On stage is a minimalist setup: an electric piano, guitar, bass, and a production laptop. Warm yellow lights glow on the faces of the audience, while stylish young couples enjoy their meals in a relaxed atmosphere. Wearing a beanie with his signature long hair tucked underneath, Haruno takes the stage. Beside him is bassist Keity, a highly active musician fresh from performing with ZIN at Billboard Live TAIPEI.

Who is Haruno?

A child of the internet generation, Haruno differs greatly from traditional idols. Starting his career with VOCALOID, he built production expertise and online fame before debuting under his own name in 2018. He cites influences ranging from Mac Miller and keshi to Ryuichi Sakamoto and Code Kunst. As a singer-songwriter, he translates the essence of his predecessors into a unique musical vocabulary—a "spiritual remedy" for thousands of young souls online.

The Opening

Beginning with "Moeru Yoru," Haruno strikes chords as the band quietly follows, the bass locking into the beat. A calm exterior hides a natural pride that flows through the notes. In "HIGHER," Haruno steps away from the keyboard to dance, using his body to express the music’s tension. "OVERTIME" propels the mood with a light rock groove and unique sound design. The lyrics—"Overtime Overtime / You can blame it all on me / But I’m still just chasing your silhouette"—wrap a melancholic atmosphere around a jumping beat, yet the chorus shifts toward a confidence that has transcended pain.

"Hello! I am Haruno."

His greeting in Mandarin sparks a roar from the crowd. Having studied Korean out of a love for K-music, Haruno came prepared for Taipei. Even so, his shy body language remains—a delicate modesty that defines his artistic personality. "Like A Seraph," from his first album The Lover, sets a Disco/House foundation. As the BPM increases, hearts race along with the rhythm, showcasing his masterful control of the show's pacing.

"O-Ai-Ni" (I Love You)

The crowd responds with cheers to "Venus Flytrap," a collaboration with Chiaki Sato. Fans form heart gestures during the chorus, singing "Wo Ai Ni" (I love you) in a rare moment of local resonance. As "D(evil)" begins, Haruno flashes a "bad boy" smile. The wah-wah guitars and synthesizer-mimicked birdsong highlight the experimental pop side of his repertoire. Bassist Keity adds layers of depth, drawing from his experience with bands like LUCKY TAPES to bring a R&B/Funk sophistication rarely found in contemporary Japanese music.

"We’ve played some intense tracks so far. Next, I want to bring a 'Dinner Show' vibe—something chill and relaxing."

As the second half begins, cool blue lights soothe the intensity of the first set. "Kidding Me" starts in a hazy atmosphere before shifting to a warm glow, like winter sunlight. The shuffle rhythm eases the tension, allowing heart rates to settle.

"If you know this song, please sing with me." "Love Affair" features minimalist production and a Lo-fi aesthetic reminiscent of Tame Impala or West Coast hip-hop. This "perfect distance" created by retro soundscapes contrasts beautifully with today's information overload. During "Soooo Many Problems," Haruno gazes at the crowd with deep appreciation, winking and greeting fans who sing along.

"Let me introduce the band. This is our first time as a trio. Last year in Taipei, we were a duo, but today, we have Keity on bass and Hisa on guitar!"

"We’re all quite shy," he laughs. "But we’ll give our all until the end. Oh, and I’m Haruno on vocals!"

With slow piano melodies and audible breaths, the performance of "Summer" evokes the minimalist brilliance of Ryuichi Sakamoto’s late works like async. The heavy use of silence and breath adds profound emotional layers to the song.

Haruno’s talking style is witty and self-deprecating, often breaking the "cool idol" image with "Manzai"-style humor before snapping back into professional mode. After a set featuring "KODAK," "Toxic Luv," and "U.F.O.," he finally approaches the encore with a mix of exhaustion and joy, having performed nearly twenty songs across two shows in one day.

"I used to think it was extremely difficult to convey music to every single person. But seeing so many of you here today… it truly warms my heart." "This next song was written on a very lonely night. I hope this feeling reaches those of you who might feel lonely right now." The night ends with "Deep Coma." Only Haruno and his piano remain on stage, weaving a modern tale of solitude—independent from the world, yet existing deep within it.

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