For She Her Her Hers, moving forward has always meant more than merely the next music release. Comprised of vocalist and composer Takahashi Hiroyasu, keyboardist and lyricist Tomasong, and drummer and visual director Taiki Matsuura, the Japanese indie trio have steadily taken their atmospheric sound around the world, building an international following that has carried them far from home.
In that sense, their latest single, “Tomorrow’s Sun,” feels particularly fitting for this moment, not just for themselves, but for the many who are comforted by their dreamy, thoughtful musical soundscapes. Inspired by the thought that one person’s sunset is simultaneously another’s sunrise, this newest track finds beauty in the unknown and the promise of all the possibilities ahead of you.
Ahead of their biggest European tour yet, we caught up with She Her Her Hers to discuss the making of “Tomorrow’s Sun,” the evolution of their sound, Tomasong’s bike expedition across China, and what awaits them on the horizon.
Congrats on the release! The sentiments around the song are so beautiful: “Tomorrow’s Sun” is built around the idea that one person’s sunset is someone else’s sunrise.
Where did that image first come from, and when did you realise there was a song in it?
Tomasong: I was cycling for several hours every day, so while my body was constantly busy, I surprisingly had a lot of time to think. (Laughs.)
In modern society, everything around us changes at such a rapid pace, and we’re constantly being flooded with new information. But perhaps having that kind of time and space is actually what allows us to see things from a different perspective.
An ending and a beginning can look completely different depending on where you’re standing. And I started thinking about how we all live by believing in a “tomorrow” that we’ve never actually seen. When these ideas came together, I felt that I wanted to express them through a song.
You focus on the idea that sunlight shines on everyone, and there’s something very beautiful about that moment just before sunrise: you know the darkness is ending, but you’re not quite in daylight yet… you’re waiting for it to slowly, hopefully get there.
How did you technically approach the composition of the song to create those visuals in sound?
Takahashi Hiroyasu: I wanted the song to feel like light was gradually making its way into the darkness. It starts with an atmosphere that feels like the beginning of a story, then leaves plenty of space between the sounds while slowly adding more layers and depth as the song develops, creating the feeling of a landscape gradually becoming brighter.
The song was built by layering these small changes little by little, so that by the end, it feels as if you’re completely surrounded by light.
Tomasong, when your tour was postponed, your response was to cycle across China to the cities you were supposed to play, which is an amazing feat!
What made you decide, “well, if we can’t tour these places, I’m going to cycle to them instead”?
Tomasong: The tour postponement was completely beyond our control. But rather than letting that time become a period when nothing happened, there was a choice to turn it into an opportunity for something new.
Even though the future that had been planned was no longer possible, it was still possible to create a different future from there. In that sense, the journey itself felt very closely connected to the idea behind “Tomorrow’s Sun.”
During that grand tour, what were your top three most profound or unforgettable moments? Perhaps one you might like listeners to think of when they’re listening to the song?
Tomasong: The moment I left Shenzhen, the day I cycled around 210km from Wenling to Ningbo over 15 hours, and the moment I was welcomed by the other members and our fans in Shanghai. That 210km ride made me realise very strongly that, in the end, you can only move forward as far as you actually pedal.
But the happiest moment of all was seeing the other members again. When I saw their faces, all the tension and strength that had kept me going finally disappeared. It was the first moment when I truly felt that I had reached the finish line.
Your music has found fans from all around the world. When did you realise your music was starting to transcend borders and how did that impact your creative process?
Hiroyasu: People started discovering our music, particularly across Asia, around 2020, and since then, it feels like our audience has gradually continued to grow beyond those borders.
Before that, there was a strong sense that we were making music for the people and environment immediately around us. But realising that there were people listening to our music in places far away, even though we sing in Japanese, made me appreciate the power of music in a new way.
As our audience has grown, it has also made me want to explore and pursue our own sound even more deeply.
You’ve toured extensively across China and elsewhere in Asia, and now you’re embarking on your biggest European tour yet.
How have you found audiences respond differently to She Her Her Hers depending on where in the world you’re playing, or are there more similarities than differences? Do you find different audiences prefer to listen to different tracks, for example?
Taiki Matsuura: It makes me happy seeing audiences in every country and every city just enjoying the music however they want.
We don’t really do call-and-response or anything like that, and we probably don’t smile that much on stage either, so some people might even think, “Are they feeling okay?” (Laughs.) But inside, we’re getting really excited while we play.
We’re just focused on letting the music pass through everyone’s bodies, and I feel like a lot of the audience are listening while allowing themselves to open up emotionally.
Whether it’s live or through a recording, if our music happens to make you feel a little better that day, that makes us happy !
You first came to UK shores in 2025, and now you’re returning for multiple dates as part of a 13-show European run.
Did you expect the rave response you recieved here? Was there a moment when you realised, “Oh, we genuinely have fans here”?
Taiki: Last year, we sold out every show, so honestly, it was a huge surprise. Maybe some people came by mistake thinking it was a The Guest List show? Laughs.
We were really grateful, and seeing people who already had our CDs was such a great feeling.
We want to keep working in an even more borderless way, that’s what we’re aiming for. So, to everyone around the world, nice to meet you all. We hope you’ll check us out and get to know She Her Her Hers !
She Her Her Hers has evolved so much since 2019! From location to Diffusion of Responsibility, all the way to Fibril. When you listen back to your earliest releases, what do you feel most nostalgic about? Have your favourite tracks in your discography changed over time?
Hiroyasu: When I listen back to our early releases, I remember what kind of feelings we had when we were making music at that time.
We had only just started working with DAWs and didn’t really know much about mixing yet, so there’s something nostalgic about the trial-and-error process we went through, as well as the sound and textures that could only have been created at that particular time.
These days, when I listen back to those older songs, I also find myself noticing things I didn’t appreciate back then. We’ve come to place more importance on groove than we used to, but one thing that hasn’t changed is our desire to keep the melodies and phrases simple and beautiful.
“Tomorrow’s Sun” seems to bask in restraint and stillness. How do the three of you know when to hold back on tinkering and adding more to song as opposed to giving the music space?
Hiroyasu: Adding more sounds can make a song feel richer, but if I feel that something is taking away from the atmosphere of the song or getting in the way of a melody I want people to hear, I’d rather leave it out and give the music some space.
Especially with this song, the resonance and silence between the sounds felt like an important part of the music, so I was conscious not only of what to add, but also of what to leave out.
Your concerts incorporate carefully selected violin arrangements and intentional choices around lighting design.
When you’re creating a live show, how long do you usually need for the development process and what goes into crafting such a world?
Taiki: When it comes to the creative process, every project has its own concept. I usually have images of things like visuals, colours, even smells playing in my head, and I share those ideas with each team so we can discuss them and build the world together.
We try not to force everyone’s individual styles into one single expression. Instead, we spend a lot of time making sure we’re aligned on the important ideas and overall feeling we want to share. Once that’s in place, the people we’ve brought together are all professionals, so they can take it from there and deliver the expression they feel is right. I’m really glad to see that this approach is gradually getting recognised, and it also makes the work more rewarding.
Of course, there are always things to reflect on afterwards, and we want to keep creating even better combinations of music, performance, and visual direction.
You’ve been described as one of the relatively few Japanese indie bands to have built a genuinely international following.
What does that mean to you, and with other Japanese bands looking to follow in your footsteps, does that impact the way you move in the industry, knowing that you’re helping to set a standard?
Taiki: We set up our own company as the three of us, and have been navigating the music industry with a completely DIY, independent “samurai spirit.” There’s a lot less noise and stress than there used to be, and being able to make decisions based on our own instincts makes me feel that choosing this path was definitely the right decision.
If we can keep growing and take things to the next level, I’d like to show other independent bands in Japan that there are different ways of doing things and and moving forward.
There’s so much amazing music and art out there, and I think we need more systems and environments that allow them to spread freely and indiscriminately across the world.
That’s why we want to keep trying things and, like the cool people who came before us, show what’s possible through our actions.
And I hope for us to continue discovering new and unknown forms of inspiration and emotion.
“Tomorrow’s Sun” asks people to keep moving forward at their own pace, while you yourselves are moving forward at perhaps your fastest pace ever in your careers.
When you think about She Her Her Hers’ own “tomorrow”, what do you want to move towards in your lives, and what is most precious to you when it comes to things you don’t want to lose on the way?
Tomasong: I want to perform in countries and places we’ve never been to before, and keep meeting people and discovering cultures we don’t know through music.
What I don’t want to lose along the way is the ability to stay curious about the unknown.
Just as no one has ever seen tomorrow’s sun, we haven’t seen our own future yet either. We can look forward to it, feel anxious about it, and experience all kinds of emotions along the way. I don’t think those emotions need to be labelled as either positive or negative.
I just want to keep moving forward while staying open to and appreciating whatever is happening right in front of us.
“Tomorrow’s Sun” is out on the 19th of August. She Her Her Hers can be found on Instagram here.