The Front Line of Anime Music “Yoko Takahashi × Yoko Kanno” Special Interview

Anime Expo 2026 Special Feature

The Front Line of Anime Music

Yoko Takahashi × Yoko Kanno

Special Interview

Anime Expo 2026, one of the world’s largest anime events, will take place in Los Angeles from July 2 to 6. Among its most anticipated stages is J-POP SOUND CAPSULE, where acclaimed Japanese singer Yoko Takahashi and celebrated composer Yoko Kanno will appear.

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Q: How do you feel about taking the stage at Anime Expo, one of the world’s largest anime events?

For me, Los Angeles is actually one of the places that has influenced my life the most. Thirty-one years ago, after Japan’s economic bubble had burst and the country was going through major changes, I left Japan and came here. At the time, I think I was struggling with the suffocating atmosphere in Japan and feeling unsure about my own place in life. Through an introduction from an acquaintance, I came to the United States.

It was my first time driving in America.
My first time taking vocal lessons in America.
My first time attending classes at a local school, where there were no Japanese students at all.
My first time having a session with a well-known composer.

So being able to be here with everyone again in LA, a place filled with so many memories for me, is something I feel very proud of. If I start counting from my first anime festival appearance in LA in 2015, this will be my third time here. And this time, I’ll be performing with the lineup and program I’ve always hoped for. With the 30th anniversary of Evangelion overlapping as well, I would be very happy if I can show both everything I’ve built up so far and a new side of my performance for the future.

Q: “A Cruel Angel’s Thesis” has remained beloved around the world for many years. Has your relationship with the song changed over time?

Of course, I’ve changed with age, physically as well. My singing and the way I express the song have also continued to change. But anime songs belong to everyone. So when I sing it, I try as much as possible to stay close to the way I sang it in 1995, so that I do not break the image people still carry from hearing it on television back then.

Q: Is there any reaction from audiences in Los Angeles or overseas that has especially stayed with you?

When people are happy, or when they are moved, they express it directly through their voices, gestures, and facial expressions. That gives us strength as well. I’m very happy when there is that kind of back-and-forth during a live performance.

Q: As anime songs continue to cross borders, how do you see this genre changing and evolving?

I believe anime songs are the strongest passport for crossing borders. Anime invites us into worlds we have not yet seen, and I think it also has the power to accelerate those dreams and make them feel real. I hope we can continue connecting people through those wonderful worlds we are able to imagine.

Q: Do you have a message for our readers?

I entered the music industry at 19 through back-chorus work. I made my debut at 25, and I encountered Evangelion at 29. Before I knew it, I was still able to continue working like this. Through meeting artists, through meeting Evangelion and other works, and through so many different encounters, I have ended up living a life I never could have imagined.

I believe your dreams can grow and evolve in the same way, and lead you into a vivid and colorful world of your own. There are connections waiting ahead if you keep going. Dreaming is free. So please, dream boldly, and let’s keep walking toward a joyful life together.

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Q: What kind of creative motivation or significance do you feel in taking part in a global stage like Anime Expo?

I have heard that Anime Expo is a place where many fans come together to connect and have fun. Since I usually work alone when I am creating, I am especially looking forward to sharing the same space and the same time with everyone. I hope to take home everyone’s smiles and use them as nourishment for my next work.

Q: You have worked on many titles that have strong support overseas, including Cowboy Bebop and Ghost in the Shell. Do you ever feel a difference in how American audiences and Japanese audiences receive your music?

As far as I can tell from seeing people’s faces at live performances, I do not feel a difference in the way they receive it. When I see people passionately supporting works from ten or even twenty years ago as if they had just discovered them yesterday, I feel that those works have reached beyond borders, and even beyond time. I am happy that my music has been allowed to remain close to people’s lives.

Q: You have created music across many genres for many years. How do you view the changes in today’s music production environment?

I feel positive about any kind of change. Just as new instruments have always created new forms of expression, if the tools and environment for making music change, I am happy to welcome that wave as well. Still, I prefer performing together in person to working online, so whenever possible, I hope to meet and create face to face.

Q: Through this stage and event, do you have a message for the future of anime music and for the next generation of creators?

I hope the sound itself can be the message. I want to treasure the moment when I am able to be there with you.

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