Kenshi Yonezu’s “IRIS OUT” has accomplished a rare feat in a fast-moving music landscape: it has held the No. 1 spot on the Billboard Japan Hot 100 for an eighth consecutive week, according to the chart released November 12. The song, which is the ending theme for Chainsaw Man — The Movie: Reze Arc, continues to show broad appeal across multiple consumption formats, and consequently reinforces Yonezu’s position as one of Japan’s most influential contemporary artists.
Multi-Platform Performance
This week, “IRIS OUT” leads streaming, video views, and karaoke; meanwhile it sits at No. 3 for both radio airplay and downloads and at No. 15 for CD sales. Radio impressions jumped 168% from the prior week, indicating expanded exposure beyond digital-first fans and into mass-listener channels. Moreover, with eight weeks at No. 1, Yonezu has surpassed his previous personal record set by “Lemon” and now ties for the sixth-most total weeks at the summit in Billboard Japan Hot 100 history.
Chart Movements
Beyond Yonezu’s dominance, the rest of the chart reflects both momentum and variety. For example, Yonezu and Hikaru Utada’s “JANE DOE” returned to No. 2 after rising from No. 5, and Yonezu places multiple other tracks across the chart, including “1991” at No. 5. HANA’s “Blue Jeans” climbed to No. 3, and the group lands several entries this week; likewise, AiNA THE END’s “On the Way” rebounds into the top five. Newcomer MAZZEL debuted at No. 8 with “Only You,” which led downloads and scored high in video views ahead of its physical release on Nov. 26. Additionally, veteran Tatsuro Yamashita’s “MOVE ON,” featured in Daihatsu’s TV commercial, debuted at No. 12 and earned the week’s No. 1 radio spot.
Overall, the Billboard Japan Hot 100 for the week of Nov. 3–9 (released Nov. 12) shows how film tie-ins, streaming momentum, and traditional airplay can combine to sustain modern hits. Therefore, while “IRIS OUT” exemplifies cross-platform dominance, the broader chart mix also highlights a vibrant market where established stars, rising acts, and strategic media placements all find room to climb.
About the Author
