Over a decade since their formation, WEDNESDAY CAMPANELLA remain one of Japan’s most unconventional pop acts. Equal parts art project, dancefloor unit, and oddball storytellers. Initially fronted by KOM_I, whose surrealist delivery and stagecraft earned the group cult status across the 2010s, the project entered a new phase in 2021 with the arrival of Utaha.
Since then, WEDNESDAY CAMPANELLA have steered their sound toward club-ready pop while keeping their idiosyncratic storytelling at the centre. Tracks like 2022’s ‘Edison’ brought viral momentum and earned them Best Dance/Electronic Song at MUSIC AWARDS JAPAN. Their 2024 EP ‘POP DELIVERY’ pushed further into character-led songs rooted in folklore and internet culture, set to a mix of Afro house, baile funk, drill, and jungle.
Their April single, ‘Summer Time Ghost’, the theme for the anime Kowloon Generic Romance, draws on sweltering nights and Hong Kong’s urban sprawl. It also lends its name to the group’s Asia–Europe tour, which comes to London this July, opening their first European shows since the KOM_I era.
In this interview, Electric Bloom Webzine caught up with Utaha, Kenmochi Hidefumi, and creative director Dir.F, to talk about the pressures of following up viral success, rethinking what “pop” can be, and how WEDNESDAY CAMPANELLA are navigating a phase that has been shaped by award wins, international tours, and a growing global following.
Kenmochi, you’ve previously mentioned blending melancholy with the heat of summer—how did that duality shape the sound and lyrics of ‘Summer Time Ghost’?
Kenmochi: Originally, the song was written for an anime tie-in, but I mixed in my own memories of visiting Hong Kong and my frustration with the oppressive summer heat, which led to creating original lyrics.
Musically, the arrangement blends modern elements with a sense of nostalgia, combining both to create the sound.
Utaha, what were your first impressions when you first heard the demo for ‘Summer Time Ghost’?
Utaha: At first, I thought the chorus sounded really difficult to sing. But as I listened to it more carefully, I realised that it faithfully captured the world of the original manga Kowloon Generic Romance. That made me want to express that world through my voice.
You debuted ‘Summer Time Ghost’ just days before the tour finale, then performed it again in Asakusa. How did it feel to present such a fresh song at such a major moment?
Kenmochi: I started by writing the main melody with the vibe of an ‘80s Japanese song in mind. For the rap section, I used lo-fi sounds to create a nostalgic atmosphere. For the chorus, I went with mechanical and mysterious phrases that feel unfamiliar. Each part of the song reveals a different side, and I tied them all together with a sense of momentum and flow.
“We originally started this group thinking we’d be making new, weird, and niche music… so honestly, we never imagined we’d ever win an award like this.”
– Kenmochi
Utaha, you’ve said in the past that your role is to channel the theme of each track vocally—did this one require a different approach compared to past songs?
Utaha: I think my general approach was the same as usual. I always try to adjust my vocal tone to match the theme of each track, but this one was challenging because of the complexity of the structure. I also focused on delivering the vocals in a way that would bring the imagery of the lyrics to life.
Kenmochi, you often build songs around unusual concepts. Do you still write with fictional characters in mind, even outside of tie-ins?
Kenmochi: Even when it’s not a tie-in, most of WEDNESDAY CAMPANELLA’s songs are based on certain characters or figures. I like imagining alternative stories―what if these well-known people had lived completely different lives. That idea helps me expand both the musical and lyrical concepts.
Utaha, is there a song in your discography where you felt you unlocked a new part of your vocal identity?
Utaha: Before joining WEDNESDAY CAMPANELLA, I had never done rap before, so when I first tried it on ‘Buckingham’, it felt really fresh to discover that this kind of vocal expression was also possible for me.
How do you decide which musical ideas are “Campanella enough” to develop further, and which ones you leave aside?
Kenmochi: It’s mostly an instinctive process, but I always focus on the moments where I feel like I’ve stumbled upon a combination of sounds I’ve never heard before. What I’m always aiming for in my music is something that’s interesting, cool, and new.
Kenmochi, you previously leaned into lyrical/sonic mismatches with KOM_I—has your collaboration with Utaha led to new kinds of contrast or harmony?
Kenmochi: Utaha’s voice is like a laser beam―strong, resonant, and full of presence. It never gets buried in the back track, which has opened up new possibilities for us to experiment with heavier bass-driven club sounds, faster BPMs, and more rhythmically complex arrangements.
Utaha, you once described feeling anxious stepping into a role shaped so vividly by KOM_I. Was there a moment where you felt, “This is my version of WEDNESDAY CAMPANELLA”?
Utaha: It might have been the moment when I realised that the word “pop” really fits WEDNESDAY CAMPANELLA. The album ‘POP DELIVERY’ we released before had a lot of tie-in tracks and felt a bit scattered as a whole. But once I framed it all with the word “pop”, everything clicked into place. That’s when I felt that my own sense of pop and WEDNESDAY CAMPANELLA’s pop sensibility were perfectly aligned.
Are there things that felt difficult in the beginning that come naturally to you now?
Utaha: When I debuted, we were right in the middle of the COVID-19 pandemic, so there were so many restrictions, like not being allowed to cheer or even stand close to each other. Since there were no reactions from the audience, there was a time when I wasn’t sure if I was performing the right way.
Now, I can really feel the audience enjoying themselves with their voices, and that’s made it much easier for me to perform naturally.
RELATED: 5 essential WEDNESDAY CAMPANELLA tracks: Club beats, fairy tales and surrealist viral J-pop
Kenmochi, you’ve said before that the group leaned further into “pop” with Utaha. Was that a conscious pivot or a natural shift?
Kenmochi: I think it was both. Utaha naturally has a strong pop sensibility, and I had been wanting to take on more pop-oriented songs for a while. It just so happened that those two things overlapped at the right time.
Do you feel that fans now recognise this as its own era of WEDNESDAY CAMPANELLA, rather than constantly comparing it to what came before?
Dir.F: Yes. Of course, depending on the generation or the era people first discovered WEDNESDAY CAMPANELLA, there will always be different opinions about when was “the best”. But I think that’s part of what makes it interesting.
Photo by Masato Yokoyama
Looking back on your METEOR SHOWER concert at Budokan, what’s the first moment that comes to mind—and why?
Utaha: Performing on a stage surrounded by the audience 360 degrees was such a fresh experience. No matter where I looked, I could see everyone having fun and that scene really stayed with me.
Because we were doing a typical WEDNESDAY CAMPANELLA show, just in the bigger place of Budokan, the extraordinary combination made it feel truly special.
Dir.F, you described this Budokan show as “warmer” than the previous one. What made that shift possible?
Dir.F: I think it’s because, compared to the visually spectacular production of KOM_I’s Budokan show, we incorporated more interactive elements into Utaha’s Budokan performance, which felt like a back and forth with the audience.
Photo by Masato Yokoyama
Both your and KOM_I’s Budokan debuts involved 360° staging, visual storytelling, and theatrical elements. Did you revisit Octagonal Universe while preparing this show, or was the goal to forge a totally new identity?
Dir.F: Of course we did look back at KOM_I’s “Octagonal Universe”. But from there, we focused on creating a 360-degree stage that felt true to Utaha. Since this was our second Budokan show, we wanted the performance to feel both fresh for first-time viewers and nostalgic for those who saw the first one.
“Once I framed it all with the word ‘pop’, everything clicked into place.”
– Utaha
Congratulations on winning Best Dance/Electronic Song for ‘Edison’ at MUSIC AWARDS JAPAN. What did that recognition mean to each of you?
Kenmochi: We originally started this group thinking we’d be making new, weird, and niche music, so honestly, we never imagined we’d ever win an award like this. It’s become a huge source of confidence for us.
WEDNESDAY CAMPANELLA（C）CEIPA / MUSIC AWARDS JAPAN 2025
‘Edison’ found massive success on TikTok. What do you think made it connect so strongly with younger audiences?
Kenmochi: I think it was the simplicity and catchiness of the song, combined with the timing of various factors all lining up. That said, even when we try to recreate that kind of phenomenon, it doesn’t always work the same way―so maybe there’s another reason I’m not even aware of yet.
Kenmochi, you acknowledged both Utaha and KOM_I in your acceptance speech. Do you see ‘Edison’ as a bridge between both eras of WEDNESDAY CAMPANELLA?
Kenmochi: It’s not that any one song serves as a bridge. Rather, I feel like WEDNESDAY CAMPANELLA has gradually evolved, changing shape around these two vocalists over time. ‘Edison’ is certainly part of that, but songs like ‘Momotaro’, ‘Diablo’, and ‘Buckingham’ also all contribute to connecting the different eras of the group.
Utaha, your fashion sense is always distinct and playful. Now that you work with stylists more, how much input do you still have in your looks?
Utaha: Usually, my stylist will make suggestions and I’ll choose from them or give feedback. But for special occasions, like award ceremonies, stage greetings, or international shows, I’ll sometimes make requests, like wanting to wear a long dress or a yukata-inspired outfit. Sometimes I’ll even request a specific brand when I already have something in mind.
This is your first international tour with Utaha, covering both Asia and Europe. After announcing it at the Asakusa finale, what emotions came up as the reality of touring abroad for the first time together began to sink in?
Utaha: I just really hope people get to experience WEDNESDAY CAMPANELLA as we are―just like our performances in Japan.
“I’d be really happy if everyone could listen to the songs in advance, sing along, and have fun with us together during the show.”
– Dir.F
What kind of visual experience are you hoping to bring to international audiences—especially after the elaborate staging and theatricality seen during the hall tour?
Dir.F: Since this will be our first European tour, rather than creating something completely new, I want audiences there to experience what we’ve been doing in Japan―the same energy we bring to festivals and our current tour. I want to show them what a WEDNESDAY CAMPANELLA live show is all about.
For many fans, this will be their first time seeing WEDNESDAY CAMPANELLA live. What do you hope they take away from the experience?
Dir.F: I’d be really happy if everyone could listen to the songs in advance, sing along, and have fun with us together during the show.
You previously mentioned wanting to perform overseas and appear at festivals. With international shows now underway, how has your vision for the group evolved?
Dir.F: This will be our first time in Europe since Utaha joined, and the way people listen to music has changed a lot in recent years. I feel like there are more opportunities now to discover music beyond your own country. So I hope to take on more global activities and connect with audiences across the world.
You’re returning to OFF Festival in Poland for the first time since 2018. How does it feel to revisit a festival you’ve played before, but now with a whole new lineup and era?
Dir.F: It’s been seven years, and I remember that the audience were really enjoying the show last time. We’re excited to see how it will turn out this time with a new lineup.
With your music increasingly reaching global audiences through TikTok, streaming, and now anime, is there a particular international stage or event you aspire to perform at as a milestone outside of Japan?
Dir.F: Festivals are a great chance to perform in front of new audiences, so we’d love to play as many as possible. But Glastonbury and Coachella are especially big dreams for us.
Is there anything you’d like to say to your international fans ahead of the SUMMER TIME GHOST tour?
Utaha: We’ll be visiting a lot of countries for the first time, and we’re really looking forward to meeting everyone. WEDNESDAY CAMPANELLA’s shows are built through shared energy with the audienceーwe sing, and communicate together. We’re so excited to create that experience with all of you. Please look forward to it!
Translated by Minori Tsuneta
WEDNESDAY CAMPANELLA return to Europe next month as part of their SUMMER TIME GHOST tour, with shows in London, Italy, and Paris, before closing out with their return to Poland’s OFF Festival in August.
WEDNESDAY CAMPANELLA
Summer Time Ghost
Release Date: 04/04/2025
Label: WARNER MUSIC JAPAN
Stream: Links
