The 75th NHK Kohaku Uta Gassen, Japan's premier year-end music show, attracted significant attention with its mix of performances and controversies. Airing on New Year’s Eve, the event saw Gen Hoshino taking the stage amid scrutiny over the choice of his song, which was altered due to criticisms relating to past allegations against film director Sion Sono.
Historically, the Kohaku Uta Gassen, affectionately referred to as "Kohaku," has served as a cultural touchstone for Japanese music lovers, showcasing top talents from both the red and white teams, comprising male and female performers respectively. This year, the program reportedly rose from its recent viewership lows, improving by 0.8 points compared to the previous year. Yet, the excitement was tinged with tension, especially during Hoshino's performance.
Initially slated to sing his popular track "Jigoku de Naze Warui (Why It's Bad at Hell)," which doubles as the theme song for Sono's movie of the same name, Hoshino faced backlash due to the film's association with allegations of sexual misconduct against the director. The uproar forced NHK to reconsider the song choice. Despite higher viewership, the cloud of controversy loomed over the Kohaku, reverberated through social media, and provoked many to question Hoshino's decision to participate.
On December 26, just days before the live performance, NHK announced the change of Hoshino's song to "Barabara (Scatter)" after receiving numerous complaints. Hoshino responded on his official website, emphasizing the song's creation roots tied to his own health struggles and denouncing any form of sexual misconduct. He stressed, "I cannot deny the possibility it may have caused secondary harm to victims, and I do not condone any act of sexual violence." His somber approach clearly reflected the sincerity of his message, yet many viewers noted the discomfort surrounding his performance.
During the live show, Hoshino displayed noticeable tension. Before he began singing, he paused for fifteen seconds—a silence felt deeply by everyone watching. The lyrics he eventually performed were adjusted to remove potentially provocative lines, changing "You are real, I am fake" to "You are real, I am real too." This modification lent itself to mixed interpretations, leaving some fans feeling as though the changes were more of a concession than expression.
Industry observers commented on the palpable unease during Hoshino's segment. "The atmosphere was starkly different from his previous performances; he seemed weighed down by external expectations and perceptions," noted one music industry figure. Indeed, past Kohaku performances depicted Hoshino as engaging and spirited, leaving his audience with vibrant impressions of joy and excitement.
The split reaction to Hoshino's performance prompted discussions about artistic freedoms and the ethical responsibilities of public figures. Many fans echoed sentiments of concern for Hoshino's well-being following the unnecessary burden placed on him by the critics and media.
"When NHK demanded Hoshino perform the controversial song, they placed him at the epicenter of scrutiny, and there’s growing frustration about how the broadcaster managed such artist relationships," remarked another voice from the music industry. Fans and industry players alike expressed anger at NHK's handling of the incident, perceiving it as lacking respect for Hoshino, who worked diligently to navigate the delicate situation.
Additional perspectives emerged surrounding the theme of the performance and its timing. The lyrics switched from highlighting personal fragility to the broader idea of shared authenticity, creating rife debates over the nature of the change. Many noted it appeared to reflect societal discomfort with issues addressed through art—a concerning reality for artists hoping to express themselves freely through their work.
Some viewers worried this incident might discourage Hoshino from participating again, expressing apprehension he might step back from future Kohaku appearances. Comments on social media suggested people shouldn't expect much more from Hoshino, with predictions like, “Next year, he might not show up even if they call him.”
Yet, as conversations surrounding the aftermath of Hoshino's song selection continue, there remains hope for dialogue about artistic integrity and accountability, extending beyond just this broadcast. Artists are often at the mercy of public opinion, illuminating the delicate balance between the art they create and the societal norms they navigate.
Reflecting on this year's Kohaku Uta Gassen, many offered a mixed sense of nostalgia and trepidation, hoping for future events to champion not just the best music, but also to respect the artists who create it. The 75th anniversary of this beloved tradition may become synonymous with both resilient artistry and the pressing need for actionable respect from institutions supporting their artists.