Venezuelan singer-songwriter and rapper Micro TDH presents today (Dec. 9) his sophomore studio album called Nueve. The 14-track set, which comes four years after Inefable, is his debut album under Warner Music Latina.

“It has music for all kinds of people, for all kinds of tastes,” Micro tells Billboard. “An album made with a lot of sweat, a lot of effort, and a lot of blood.” But most importantly, he says, the set “contemplates all the facets of Micro TDH and preserves the essence of the beginning and also my sound today.”

The Dec. 9 release date is appropriate, as Micro, who has studied numerology for many years, says the number nine is representative to his career and ideology. “You begin to understand that numbers are spiritual too,” he elaborates. “Nine goes with the word Micro TDH, and my mission as an artist and public figure.”

Born in Merida, located in the Andes mountains of northwestern Venezuela, Micro comes from a humble city where the locals are hard-working and with little malice. He explains that although there was no music industry in his hometown, there was a big rap movement.

“I began making music from a very young age. I was 12 when I knew I wanted to be a rapper,” he notes. “I started doing freestyle battles in Merida and then traveled all over the country. As time went by, I grabbed any resource I could to make myself known and little by little, I created my fan base.”

His first-ever single, called “Humildemente,” was released in August 2012. Five years later, he dropped “Cafuné,” which he says put his musical persona on the map — a savvy, passionate, and soulful rapper with edgy fusions backed by influences like Akapellah, The Beatles, and Boyz II Men.

In 2018, he signed a recording deal with Ovy on the Drums’ indie record label Big Ligas — and this year, he inked an exclusive record deal with Warner Music Latina, which will further develop his musical career.

Micro’s breakthrough hit came three years ago, with the Piso 21-assisted “Te Vi,” which earned him his first Billboard entry, peaking at No. 28 on Hot Latin Songs chart (dated May 11, 2019). He’s also placed entries on the Latin Airplay and Latin Rhythm Airplay charts. Now, he’s collaborating with artists such as Yandel, Myke Towers, and Pablo Alborán, all of which form part of his new album, Nueve.

“Sometimes I don’t process it, because where I come from, this opportunity has never existed… it was very impossible,” he says. “It makes me feel good, because it demonstrates that my work is worth it, and big artists are looking my way.”

As for what word best describes his music and lyrical content? Micro says “versatile, because he’s able to express something very cool in any genre.” “My music is not only for listening, but also a refuge for that person who feels alone,” he adds.

Below, meet this month’s (and the last of 2021) Billboard Latin Artist on the Rise:

Name: Fernando Daniel Murillo Rivas a.k.a. Micro TDH

“Micro came to me because when I decided to enter the world of hip-hop, I was always the smallest in the community. Micro is short for microbe and TDH is a homage to a music collective that I belonged to called The Dog House. They were the first people who believed in me when I was a kid and where I recorded my first songs with organic elements.”

Age: 22

Recommended Song: “Cafuné.” According to Micro, this is the song that put him on the map and was his “presentation letter” to the world.



Major Accomplishment: “Having my family with me in the U.S. It wasn’t easy to do all the paperwork from Venezuela. It’s been a very tough year and finally having them with me is a great blessing. I don’t care about awards, views, or playlists. The most important thing is my family.”

What’s Next: “I want to do a world tour, and especially go to Latin America. I am very excited about it. All year long I will be putting together a special show. I’ll also make a lot of new music, create new projects, and try to grow as a person. I think 2022 looks pretty good, and many blessings will come with God’s favor.”

Holly Humberstone is the winner of the Brit Awards’ rising star award supported by BBC Radio 1. The alt pop artist was also tapped this week as an opening act on the North American leg of Olivia Rodrigo’s upcoming debut concert outing The Sour Tour.

Humberstone, who will turn 22 on Dec. 17, is the first performer to be confirmed for the Brit Awards, which are set for Tuesday, Feb. 8, at the O2 arena in London.

The news of her award was revealed Thursday (Dec. 9) by Clara Amfo on her BBC Radio 1 Future Sounds show. The other nominees were Bree Runway and Lola Young.

In a statement, Humberstone said: “I remember watching the Brits with my parents each year and being totally awestruck by the artists coming together in what felt like another universe. Now to be named the Brits’ rising star and nominated alongside two other incredible women, with the songs that started within those four walls at home is so mad. It just doesn’t feel real. This year has been a wild ride and a year of firsts, and I am so grateful and thankful for everyone who has helped make this happen!”

Humberstone has garnered more than 200 million global streams to date, according to a statement released by the Brits. Over the past year, the Polydor artist has been nominated for the Ivor Novello rising star award with Apple Music, was runner-up in the BBC Sound of 2021, was chosen as YouTube’s artist on the rise and Deezer’s focus artist, and performed on such TV shows as The Tonight Show Starring Jimmy Fallon, The Late Late Show With James Corden and Later… With Jools Holland.

Humberstone’s debut EP Falling Asleep at the Wheel was released in August 2020. Her second EP The Walls Are Way Too Thin, released last month, has climbed as high as No. 64 on the Official U.K. Album Chart.

Past rising star or critics’ choice winners (as the award was formerly known) include Adele and Sam Smith, who both also won the Grammy for best new artist. Three other past rising star winners — Florence + the Machine, James Bay and Jorja Smith — were Grammy-nominated for best new artist.

The Brits rising star award shortlist is selected by an invited panel of music editors and critics from the national press, online music editors, heads of music at major radio and music TV stations plus songwriters, producers and live bookers — those working with new rising talent on a regular basis.

Mo Gilligan is set to host the Brit Awards 2022 with Mastercard, which will be broadcast on ITV and ITV Hub. Nominations will be revealed in “The Brits Are Coming” broadcast on those same channels on Dec. 18.

Here’s a complete list of past Brits’ critics’ choice/rising star winners:

2008: Adele
2009: Florence + The Machine
2010: Ellie Goulding
2011: Jessie J
2012: Emeli Sandé
2013: Tom Odell
2014: Sam Smith
2015: James Bay
2016: Jack Garratt
2017: Rag ’n’ Bone Man
2018: Jorja Smith
2019: Sam Fender
2020: Celeste
2021: Griff

For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard is counting down their staff picks for the top 10 pop stars of 2021 all this week and next. First, a salute to the artist who made the most impressive comeback this year: critically acclaimed pop-punk hitmaker Willow. 

After a brief turn in the mainstream as a child star, Willow Smith found a dedicated cult following during the 2010s, thanks to enduring streaming hits such as “Wait a Minute!,” from her 2015 debut album Ardipithecus. Despite her strong following, the L.A. native hadn’t seen major crossover success since the release of her debut single, the pop-rap track “Whip My Hair,” which peaked at No. 11 on the Billboard Hot 100 in November 2010.

However, 2021 is the year Willow truly cemented herself as a fully-grown artist with front-and-center staying power, a narrative befitting of someone who officially entered legal adulthood in October. After years of toying with psychedelic R&B, neo-soul and sassy pop, followed by a brief hiatus from music to focus on herself and her side endeavors, the adventurous singer was given a nudge to foray into an edgier lane by her mother, actress and frontwoman of the nu-metal band Wicked Wisdom, Jada Pinkett-Smith. (“I think that seeing my mom on stage and how she commanded the music and the band just made me realize that’s what I want to be,” Willow said in an interview with V Magazine. “I want to be that strong woman who is putting it all out there on the stage.”)

With Blink-182 drummer/producer Travis Barker playing a key role in her change of direction, Willow reintroduced herself in April with the ferocious pop-punk single “Transparentsoul.” Despite being relatively new to the rock side of popular music, Willow has long prided herself a rebellious spirit, making this artistic shift feel appropriate. (She shaved her head as an 11-year-old, somewhat ironically, in protest of continuing her 2012 Whip My Hair tour.)

“Transparentsoul” became the singer’s first entry on the Hot 100 in 10 years, peaking at No. 76 in July. It also introduced her to Billboard’s Rock and Alternative charts – including a No. 2 spot on the Rock Streaming Songs chart – and was certified Gold in September. The release of “Transparentsoul” couldn’t have come at a better time, as it fit right in with the massive wave of successful pop-punk-leaning songs released in 2020 and 2021 by acts like Machine Gun Kelly, Yungblud, and Olivia Rodrigo.

A proper album quickly followed the electric single: Lately I Feel Everything was released in July 2021, featuring elements traversing the gamut of alternative rock – pop-punk of course, but also grunge and indie. Not only is Barker a featured drummer on a number of tracks, pop-punk foremother Avril Lavigne accompanies Willow on the introspective, guitar-heavy “Grow,” while rockers Cherry Glazerr and Ayla Tesler-Mabe and rapper Tierra Whack were also noteworthy voices found on the energetic 11-song project. 

The effort peaked at No. 46 on the Billboard 200 albums chart, and received positive reviews from critics, with many publications praising Willow’s spirited preservation of pop-punk, from her emotive delivery to the blaring, angsty instrumentation. It’s since been named to a number of year-end lists of the best albums by NPR Music, Complex, Uproxx and Billboard. “[Lately I Feel Everything] was me coming to a point where I just said ‘eff it’ and wanted to have fun,” she told Billboard earlier this year. “This album is the most I’ve let myself loose.” 

In May, after the release of “Transparent Soul,” Willow was announced as one of the supporting acts for Billie Eilish’s Happier Than Ever World Tour during select shows in February and April 2022. The on-tour pairing of two young women who are praised for rewriting the traditional rules of music, culture and femininity couldn’t have been made for a better fit – and shortly after, Willow announced her own national headlining tour, titled “LIFE.” But even with the positive response to Lately I Feel Everything and its lead single, it certainly came as a surprise that her most successful single since her pre-teen pop days would be with a song that entirely predated her new punk era.

The ANXIETY, Willow’s collaboration project with close friend and producer Tyler Cole, was released quietly in March 2020, without making much of an initial chart impact. However, during a September promo run for her then-forthcoming Life Tour to support Lately I Feel Everything, the duo performed a live version of “Meet Me at Our Spot,” an indie-leaning, mid-tempo track found on THE ANXIETY which pertains to escaping internal fears in order to “catch a vibe” with that special someone. 

After the performance, the song found new legs by going viral on TikTok, becoming a sleeper hit bigger than anyone could have anticipated. “Meet Me at Our Spot” peaked at No. 21 on the Hot 100 in November 2021, making it Willow’s most-successful song since “Whip My Hair.”

Through her insistence on playing by her own rules (and to her own strengths), Willow successfully launched one of the most powerful re-emergences of the past few years, closing out the calendar year as one of the leading voices in contemporary alternative music. Her accomplishments in these genres are crucial, as her very presence disrupts the stereotypical aesthetic of mainstream rock and punk stars. 

Particularly during the ‘90s and early-’00s, cis, white, heterosexual men have prevailed as pop-punk’s most prominent representatives. While people of color performing pop-punk is nothing new (such as early-’00s act Fefe Dobson and current pop-punk band Meet Me at the Altar), inclusion in the scene allows for greater accessibility, and Willow’s visibility in particular showcases the growth this style of music has undergone. (Plus, there’s no better outlet than rock music to let out the frustrations that may come with navigating growing up during a pandemic, no less as a Black woman.)

While she’s always appeared to be an advocate of creating whatever art makes her soul soar, Willow’s full-out ownership and acceptance of her authenticity is what makes her comeback that much sweeter. “I can see myself diving deeper and refining my musicianship,” Willow said in a recent NME interview. “Through refining my musicianship, I can execute new genres authentically and with quality. That’s really where I’m trying to be.”

Later today: Billboard names their Rookie of the Year for 2021. 

Billboard Japan has released its 2021 year-end charts, tracking the weeks of Nov. 23, 2020, through Nov. 28, 2021. Solo singer-songwriter Yuuri’s mid-year chart-topper “Dryflower” goes on to rule the year-end tally, while BTS’ BTS, THE BEST is the top album of 2021.

Yuuri’s “Dryflower,” released in October 2020, is a song that continues the story depicted in the 27-year-old artist’s viral hit from 2019 called “Kakurenbo” (“Hide-and-seek”) from the girlfriend’s point of view. The track has become a long-running hit, staying in the top 10 of the Japan Hot 100 since the chart dated Nov. 25, 2020.

“I never imagined it would be No. 1 for the whole year, so I’m genuinely surprised,” the 27-year-old singer/songwriter said during his latest interview with Billboard Japan commemorating the achievement. “It’s a really important song for me, so I’m very happy that it’s reached so many people.”

At No. 2 for the year is BTS’ “Dynamite,” and YOASOBI’s “Yoru ni kakeru” (“Into the Night”) comes in at No. 3. All three songs are digital-only releases, meaning they maintained their enduring popularity through streaming, downloads and video views with no CD sales to count toward their chart performances.

The No. 1 album on the year-end Japan Hot Albums chart is BTS’ BTS, THE BEST. The K-pop superstars’ greatest-hits collection sold 1,022,247 units during the tallying period, and was the only album to sail past a million units this year. The set came in at No. 1 for sales, No. 6 for look-ups (the number of times a CD is ripped to a computer) and No. 7 for downloads.

In an email interview with Billboard Japan, the group commented: “BTS, THE BEST is like a treasure box packed with our memories with ARMY. We’re full of gratitude that you love our songs and that this album has received such an honorable award. It also encourages our future musical activities. If it weren’t for our ARMY, we wouldn’t have been able to achieve such great success. Thank you so much.”

Two new Johnny’s boy bands follow with Snow Man’s Snow Mania S1 coming in at No. 2 and SixTONES’ 1ST coming in at No. 3. Snow Mania S1 hit No. 2 for sales and No. 13 for look-ups, while 1st followed at No. 3 for both metrics.

The No. 1 act of 2021 on Billboard Japan’s Artist 100 tally — compiled from the results of the Japan Hot 100 and Hot Albums charts — is BTS. Their long-running hits “Dynamite,” “Butter” (No. 6 on the year-end chart) and “Permission to Dance” (No. 15), as well as their albums BTS, THE BEST, BE (No. 7 on the year-end chart) and Butter (No. 17), all excelled on the Japan charts this year.

The J-pop duo YOASOBI launched 11 songs into the Japan Hot 100 this year and come in at No. 2 on the year-end Artist 100. Four-man band Official HIGE DANdism follows at No. 3, fueled by its recent hit song “Cry Baby” (No. 13 on the year-end chart) and highly anticipated new studio album Editorial (No. 10).

Continuing from last year, the Japanese music scene in 2021 was marked by a series of hits by breakout artists such as Yuuri and Ado (a teenager whose “Usse-wa” became a social phenomenon). Also, BTS’ phenomenal success on both the U.S. and Japan Billboard charts during the past year has brought attention to the way fandom works. The Japan charts highlight the fact that each artist or act has different types of fans — those attributed to the artist and those attributed to a particular song. The next new artist or act to succeed will most likely be those who have both, as well as connections to the world in various aspects.

How will the Japanese music scene change in 2022? Billboard Japan will keep brushing up its charts to ensure that they continue to be the simplest connection between artists and listeners.

Billboard Japan Hot 100 of the Year 2021 Top 10

1. Dry Flower / Yuuri
2. Dynamite / BTS
3. Yoru Ni Kakeru / YOASOBI
4. Homura / LiSA
5. Kaibutsu / YOASOBI
6. Butter / BTS
7. Usse-wa / Ado
8. Gunjo / YOASOBI
9. Niji / Masaki Suda
10. Kaikai Kitan / Eve

Billboard Japan Hot Albums of the Year 2021 Top 10

1. BTS, THE BEST / BTS
2. Snow Mania S1 / Snow Man
3. 1ST / SixTONES
4. THE BOOK / YOASOBI
5. Re:Sense / King & Prince
6. SOUNDTRACKS / Mr.Children
7. BE / BTS
8. Attacca / SEVENTEEN
9. One Last Kiss / Hikaru Utada
10. Editorial / Official HIGE DANdism

Billboard Japan Artist 100 of the Year 2021 Top 10

1. BTS
2. YOASOBI
3. Official HIGE DANdism
4. Yuuri
5. NiziU
6. Ado
7. back number
8. LiSA
9. Aimyon
10. Kenshi Yonezu

Billboard Japan Hot Animation of the Year 2021 Top 10

1. Homura / LiSA
2. Kaibutsu / YOASOBI
3. Niji / Masaki Suda
4. Kaikai Kitan / Eve
5. Cry Baby / Official HIGE DANdism
6. Gurenge / LiSA
7. Grandeur / Snow Man
8. One Last Kiss / Hikaru Utada
9. Inferno / Mrs. GREEN APPLE
10. Universe / Official HIGE DANdism

Billboard Japan announced its 2021 year-end HOT Albums chart, and BTS‘ greatest-hits album BTS, THE BEST ruled the annual ranking.

Released on June 16, the collection sold 1,022,497 units during the 2021 tracking weeks and was the only album released this year to sell more than a million units in Japan. It’s also the South Korean septet’s first million-selling album in the country.

BTS’ long-running hits such as “Dynamite,” “Butter” and “Permission to Dance” made a big splash on the Japan charts, and the global superstars have also topped Billboard Japan’s year-end Artist 100 tally, which combines points from the comprehensive song and album charts.

The K-pop supergroup that has dominated not only their native South Korea but also Japan and the U.S. commented on their global success and their love for ARMY.

BTS, THE BEST ranked No. 1 on Billboard Japan’s year-end Hot Albums chart, and BTS was the No.1 act on the Artist 100 tally. Congratulations! Your music has continually graced the Billboard Japan charts for the past year. How does it feel to be No. 1?

First of all, thank you very much for giving us such a fabulous award. BTS, THE BEST is like a treasure box packed with our memories with ARMY. We’re full of gratitude that you love our songs and that this album has received such an honorable award. It also encourages our future musical activities. If it weren’t for our ARMY, we wouldn’t have been able to achieve such great success. Thank you so much.

People uploaded numerous dance videos featuring your songs, especially “Dynamite,” and were glued to your online performances. Many fans were soothed by your music and were able to enjoy themselves during the pandemic. How do you feel about this response from fans?

Our wish was to send hope, support and positive energy to many people during these difficult times of the pandemic. We’re so happy that our message was received as we’d intended, and that we’ve received even bigger happy energy from people around the world in response.

What song would you choose as your “song of the year” and why?

RM: My choice for song of the year would be Justin Bieber’s “Peaches” featuring Daniel Caesar and Giveon because it has such a good melody.

JIN: The Kid LAROI and Justin Bieber’s “Stay.” It makes me feel good when I listen to this song while taking a bath after a long day.

SUGA: Our song “Butter.” We hope to win a Grammy next year.

V: I choose “One Right Now” by Post Malone and The Weeknd. The mood of the song is really good.

Your collaborations with Coldplay (“My Universe”) and Ed Sheeran (“Permission to Dance”) reached No. 1 on the U.S. Billboard Hot 100. You now have a remarkable global presence even though you’re still based in South Korea. Now that you’ve become a beacon for artists from Asia who aim for such global success, are there any convictions or routines that you continue to hold on to?

We always hope that we can bring happiness and sometimes frankness to many people through music.

Tell us your future plans and goals.

We’ll continue to convey our hearts to many people through better music and songs, and will do our best to repay the great love we’ve received from everyone.

Please give a message to ARMY.

Thank you for always sending us unchanging love and support. We’re able to spend our time feeling happy thanks to ARMY. We’ll continue to wish ARMY good health and happiness in the future. Thank you so much.

Yuuri‘s single “Dryflower,” released in October 2020, is the No. 1 song on Billboard Japan‘s year-end Japan Hot 100 tally. The track topped the mid-year chart and maintained momentum throughout the second half of the year, hovering in the top 10 since the chart dated Nov. 25, 2020.

The 27-year-old singer-songwriter has consistently released singles this year, from “Infinity,” featured as the ending theme of the anime series SK8 the Infinity, to “Betelgeuse,” written as the theme for the Japanese drama series Super Rich. Billboard Japan spoke to Yuuri about his progress in 2021, a year of great strides for the rising hitmaker.

Your song “Dryflower” is the 2021 Billboard Japan Hot 100 of the Year, following its reign over the mid-year tally. Could you share how you feel about this accomplishment?

I never imagined it would be No. 1 for the whole year, so I’m genuinely surprised. It’s a really important song for me, so I’m very happy that it’s reached so many people.

You’ve been releasing new songs consistently this year, from “Infinity” to “Betelgeuse.” Did the success of “Dryflower” inspire or influence your songwriting?

I wasn’t influenced in any specific way, but I do think that I’ve got more than just “Dryflower” up my sleeve. The other songs are also good in my opinion, so I considered how I could make them reach a wider audience.

Honestly though, when I write songs, I start off by being conscious of writing something that “reaches more people,” but end up just filling the song with the feelings I want to convey when I actually begin the songwriting process.

“Dryflower” was released in October 2020 and has remained in the upper ranks of the charts for over a year. What do you think is the reason why this song has been loved for such a long time?

Hard one! [Laughs] In my mind, it’s got a melody that isn’t too challenging and anyone can sing it, so that might be one of the reasons. Also, when I record songs, I think of the people who will listen to them, so I guess that might have something to do with it, too. It’s difficult to put into words.

What you just said about it having a “singable” melody, is this something that you always keep in mind when writing songs in general?

Yes. I think that the songs I write should be the ones I like the most. It goes without saying that I write and sing songs to deliver them to others, but I try to put out music that I personally really like, so that I don’t end up thinking stuff like, “I should have done this” or “that might have been better” and regretting it.

Looking back, what kind of year was 2021 to you?

I think the biggest thing is that I can now perform live with an audience. Up until now, I couldn’t really see the faces of the people who were listening to my music. When I was rehearsing at the venue on the day of my headlining concert, I felt so apprehensive, wondering if the place would really fill up with people who’d come to hear me sing. But when the show started and I went on stage, so many people were there and they listened to my songs sincerely. I gained a lot of confidence thanks to that experience. I saw that my songs were actually reaching people. 2021 was a year that helped me realize that.

It’s true that “Dryflower” didn’t become a full-fledged hit until after the COVID-19 pandemic, meaning artists couldn’t perform live in front of audiences for some time. While song charts visualize the popularity of a track through figures, they don’t actually show you the people who are listening to it. So you found it hard to believe.

Exactly. So when I finally got to do a concert [before a live audience], I was like, “Oh, you all really exist!” and felt really glad. [laughs] I’m happy that people stream my songs and I keep doing what I do because I genuinely love music, but it really hit home what a great thing it is to perform live, and I’d like to have more opportunities to deliver my music directly to fans.

Does knowing that your music is reaching listeners motivate you?

When “Dryflower” first became known to a wide audience, I really wanted people to get to know me as well as the song. But thinking about it now, having cooled off a bit a year after its release, I see that it’s a fortunate thing to be able to connect with people who don’t know me through the song. So now I just want more people to hear it.

Your latest single, “Betelgeuse,” was written as the theme for the Japanese drama series Super Rich. It’s your first tie-in with a TV series. How did you feel when you were tapped to write it?

I never imagined I’d sing a theme for a drama series, so I was honestly surprised. I’m pretty sure a lot of people got to know me through “Dryflower,” but it wasn’t like I was famous enough to attract lots of people to my shows before. I really wanted to tell everyone in my family right away, but had to keep it a secret until the information was released. [Laughs]

How did the songwriting go?

The content of the drama was explained to me beforehand, and I also read the script.  I wanted to write a song that would commit to the world of the drama, one that would make people say that my music improved it. I think I succeeded in doing that. I wrote “Dryflower” and “Kakurenbo” (“Hide-and-seek”) by depicting a story from scratch, and “Peter Pan” was a song I wrote about my frustrations, but “Betelgeuse” was written specifically for the drama and it was refreshing to experience a completely different way of songwriting.

How was the response to it?

Usually the response to a song reaches me after it’s been out for a while, so it’s always a relief to find out people know about it. But this time, I was really surprised because the song sort of shot up the charts, probably because I sang it on [the popular YouTube channel] The First Take before it was released.

If you were to choose the song that resonated with you the most in 2021, what would it be? In the mid-year interview, you said “Runaway” by Bon Jovi.

My parents got me into Bon Jovi when I was a kid and that was how I took interest in doing music. Even now, when I’m feeling down or met with a setback, Bon Jovi’s music makes me want to keep going. I chose “Runaway” in the earlier interview, but I think I listened to “Livin’ on a Prayer” the most this year.

I’ve been posting live performance videos on social media and YouTube, and make it a point to listen to new songs while I’m at it. Recently, I’ve been listening to [J-pop singer] Uru’s “Love Song” all the time. It’s a song that gives me a tender feeling and I often listen to it at night. My own songs make me feel out of breath when I sing them, like I’ve given everything I have, but when I listen to mellow songs like this on my way home, I can chill out and sleep better.

Lastly, tell us what you have in store for next year and any future goals or ambitions you might have.

Yuuri: I was able to work at my own pace this year, not only in terms of releasing songs but also doing shows and uploading stuff on YouTube. I’ll be releasing my first album called Ichi (“One”) in 2022 and look forward to everyone hearing it. I hope to continue delivering my songs to people at my own pace like I did this year.

Oh, and I want to write and sing songs that have a calming effect, too! [laughs]. I think I still have lots of room to grow, so I’d like to write music that reaches more people and keep singing lots of songs.