Balancing her dual identity as a solo singer-songwriter and the iconic voice of YOASOBI (as ikura), Lilas continues to expand her global footprint without losing her creative momentum. Three years after her previous solo project, she has unveiled her latest album, Laugh. Developed amidst the whirlwind of YOASOBI’s demanding international tours, the record serves as a distillation of her experiences over the last few years and a profound meditation on her vocal evolution.
In a detailed discussion with Billboard JAPAN, the 25-year-old artist explores the psychological “switches” between her solo endeavors and her work with YOASOBI, as well as the unwavering vocal confidence she discovered during the production of this album.
The Duality of ikura and Lilas
It has been a landmark year for you. Between completing YOASOBI’s most extensive tour and simultaneously recording this album, how do you navigate the distinction between your two musical personas?
It isn’t as simple as toggling a switch. When I perform as ikura, I am interpreting a world envisioned by someone else. In YOASOBI, I step into the universe Ayase has constructed. My primary focus during those sessions is technical; I’m constantly evaluating if my voice is effectively translating his vision. I bring every ounce of technique and training to that role, treating it with the precision of a craft. It’s a mindset of service to the song that differs from my solo work.
As Lilas, the music is an extension of my internal world—my own narratives and lived experiences. Because I am the songwriter, I carry the weight of the foundation. I have immense respect for the creative process and understand the boundaries of being a “performer” versus a “creator.” In my solo career, I am responsible for the core message, which requires a more vulnerable, sincere approach. The two roles naturally demand different energies, even if it’s difficult to define exactly where one ends and the other begins.
Turning the Road into Music
The distinction is clear, and Laugh seems to overflow with the creative energy you’ve been nurturing alongside YOASOBI. How did your life on the road shape this collection?
Thank you. This past year was an endurance test of live performances—63 shows in total, spanning Asia, Europe, and a massive 40-date domestic tour. Eventually, the stage stopped feeling like a special event and became my daily reality. I wanted to harness that—the routine encounters with the audience and those fleeting, nightly emotions—and transmute them into song.
Tracks like “Latata” were written early in that cycle, allowing me to process my YOASOBI experiences through my own lyrical lens. I truly believe that maintaining both careers allows me to bring the best of one into the other. “In Bloom” also reflects that era. The album is essentially a chronicle of three years spent running at full speed with two different faces.
“In Bloom” feels like it benefits from the physical vocal strength you’ve developed as ikura. It’s as if you’re using that power to drive the Lilas perspective forward.
I wanted that track to feel unpredictable and adventurous. It features frequent key changes and a sense of playfulness. It was my first release of 2025, and it served as a catalyst for the rest of my year. It holds a very special place in my heart.
Vocal Maturity and Personal Resolve
There is a remarkable density to these songs. Even the simplest phrases carry significant emotional weight. It feels like you’ve reached a point where you can fully trust the essence of your voice.
I think I’m finally reaching that level of trust. Throughout this project, I found myself reconsidering how I want to use my voice—both in song and in speech—for the rest of my life. I want to see how far I can push my expression. I’ve been refining this instrument since I was born, and I feel like my songwriting has finally caught up to my vocal capabilities. These three years have been about learning how to do truly interesting things with my sound.
The closing track, “Time Machine,” is a new addition. What was the story behind it?
That song was a major turning point for me. It was written after I had finally processed a significant change in my life. I realized that even though something monumental was over, I wouldn’t choose to go back to a time before it happened. The song is about the reality that we cannot reverse time; we can only thrive on our experiences and move forward.
I hadn’t been this transparent in my writing before. As a songwriter, I felt a responsibility to be honest rather than hiding behind metaphors out of embarrassment. Including it as the finale of Laugh felt like a way to officially step into a new version of myself.
Looking Toward the Global Stage
You are preparing for solo performances outside of Japan, starting with South Korea. How do you perceive the international reaction to your solo work?
It will be my first headlining solo show abroad, and I’m honestly surprised by the reach my music already has. Several K-pop artists have recommended my work, which helped build a listener base in Korea. It’s a strange and wonderful feeling to realize that music can accompany someone’s life regardless of where they live. It makes me wonder just how far this circle of expression can expand.
What is your ultimate ambition for your solo career?
I don’t necessarily frame it as “going global.” With YOASOBI, we are a team on a collective journey, and I give 100% to my role as ikura to see how far we can go. For my solo work, my goal is to remain a sincere companion to the listener’s everyday life. If that results in a global audience, I’m happy, but I don’t want that goal to shift my artistic axis.
Initially, I thought I could balance these two roles 50/50, but it has turned into giving 100% to both. It’s challenging, and I’m still learning how to manage that energy. Ultimately, my desire remains the same: to deliver my voice to as many people as possible, whether through Lilas or ikura, and to never stop challenging myself musically.
—Interview by Daisuke Koyanagi
