ENJAKU YOYO is an Osaka-born duo now based in the Netherlands, creating a sound that moves effortlessly between hyperpop, electronic music, metal, techno, and pop without being confined to any one genre.
Built around Koko’s guitar-driven songwriting and completed through an energetic fusion of vocals, synths, DJ performance, and live electronics, their music embraces unpredictability as its greatest strength. Guided by their philosophy of “Break out of your birdcage,” the duo transforms personal freedom into explosive performances that invite audiences to dance, let go of expectations, and discover new possibilities.
Drawing inspiration from both their Japanese roots and their experiences in Europe, ENJAKU YOYO continue to carve out a distinct identity that is entirely their own.
We caught up with ENJAKU YOYO to talk about their creative process, artistic freedom, and life in Europe.
ENJAKU YOYO is a very unique name. What inspired “little birds full of confidence,” and how does that metaphor continue to shape the band today?
We see ourselves as little birds in every way. Just as no one can control the movements of small birds, no one can control us.
We play what we want to play, sing what we want to sing, and often fly off into different genres in the middle of a song, sweeping the audience along with us.
We love subverting expectations in a way that feels liberating, always playing freely inside the music. It took us a long time to reach this mindset. Along the way, we were tripped up and confined by many people who tried to control us. But we broke free again and again, and that is what made us who we are today. Now, full of confidence, we fly freely wherever we want.
You describe yourselves as a duo from Osaka now based in the Netherlands. How has living in Europe influenced your music or your perspective as artists?
The first thing we noticed was how differently people here listen to and enjoy music. Experiencing that firsthand completely changed the way we think about structuring our songs and live shows. Before, we were thinking, “How do we want people to listen to us?” But now it’s more, “How can we make people dance?”
At the same time, living in Europe has also made us more aware of the strengths of Japanese entertainment, as well as the richness and subtle nuances of the Kansai dialect we speak as people from Osaka. That’s why we now bring Kansai dialect into our lyrics and build our costume concepts and stage performances around things that only we, as Japanese artists, can express.
Your music blends hyperpop, electronic, metal, techno and even city pop. When you’re writing a song, do genres ever enter the conversation, or do you simply follow whatever feels exciting?
We follow whatever feels exciting to us. Our songwriting usually starts with one of Koko’s guitar riffs. From the feel and tempo of that riff, the two of us think about what kind of genre or sound would bring it out the best.
From there, we ask ourselves: what would make this really fun? What would make people want to dance and enjoy it together? That’s how the direction of the song gradually takes shape.
What’s the wildest crowd reaction you’ve had?
At musik altonale in Hamburg this June, it was insanely hot that day, but by the end of our set, everyone was dancing in front of us under the blazing sun. We even sold out of all the band merch we had brought with us. It made us really happy.
If someone’s hearing ENJAKU YOYO for the first time, which song should they start with?
That would be “HONDENA.” That song contains everything the two of us want to express as ENJAKU YOYO. We’ve also shared reviews of “HONDENA” on our Instagram from people and artists who have supported us along the way, and we’d be really happy if you checked them out as well.
As vocalist, keyboardist and DJ, you’re constantly switching roles. How do you approach performing multiple jobs at once without losing the emotional connection with the audience?
We think about what kind of performance we want to create, and what should happen at each moment, from the very beginning of the songwriting process. Because of that, I don’t see each role as separate. I can see everything as one complete performance. I think having that mindset is the most important thing. The balance with Koko is also a big part of it. For example, when I suddenly step back, Koko goes wild in front. In that sense, you could say the two of us are always balancing each other out.
Hyperpop and electronic music don’t always leave much room for guitar. How do you make the instrument feel essential rather than just an addition?
Since we usually start building our songs from Koko’s guitar riffs, his guitar never feels like just an added element. We use Koko’s guitar as the main foundation, and then transform it into hyperpop, techno, or other forms of dance music.
When you disagree about a musical idea, what usually helps you reach a decision?
In the end, we choose what no one else would do, but what only we can do. We also choose brave ideas over tidy ones. Existing answers can be beautiful, but for us, the most exciting thing is to freely create a new answer of our own.
Finally, what do you hope people feel when they leave an ENJAKU YOYO show?
We want people to leave with a sense of hope and power the feeling that they can break through their own limits. Our spirit of ENJAKU YOYO is “Break out of your birdcage.” It’s easy to think that the birdcage exists somewhere outside of us, but we believe the real birdcage is always inside our own minds. We can break free from that fixed version of ourselves at any time, and fly anywhere we want. That’s the kind of power we want people to take home with them.
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