10 Years with Atarashii Gakko! and Defying the Norms

The Roots of Atarashii Gakko! and Their Rebel Spirit

The message of “breaking out through individuality and freedom” has been at the heart of ’Atarashii Gakko!’ since day one. But as your career has grown and your surroundings have changed, I get the sense that your perspective on that message might have evolved too. For this interview, I’d like to explore your 10-year journey through that lens.

MIZYU: Thank you.

To begin with, why has this theme stayed with you unchanged over the years?

RIN: The things the four of us genuinely enjoy always seem to circle back to the idea of “breaking out through individuality and freedom.” It’s more than just a theme—it’s something we believe in. Wherever we go, that message ends up being at the core.

MIZYU: Even before our first live show, we were already saying things like, “Let’s do a performance like this,” or “Let’s wear sailor uniforms and show our individual personalities.” I think it all just came together naturally. And even now, years later, we still enjoy that concept and still feel like the right four people to carry it forward.

MIZYU: Whenever we come across something new — whether it’s an experience or a new encounter — we’ve learned to think about how it can connect with the core concept that’s always been at the center of who we are. I think that mindset has helped expand both the depth and the reach of what we do. This concept keeps evolving; we’ve grown to truly love it, and over these ten years, it’s become something that feels genuinely ours, something we speak from the heart.

KANON: In the beginning, “breaking out” wasn’t necessarily something that came naturally from within. It was more like something we arrived at through experience. As we kept performing and growing, we had more and more conversations like, “What is it that we really want to do?” and that gradually shaped our direction.

Creating choreography, performing on stage, doing interviews like this—every little part of the process, we go through together. And as we do, we’ve started to explore and rediscover what “breaking out,” “individuality,” and “freedom” truly mean. Those words have gone from being abstract ideas to something deeply personal. And I think the four of us genuinely enjoy living that out together.

SUZUKA: I feel that the identity of ’Atarashii Gakko!,’ wearing sailor uniforms, and the themes of “youth” and “breaking out through individuality and freedom” are full of incredible creative possibilities. That’s why we’ve been able to keep going all this time, and I believe there’s still a lot of new things to come.will still be born in the future.

On your new best album ’Atarashii Gakko no Susume,’ the song ’Miyao,’ which has only been performed live since your early days, is finally available as a recorded track. This feels very meaningful. How does this song fit into ’Atarashii Gakko!’’s world today?

SUZUKA: We let our fans vote on which tracks they wanted on the best album, and “Miyao” came out on top. I think it’s because the song really expresses ’Atarashii Gakko!’s unique, offbeat attitude and core themes.

For this album, “Miyao” was reworked with a full band arrangement and updated vocals. Even so, when we listen to it, it feels like the message remains just as true as ever.

MIZYU: At the time, not all of us sang the most impactful part of the chorus. But now, we sing it together as a group. I feel there’s a deep significance in being able to share the story of our journey as four voices united.

RIN: The lyrics capture the view of adults through the eyes of children. When we performed it as teenagers, it had one meaning, but now, singing it as adults over 20 — and as we continue to mature — the lyrics take on a different, richer significance for me.

KANON: At the time, this song was our boldest way of expressing our strong desire to “break out.” The updated version, however, feels more aligned with who we are today. The message remains true to its core, but now it carries a deeper emotional resonance. I feel the song has grown richer and more meaningful.

How ’88rising’ and Money Mark Helped Propel Their Global Journey

Looking back over the past decade, the biggest shift seems to be your growing presence overseas. You announced your deal with ’88rising’ in November 2020 and made your worldwide debut as ATARASHII GAKKO! in January 2021. When did that change start to feel real to you?

MIZYU: Even though we called it a global debut, at first it was mostly just online. We noticed English comments, but it didn’t quite feel tangible. Then in March 2021, the four of us and our manager traveled to the U.S. for the first time and lived together for two and a half months. That’s when we met producer Manny Mark and finished an EP. That experience really opened our eyes.

MIZYU: We realized that the value of our music, performance, and spending time as a team had far more limitless freedom and possibility than we had imagined. That might have been our first real step toward feeling the world.

What kind of inspiration did you get from collaborating with Manny Mark?

RIN: It completely changed how we approach music. Until then, we had never created songs from scratch, but he let us be part of the process. When it became a “let’s make this together” situation, we didn’t know right from left, and our English wasn’t very good, but he communicated everything through feeling — asking, “What do you find fun?”

He showed us that music is always close by, and if you enjoy it, anything in everyday life can become music. Living and working with him taught us that. Because of that experience, I think the way we approach music and the energy we put into our choreography changed dramatically.

Meeting Money Mark truly transformed your creative approach, right?

SUZUKA: Even before that, the four of us always saw ourselves as creators and self-producers. We weren’t just choreographing — we were crafting something entirely our own, something built together from the ground up.

After meeting Money Mark, we became eager to explore even more adventurous and liberating forms of expression. Personally, I felt this urge to go crazier, to embrace a more cosmic, out-there vibe. I believe Money Mark helped us discover that.

Your first overseas performance was at the ’Head In the Clouds’ festival hosted by 88rising in Los Angeles in November 2021. How did that feel?

MIZYU: Our first overseas live left a strong impression on us. We performed our new track “NAINAINAI” and brought our signature performances, the ones we had perfected in Japan.

Even though the audience probably didn’t understand the Japanese lyrics, their emotional response was powerful. That experience gave us confidence—it proved we weren’t wrong in what we were doing, and it sparked hope that we could connect with audiences worldwide. It marked the start of an exciting new chapter for us.

The TikTok Sensation of “OTONABLUE” and The Global Smash of “Tokyo Calling”

In 2023, “OTONABLUE” blew up on TikTok, marking a huge breakthrough for Atarashii Gakko!. That time was really interesting. Overseas, with the backdrop of 88rising and Money Mark, hip-hop-influenced tracks were gaining popularity. Meanwhile, in Japan, some songs released earlier were catching on with a delay. It was a unique kind of breakout. Looking back, how do you feel about that period?

RIN: In 2023, ’OTONABLUE’ helped us gain more recognition in Japan, which really broadened the number of people interested in us. I believe many fans found us through that song. However, I feel there are still parts of us that remain unknown beyond that entry point.

We notice that gap both overseas and in Japan. For example, at summer festivals, people who first discovered us through ’OTONABLUE’ come to see our shows and react with surprise, saying things like, “They dance this much?” or “They’re this intense?” or “What is this energy?” Each time, it reminds me that there’s still so much more we need to share, and expanding that entry point for new fans is really important—something I still strongly feel today.

When a song goes viral on TikTok, it often gets quickly consumed and then fades away. But that wasn’t the case with ’Atarashii Gakko!’. In 2023, it was actually ’Tokyo Calling’ that was making waves overseas. Looking back, I think having that kind of substance alongside the viral hit was really important. What’s your take on that?

SUZUKA：I think so too. If it had only been the head-bobbing dance from “OTONABLUE” going viral on TikTok, it might’ve just been a passing trend. But we always saw that as just a stepping stone — a great opportunity.

“OTONABLUE” is a very catchy, poppy track. But that alone doesn’t satisfy our more complex, edgier side. We can’t just keep smiling all the time—we also want to express fierceness and intensity.

That’s where “Tokyo Calling” came in and fulfilled that deeper need. Having both happen at the same time was really good for us mentally. It felt empowering to be telling a unique story, and that gave us pride and confidence on stage.

“Tokyo Calling” has become a signature anthem for your overseas performances.

MIZYU: The crowd’s energy is unbelievable. From the deep bass intro, the audience lights up like a roaring flame. It makes the performance so fulfilling because we can truly feel that connection.

At our solo concert in Mexico last year, with around 8,000 people in attendance, everyone sang along to “Tokyo Calling.” Not just the catchy hooks, but every single detailed lyric. The energy was overwhelming — it was like a whole universe coming alive, something I had never experienced before.

Atarashii Gakko!’’s Breakthrough at Coachella 2024

Could you share about your performance at ’Coachella 2024’? It must have been an incredible experience. What was your mindset going into it?

SUZUKA: Just being invited to ’Coachella’ made us feel like, “We’ve finally arrived — this is the moment.” Both our team from Japan and the 88rising team worked hard to prepare, aiming to give our best and bring something fresh to the stage.

From the beginning, we knew how valuable this opportunity was and felt it was a pivotal moment to ignite a kind of revolution. We were fully committed and had a strong determination that “We’re going to make an impact here.”

How did it feel to actually perform on stage?

SUZUKA: Coachella runs over two weekends. During the first weekend, it felt like the audience was mostly regular Coachella attendees rather than our dedicated fans. The tent was about 60 to 70 percent full. But we went all out from the very beginning, and by the end, the crowd had grown so much that people were spilling outside the tent.

Afterwards, the four of us watched the livestream together and thought, “That was an incredible show,” and wondered what the second weekend would bring. For the second weekend, many who saw the livestream came to see us live. The tent was packed from the start, and by the end, the crowd had spread even beyond the immediate area.

On the second weekend, I could feel the audience’s energy the moment we stepped on stage — like they were saying, “We’ve been waiting for this! We came to see this!” I felt we gave a truly unique performance and did our absolute best. After the show, I was confident that we’d receive a lot of positive feedback from this moment onward.

It sounds like you had a deep sense of accomplishment.

KANON: Yes, we felt accomplished, but at the same time, it felt like a fresh starting point — like, “There’s still so much more ahead of us.” That gave us even more motivation to push forward.

RIN: Since we had a world tour coming up, the moment the show ended, I felt like, “This is just the beginning.”

10 Years On: Where Is Atarashii Gakko!’s “Breaking Out” Journey Going?

With all that in mind, let me return to the first question. Don’t you think the meaning of “breaking out” has shifted quite a bit—from when you released “Miyao” to now, when “OTONABLUE” has brought widespread recognition in Japan and you have fans overseas eagerly waiting for you? Back in your early days, when you were still in school, “breaking out” felt more like teenage rebellion. But now, it seems to carry a different meaning. How do you see that change?

MIZYU: I think you’re absolutely right. At the time, it was this feeling of, “Why should we be bound by boring rules made by adults?” Of course, we still followed the rules, because rules are rules. But we also wanted to prove that following them didn’t mean you had to lose your individuality. I think we were speaking to ourselves—telling ourselves that it’s still possible to stand out, to break free. We were saying, “It’s okay to go beyond the lines.”

MIZYU: Back then, choosing to “step outside the lines” felt like an act of bravery—almost like a youthful determination to challenge the norm head-on. I think we were throwing out that energy like a statement against convention.

That spirit influenced the way we shaped our performances. There was a rebellious streak—like, “Let’s not be ordinary,” or “Let’s take the weird route.” But over time, that shifted. Now I feel more at peace with just being true to myself. If you like being normal, then say it loud—there’s power in owning that, too.

RIN: After doing this for ten years, people now often ask us things like, “What do individuality and freedom mean to you?” or “What advice would you give to someone who doesn’t feel comfortable standing out?”

RIN: Saying what I like and doing what I genuinely enjoy—those things might seem unconventional to others, but I’ve come to see them as something truly valuable in life. It’s grown into something that feels like a life motto.

KANON: Right now, pushing forward with what the four of us genuinely want to do feels like our own version of “going against the grain.” Even though we call it standing out, it actually feels like we’re in the right place.

I see. So for today’s Leaders, “going against the grain” means staying true to who you are and celebrating that authenticity.

SUZUKA: That’s right. It was our rebellious spirit that helped us discover what we truly love—things that aren’t ordinary, things only we could find. That’s what shaped our style. It’s a way of living authentically. At the same time, I think I’ve always carried this inner sense of rebellion, like I’m still in a constant push-and-pull with myself, just like I was in the early days of Atarashii Gakko!.

SUZUKA: I always want to break out of the patterns I’ve grown used to—the flow I’ve followed so far, the things I can already picture in my head. Almost every day, I find myself thinking, “I need to shake things up today—step into a time, a space, an environment I wouldn’t have imagined.”

I try to visualize that through instinct—colors, words, abstract ideas. Then I let those impressions guide me: “Maybe it’s this kind of place,” or “Maybe I should spend my day this way.” On a personal level, I think that rebellious urge to break away, like what I felt back in the early days of ATARASHII GAKKO!, still lives inside me.

If that feeling ever fades away, I’d be okay with it. I think I could live a healthy, peaceful life without it. But for now, there’s still a part of me that gets excited about tearing myself down in order to rebuild. As long as that spark is there, I’ll always be someone who craves to “step outside the lines.” I think I’ll always carry that urge to defy what feels ordinary within myself.

“ATARASHII GAKKO no SUSUME” (2CD + DVD)

Released on Wednesday, July 16, 2025
Price: 8,800 yen (excluding tax)

[Disc 1 (Anokoro)]

1. Gakkou Ikeyaa
2. Dokubana
3. Koi no Shadanki feat. H ZETTRIO
4. Saishuu Jinrui
5. Shiken Zenya
6. Mayeba Toutoshi
7. Koigeba
8. Toumei Boy
9. Keserasera
10. Koibumi
11. Otonablue
12. Miyao (10th anniversary ver.)

[Disc 2 (Konogoro)]

1. NAINAINAI
2. Pineapple Kryptonite
3. CANDY
4. Seishun o Kirisaku Hadou
5. Giri Giri
6. Fly High
7. Arigato
8. Forever Sisters
9. Tokyo Calling
10. Change
11. One Heart
12. Go Wild

[DVD]
“NIPPON Calling Tour 2024” at National Yoyogi Gymnasium, First Arena
https://lnk.to/AG-10thBEST

“ATARASHII GAKKO no SUSUME” (2CD)

Released on Wednesday, July 16, 2025
Price: 4,300 yen (excluding tax)