeah, it can look like that."
(1:36:12) "It has a unique color sense that only Mikapika could have created."
(1:36:19) "At first glance, it doesn’t look like black, right? It kind of looks yellow and blue, but it’s black!"
(1:36:28) "Yes, it's black. Some parts even shimmer."
(1:36:34) "I thought that was really fun, and I saw all the fan art, so thank you so much, everyone!"
(1:36:45) "Mikapika-sensei, thank you for such a wonderful visual!"
(1:36:51) [Music] "I thought the hair was black, but it’s actually white!"
(1:37:05) [Music] "Well, that’s how it goes."
(1:37:12) "Oh, I forgot to save Hi-chan’s stuff!"
(1:37:18) "So, here it is, Hi-chan’s, and this is the one."
(1:37:25) "I’ll save it now."
(1:37:32) "Okay, done!"
(1:37:38) "How cute! This is called the comet outfit."
(1:37:45) "It was designed by Hi-chan. It’s an update of the original design."
(1:37:52) "She wanted to show me an updated version and made it cute with an aurora effect. I’m not sure if anyone noticed, but if you look closely..."
(1:38:05) "You can see that the aurora effect has a cute starry sky on the right side, right?"
(1:38:15) "It’s like sparkling, and it moves. Isn’t it super cute? It’s such a small but lovely detail!"
(1:38:23) "I really appreciated that, and it was a lot of work. Hi-chan really put a lot of effort into it."
(1:38:33) "She’s amazing, and the design was just fantastic."
(1:38:40) "I also got some amazing designs from Ishihara-sensei, who did a wonderful job, and the collaboration was incredible."
(1:38:47) "They were so generous and gave me so many options, and I had to choose from so many fantastic ideas!"
(1:38:53) "It was difficult, but I’m really happy with the outcome."
(1:39:05) "Both of them are geniuses, and I’m so grateful!"
(1:39:12) "Yachan also came to greet me after the performance, but I was crying so much. I said, 'I was a mess!'"
(1:39:26) "So, those were the outfits!"
(1:39:34) [Music] "Also, the mic was different this time. We call it the ‘revolution mic.’"
(1:39:40) "It’s a cool mic, but we also wanted it to match the light sticks."
(1:39:45) "We thought, ‘Let’s make the mic similar to the light sticks to keep the theme.’"
(1:39:53) "The mic looks cool, but compared to the previous ‘friendship mic,’ we decided to switch to the ‘revolution mic.’"
(1:40:00) "It’s all about context. Sorry to go full fan mode, but the context really matters!"
(1:40:09) "Without the right context, it’d feel like I wasn’t respecting the times from the individual era, and that wouldn't work."
(1:40:17) "I apologize for being context-obsessed, but if I don’t present the context properly…"
(1:40:24) "…people might think I don’t value my individual tax era or something."
(1:40:31) "I didn’t want it to feel that way, so I didn’t want to handle it carelessly."
(1:40:37) "By the way, I incorporated the context into the opening—did you notice?"
(1:40:43) "Casually, right?"
(1:40:51) "I see. You're particular about context."
(1:41:00) "Got it. Please review it. Please do so."
(1:41:08) "As for the story, it’s about this friendship mic, which becomes a particle of light…"
(1:41:15) "…and gets sucked into the starry sky."
(1:41:22) "Then it lights up the friendship mic and starts a revolution."
(1:41:27) "That’s the story."
(1:41:33) "If it’s overdone, it might turn into something like Precure, so I asked for it to be expressed stylishly."
(1:41:39) "And it turned out like that." [Music]
(1:41:46) "Thanks for the story explanation. That helped."
(1:41:55) "I’ve gotten quite a few ideas. For example, why the mic was put down—it's because it was a huge explosion of divine power and got a little damaged."
(1:42:03) "It’s about growth and the pain that comes with it."
(1:42:12) "Then, the mic got damaged, and the story is about trying to get it back."
(1:42:17) "How about that?"
(1:42:23) "But I didn’t think it was a good idea for the mic to break."
(1:42:31) "It wouldn’t be good, right?"
(1:42:36) "I get it, though. After hearing that explanation, it makes sense, but wouldn’t it be difficult to express visually?"
(1:42:42) "Like if the friendship mic broke, it’d mean the friendship broke too."
(1:42:48) "I really thought about this a lot. And that’s why the opening turned out the way it did."
(1:42:54) "I hope you’ll pay attention to that part too."
(1:43:03) "Yeah, I get it, that’s ominous."
(1:43:13) "But in the end, the friendship mic was brought back."
(1:43:21) "Yeah, when we wore the comet outfit, it was time to put down the revolution mic."
(1:43:28) "And of course, singing with the mic was a given." [Music]
(1:43:37) "Also, the band members who’ve been with us since the tour were amazing."
(1:43:43) "And there was a brass section added too. They really worked hard with such a tight schedule. I’m really grateful."
(1:43:49) "We’ve been doing band rehearsals together."
(1:44:03) "But then, unexpectedly, K-san, the bassist, fell ill."
(1:44:11) "I saw the news on Twitter. Apparently, they collapsed and had to go to the hospital for surgery."
(1:44:21) "It happened right before the Budokan performance, about a week before."
(1:44:30) "K-san was in a tough situation, but gradually started to recover."
(1:44:39) "But then I realized, there’s no way they could perform."
(1:44:47) "I mean, someone who had surgery a week ago wouldn’t be able to go on stage."
(1:44:56) "I was told by the staff, and I thought, ‘Oh, that makes sense.’"
(1:45:06) "We couldn’t make K-san push themselves too hard. We can’t risk someone collapsing at the live venue."
(1:45:17) "I think K-san probably wanted to perform with us, especially after working so hard together."
(1:45:26) "They wanted to do the Budokan performance too, after all, they had been training for it."
(1:45:33) "I saw their tweet saying how disappointed they were."
(1:45:39) "I thought, ‘Yeah, I get it.’"
(1:45:45) "I also wanted to perform with the same members, so when the staff told me, I was like, ‘Oh no, K-san won’t be there.’"
(1:46:01) "But then, we had Igo-san step in as a replacement."
(1:46:17) "Igo-san was amazing! They’ve done live shows for various artists like Caliope."
(1:46:32) "They only had 2–3 days to practice before the live performance."
(1:46:47) "Incredibly, they memorized everything perfectly in that short time."
(1:46:55) "I’m telling you, they’re a real pro. They did an amazing job."
(1:47:08) "I was so grateful." [Music]
(1:47:19) "I’m glad they joined as a new member."
(1:47:26) "After the performance, K-san came to greet us, and we all talked about how they were doing and promised to perform together again."
(1:47:43) "I debated whether or not to mention this during the MC, but in the end, I felt it was important to share."
(1:47:50) "And so, we carried the feelings of the band members who couldn’t be there and performed the Budokan show."
(1:48:03) "It was such a fun experience, and I hope we can continue performing with the same members in the future."
(1:48:12) "Now, on to a different topic…"
(1:48:20) "Some of you may be wondering, ‘What’s the re-run?’"
(1:48:25) "I’m sure many of you are confused, but let me explain."
(1:48:36) "I can’t reveal too much yet, but I’ve confirmed that it’s okay to talk about it."
(1:48:42) "The re-run means we’ll be doing a similar live performance to Budokan, but with some remade elements."
(1:48:49) "The general flow will be the same, but we’ll do it again in a different location."
(1:48:57) "I wanted to do this re-run very strongly."
(1:49:06) "The venue won’t be the same as Budokan. It’ll be a different place."
(1:49:14) "I strongly pushed for this, even though the 4th album isn’t even close to completion yet. I’m not even sure if we’ll be ready."
(1:49:22) "I feel like we can do this, though."
(1:49:32) "But, it seems like a dome might be a bit too big, so we might go for something smaller."
(1:49:37) "I’m thinking maybe a slightly smaller venue next time."
(1:49:47) "Budokan, as you know, is quite small."
(1:49:54) "For virtual artists, we need to block off half of the seats."
(1:50:01) "With 360-degree seating, we could have a stage in the center, but the flat floor we use has a lot of equipment in the back, so we need to block seats."
(1:50:08) "We had to block off a lot of seats this time, and I think the final audience was about 67,000–70,000 people."
(1:50:42) "The turnout for this performance was way lower than the tour’s usual attendance."
(1:51:03) "Because of that, the ticket demand was higher than usual."
(1:51:11) "I got to do some things I’d wanted to do in the performance."
(1:51:16) "However, there were some limitations because of the Budokan’s historical building restrictions."
(1:51:23) "For example, there were weight limits, so some of the effects I wanted to do had to be sacrificed."
(1:51:30) "I had to give up some things I really wanted to do, but we’ll upgrade those effects in the future."
(1:51:36) "We’ll update the venue and make room for more people for a similar live performance."
(1:52:02) "That’s the goal for the re-run."
(1:52:11) "There are a lot of restrictions, but next time, we’ll aim to do even more."
(1:52:19) "Where exactly we’ll go, I’m not sure yet."
(1:52:25) "But it’ll be a bigger venue."
(1:52:33) "We’ll make it even better. We’ve performed at Budokan’s Supernova."
(1:52:39) "So we’ll take the momentum from that and try to make it even better."
(1:52:44) "For the setlist, I’ll probably include some new songs from 2026, so we’ll make it a little more exciting."
(1:53:05) "That’s what I’m thinking."
(1:53:13) "Please look forward to it!"
(1:53:23) "It might be a little different from before, but I hope you’ll come and watch."
(1:53:32) "And as for the new song, ‘No Matter What Happens,’ it’s ranked #1 on Chizu’s ranking!"
(1:53:39) "Thank you for listening so much."
(1:53:52) "The full version is still coming, so please wait a little longer."
(1:53:59) "Thank you for your support!"
(1:54:06) "And at 9:00 PM, the MV for 'Orbital Period' will be released, so please check it out!"
(1:54:21) "Also, at midnight tonight, 'Orbital Period' will be digitally released, so please give it a listen!"
(1:54:40) "Please look forward to it. And here’s the image."
(1:54:50) "Uh, here it is, Bipuridofhapufu."
(1:55:01) "I really love Furukawa-san's songs, and when we met during the recording, I mentioned that I really loved a song called ‘Enbi’."
(1:55:09) "I listened to it a lot, and Furukawa-san was like, ‘Wow, you’re into such an old song.’"
(1:55:18) "I was like, ‘Yeah, I really like it.’"
(1:55:24) "Oh, you like Alice too? I totally get that—piano."
(1:55:30) "I love the piano lessons so much, I’d really love to try singing it someday."
(1:55:40) "What kind of reaction was that? I’m a bit of an old-school Vocaloid fan, so…"
(1:55:47) "I’ll have to watch the MV together, huh?"
(1:55:54) "Ah, my throat’s tired. I’ll rest a bit."
(1:55:59) "Yui-chan really loves Supernova, right?"
(1:56:00) "Yeah, there’s a song called ‘Supernova’ in Furukawa-san’s works. It’s really amazing."
(1:56:06) "The world will turn, and the sun will set."
(1:56:13) [Music]
(1:56:19) "When I think of ‘Supernova,’ that song immediately comes to mind."
(1:56:26) "It’s one of Furukawa-san’s songs, so please give it a listen."
(1:56:35) "The ‘Awards’ song by the director is also by Furukawa-san, and I love it too."
(1:56:42) "That one was sung just for my sake."
(1:56:48) "When I hear that, I want to say something like, ‘Well, no, not exactly,’ but yeah…"
(1:56:54) "That’s true." [Music]
(1:57:06) "I’d love to have a song made by Jimi-Samu P!"
(1:57:12) "I’ve been searching for Jimi-Samu P forever. Please, Jimi-Samu P, come make a song for me!"
(1:57:19) "My favorite song from Jimi-Samu P is ‘2.’"
(1:57:25) "Please, Jimi-Samu P, make a song for me!"
(1:57:31) "I’ve kind of settled on the concept for my album, but I haven’t fully figured out the specific songs I want yet."
(1:57:36) "I have a vague idea, but I haven’t thought about it too much." [Music]
(1:57:42) "But the concept is coming together."
(1:57:47) "Would you be doing any future streams?"
(1:57:59) "Yeah, I could, but only if people ask for it."
(1:58:11) "I’d also love to make my own songs."
(1:58:20) "I want to, I do have the desire, but can I actually do it?"
(1:58:28) "I want to, but I’ll just have to try my best."
(1:58:39) "Well then, I think I’ll wrap things up here."
(1:58:45) "Please make sure to check out the ‘Orbital Period’ MV posting afterwards."
(1:58:52) "Thank you, everyone!"