Zero Pressure, All Power: Vaundy Goes All Out for His International Main Stage Debut
Ahead of his headlining show in Hong Kong, Hypebeast caught up with the sensational and multifaceted Japanese singer-songwriter-producer for an exclusive interview.
During the first weekend of December, Vaundy performed his first-ever live set outside of Japan. The acclaimed Japanese singer-songwriter and producer, often cited as one of the leading artists in today’s J-pop music landscape, took the main stage as the headlining, final act of a major music festival in Hong Kong. Having personally managed the lyrics, composition, arrangement, and visual elements for his multi-genre hits since his 2019 debut, this performance marked a pivotal step in his expanding global presence.
For his overseas debut, Vaundy meticulously recreated the immersively dynamic and visually striking stage atmosphere as seen in all his sold-out concerts in Japan. The performance was amplified by vivid hues, dramatic staging and lighting effects, including the signature powerful backlighting that cast Vaundy in intense silhouettes.
“I want to make sure that when you listen to my songs, your body naturally moves.”
Ahead of the show, Vaundy spoke candidly about his anticipation for the international crowd. “To be honest, I don’t know [what energy to anticipate],” he admitted. “They’d be totally different from my audience in Japan for sure… I’m also wondering which crowd would be more energetic.” His modesty was evident when asked if he was aware of his large Hong Kong following: “I’m completely unaware. Is there really?”
The anxiety proved unfounded, as the crowd was immensely electric. Vaundy initiated the set with a familiar instrumental intro, followed by a perfectly fitting opening track: “Tokyo Flash,” his breakout 2019 debut song. The set immediately demonstrated his genre-defying range, moving through tracks like the funky, R&B-infused “Fukakouryoku” to the emotionally explosive “Hadaka no Yuusha” — the latter known as an opening theme for the popular fantasy adventure anime, Ranking of Kings.
With his Japanese lyrics known for their complexity and depth, we asked Vaundy which musical element he prioritizes to ensure his message cuts through the language barrier. He swiftly answered: “Rhythm.” He elaborated, He elaborated, “I want to make sure that when you listen to my songs, your body naturally moves.” Intrinsically, this principle is what allowed Vaundy to cultivate a sense of trust with his listeners through sound. “I’m committed to creating a sense of stability that makes listeners feel comfortable in surrendering their bodies to the music.”
Hiyoshi Jp Junpei
Hiyoshi Jp Junpei
Hiyoshi Jp Junpei
When discussing the essential non-musical elements for communicating the “Vaundy” persona to a new audience, he surprised us by downplaying the visuals. While his stage incorporates laser lights and sweeping lights that extend into the audience, Vaundy stated, “What I most care about is the sound, my singing and the music.” He clarified that the atmosphere is supplemented with lighting and stage effects, as he rarely ever uses live concert visuals. “Ultimately, words and language are just tools. So it’s essential for us, the people who use these tools, to make them ‘cool’ for the audience,” he emphasized.
His refusal to be confined to a single genre is also his calling card. When asked to define the archetypal “Vaundy” sound for new fans, he offered a truly self-aware answer: “I think if you’re struggling to define what genre of music is very ‘Vaundy’ then that is the most ‘Vaundy’ thing ever.” He suggests the definition lies with the listener and their personal experience with his songs, “Let’s say you stumbled onto a cool new song in a certain time and place, and if that happens to be a song by me, then that is the definitive ‘Vaundy’ sound for you.”
“Ultimately, words and language are just tools. So it’s essential for us, the people who use these tools, to make them ‘cool’ for the audience.”
Having delivered memorable performances at notable Japanese music festivals such as Summer Sonic and FUJI ROCK in the past, Vaundy is definitely no newbie when it comes to drawing an audience at music festivals. For him, the differences in preparing for a festival and a concert lie in pacing. “At festivals, we usually start singing right away with almost no breaks, so it’s easy to go all out and not hold back,” he said. “Overall, participating in a festival without giving it your all is pointless,” he continued with a powerful declaration, “I think this will be one of my loudest and most boisterous performances.”
Precisely, his first overseas performance delivered on that promise, with the ecstatic crowd fully immersed. The setlist was a barrage of genre-hopping hits, including “Odoriko,” “Fuujin,” and “Koikaze ni Nosete.” The energy peaked with his anime hits: “Homunculus” (from My Hero Academia: You’re Next), the spine-chilling “Saikai” (from The Summer Hikaru Died), to the massive “CHAINSAW BLOOD” hit (from Chainsaw Man) and his definitive anthem, “Kaiju no Hanauta.”
“I think this will be one of my loudest and most boisterous performances.”
Despite the monumental nature of this debut, Vaundy seemed nonchalant and relaxed. When asked if there was pressure in defining who he is as an artist during his one-hour set, he chuckled, “No pressure at all. One song is enough to prove myself.” Fundamentally, Vaundy views this performance as crucial for mapping his future as he believes the real feedback comes directly from the crowd, not just data, “I think it really depends on what the audience likes during the actual live performance… I have a feeling that my future performance style may also depend on how today’s performance goes.”
When asked about his incredibly productive year, Vaundy recalled with a slight hesitant moan, admitting that “It was a little too much.” He explained that his packed schedule was mostly fueled by personal drive, “A lot of the stuff I did this year was purely out of passion.” Looking ahead to 2026, he promised more new songs and concerts, as well as a shift in emphasis. “I’ll focus more on ‘work’ projects next year, but I also want to do a lot of things outside of music, like drawing and video production again perhaps.” He further reaffirmed his commitment to his growing international fanbase, promising that “If they want me to come back, I’ll definitely come again.”
