Ado, ATARASHII GAKKO!, and YOASOBI live at matsuri ’25 Los Angeles: A sold-out statement for Japanese music

With a sold-out crowd of 7,100 and a lineup featuring three of the biggest names in modern J-pop, matsuri ’25: Japanese Music Experience LOS ANGELES came with high expectations. Part industry showcase, part ultimate fan event, it brought YOASOBI, ATARASHII GAKKO!, and Ado together for a rare co-headlining night at the Peacock Theater—one backed by CEIPA and Toyota’s MUSIC WAY PROJECT, a new initiative aimed at expanding Japanese music’s international presence.

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Industry Panel & Mixer: The Challenges of Breaking Through

Ahead of the performances, the Japan External Trade Organization (JETRO) hosted a panel and networking event featuring executives from Japan and the U.S., discussing the challenges of expanding Japanese artists’ reach overseas. The session opened with remarks from JETRO Los Angeles Executive Director Yoshiko Tsuwaki, followed by an introduction to MUSIC AWARDS JAPAN (MAJ), a new industry-backed awards show launching in Kyoto this May.

RELATED: What is CEIPA? The organisation behind matsuri ’25 and MUSIC AWARDS JAPAN

The panel covered the logistical and financial hurdles of overseas touring, visa restrictions, rising production costs, and the reliance on anime tie-ins as a key route to international recognition. To close the session, pre-recorded messages from Ado, ATARASHII GAKKO!, and YOASOBI were screened, with each artist touching on the significance of the event. But while the industry discussion laid the groundwork, the night’s real impact would be measured by what happened inside the Peacock Theater.

The crowd itself reflected the wider pull of the event. Fans had traveled from across the U.S. and beyond, drawn by the opportunity to see three of Japan’s leading contemporary artists on the same stage.

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YOASOBI: A Cinematic Start

Duo YOASOBI opened the night with their refined literary-inspired J-pop and electronic sound, setting a peppy, anthemic tone from the outset. Their international momentum remains strong—having sold out their upcoming UK debut at Wembley Arena in seconds, they quickly added a second date to meet demand. This follows a standout 2024 that saw them perform at Coachella, sell out a U.S. tour, and take the stage at Lollapalooza.

Vocalist ikura (Lilas Ikuta) and producer Ayase, dressed in futuristic, dystopian Dune-esque outfits, performed against a backdrop of eye-popping visuals, making full use of the venue’s massive screen. They opened with ‘Seventeen’, setting a fast pace that carried through ‘Shukufuku’ (‘The Blessing’), the theme for Mobile Suit Gundam: The Witch from Mercury, and ‘UNDEAD’, their hyperactive contribution to the Monogatari series. As the first notes of their 2019 debut single ‘Yoru ni Kakeru’ (‘Into the Night’) rang out, the venue lit up with a sea of light sticks, bringing the scale of the show into focus. During ‘Gunjou’ (‘Blue’), the audience swelled into a collective singalong, their voices carrying through the theater.

Ikura addressed the crowd in both English and Japanese, saying, “I came here hoping to enjoy the best music with everyone”. Closing the set with their viral hit ‘Idol’, the entire theater locked into the signature “Oi!” chant, a moment that reinforced the anthemic quality that has helped YOASOBI reach international audiences.

YOASOBI ran through a tightly executed set, focusing on their strongest material and maintaining momentum throughout. While the setlist came close to mirroring their usual festival lineup, the sharp delivery and stage production made for a strong opener.

YOASOBI Setlist:

1. Seventeen
2. Shukufuku (The Blessing)
3. UNDEAD
4. Tabun (Maybe)
5. Yuusha (The Brave)
6. Kaibutsu (Monster)
7. Yoru ni Kakeru (Into the Night)
8. Gunjou (Blue)
9. Idol

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ATARASHII GAKKO!: Unpredictable, Unstoppable

If YOASOBI set the tone, ATARASHII GAKKO! tore it apart. The four-member group, known for their blend of J-pop, hip-hop, and punk energy, skipped a traditional entrance and instead stormed in from the back of the theater, waving flags and weaving through the aisles before hitting the stage. ATARASHII GAKKO! don’t just perform—they take over.

The New School Leaders weren’t here to play it safe. From the first beat, they kept the momentum high with an 11-song set that felt more like a riotous dance party than a sit-down gig.

Fuelled by self-choreographed routines that were as precise as they were unpredictable, the girls broke the barrier between performer and audience, turning the theater into their playground. During ‘Tokyo Calling’, the group’s lead SUZUKA jumped into the crowd, sprinting through the aisles as fans scrambled to keep up. It was controlled chaos in the best way possible.

The night also featured the debut of ‘Free Yourself’, an unreleased track, and the live premiere of ‘One Heart’, their gospel-infused latest single, with the entire venue chanting along.

“Los Angeles is special to us—it’s where we lived together, made our EP, and created so many unforgettable memories”, the group told the crowd. “We’re beyond happy to share this moment with you all”.

ATARASHII GAKKO! Setlist:

1. Change
2. Fly High
3. Arigato
4. Otona Blue
5. Toryanse
6. Free Yourself (New Song)
7. WOO! GO!
8. Essa Hoisa
9. Tokyo Calling
10. NAINAINAI
11. One Heart (New Song)

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Ado: A Voice That Can Crush You

Before Ado even appeared, the atmosphere shifted. Security enforced a strict no-phone policy—standard for her shows but still rare at an event like this. As the Ado box took its place at center stage, tension settled over the crowd. For longtime fans, it was a familiar ritual. For first-timers, it was a moment unlike anything else that night.

Then, the lights cut out. The cube turned semi-transparent, revealing Ado’s silhouette inside as the opening chords of ‘Show’ rang out—one of J-pop’s biggest singles of 2023.

At this point, it wasn’t about theatrics—it was about the voice. Across a 10-song set, Ado barely moved yet commanded the stage with staggering vocal control. From the surgical precision of her whispers to the feral intensity of her screams, every note hit with weight.

RELATED: Ado announces best-of album ‘Ado’s Best Adobum’ for 5th anniversary

‘Usseewa’, Ado’s debut single released when she was just 17, had the crowd erupting in call-and-response shouts, while ‘Aishite Aishite Aishite’ pushed her vocals into near-unreal registers, leaving some visibly shaking their heads in disbelief.

The opening track’s Egyptian-style hieroglyph visuals created an almost ritualistic atmosphere, while later songs leaned into anime-inspired sequences—a nod to her deep ties with J-pop’s digital era.

Between songs, Ado broke character just long enough to speak with the crowd. Switching between English and Japanese, she recalled spending a month in Los Angeles last year and joked about grabbing an In-N-Out burger and some last-minute Macy’s shopping before heading back to Japan.

Before her final song, she addressed the crowd:

“I want to guide as many people towards happiness. Everyone who came here today—you’re precious to me. You’re my precious.”

She closed with the Latin-club energy of ‘Odo’, but the audience wasn’t ready to let go. Chants for an encore filled the venue, but there was no return, no final bow—just the house lights flicking on and an audible groan from the crowd.

In April, Ado kicks off the Hibana world tour with two back-to-back shows at Saitama Super Arena, launching a 30-date run across Asia, Europe, North America, and Latin America—the largest international arena tour ever by a Japanese artist.

Ado Setlist:

1. Show
2. New Genesis
3. Usseewa
4. Lucky Brute
5. Tot Musica
6. RuLe
7. Aishite Aishite Aishite (Love Me, Love Me, Love Me)
8. Gyakko (Backlight)
9. Episode X
10. Odo (Dance)

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A Statement for Japanese Music Abroad

matsuri ’25 was a test case for Japanese music’s place on the global stage. With a sold-out crowd in Los Angeles, three of Japan’s biggest acts, and a production that stood alongside major international showcases, it reinforced that J-pop can stand on its own terms.

Each artist took a different approach to that goal. YOASOBI delivered cinematic precision, ATARASHII GAKKO! led a full-scale charge, and Ado dominated with sheer vocal force. Together, they showcased the range and adaptability of J-pop beyond the domestic market.

With CEIPA and Toyota’s MUSIC WAY PROJECT planning further international events, matsuri ’25 is unlikely to be a one-off. London and Bangkok have already been named as future host cities, with more expected to follow.

For those who missed it, the full concert will stream globally via Sony Music Solutions’ Stagecrowd platform on March 29th, with an on-demand archive available until April 13th.

Words by Charles Shepherd with contributions from Rudy Salgado.

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