It’s a kind of magic, seeing Snow Man perform. There is a light about the group, a shine that never seems to lose its luster. Every performance is captivating, and no matter how many times I see them, every time is just as intoxicating as the first. All nine members—Hikaru Iwamoto, Tatsuya Fukazawa, Raul, Shota Watanabe, Koji Mukai, Ryohei Abe, Ren Meguro, Ryota Miyadate, and Daisuke Sakuma—consistently push themselves to new heights. Whether it’s in their music, acting careers, or personal journeys, their relentless drive and ambition have transformed them from underdogs into the most popular group in J-pop.

They’ve earned that spot, and their fourth studio album, RAYS, is a testament to that ambition. Showcasing some of their best work to date, there were several songs I couldn’t wait to see live, and when I was given the opportunity to attend the concert as a member of the international press on a secret trip to Japan, I couldn’t say no. Because this tour was incredibly special, for a multitude of reasons.

To start, this was their first-ever five-dome tour. The 13 performances across five cities drew an astonishing 610,000 attendees, with every show selling out, and the Tokyo concert alone welcoming over 55,000 excited fans. Second, it marked the triumphant return of Iwamoto—Snow Man’s radiant leader—to the stage after his recovery from surgery in November to remove a benign tumor from his nose.

As I took my seat and looked out over the sea of pen lights and excited fans, I couldn’t help but reflect on the incredible journey the group has taken since their debut in 2020. In the four years since, I’ve had the privilege of watching them grow—both as individuals and as a group. I’ve become deeply familiar with their solo projects and unit activities, witnessing how each member’s unique contributions have shaped Snow Man into what they are today. Every step, every performance, has brought them closer to this moment, and it’s impossible not to feel a deep sense of pride for how far they’ve come.

When the lights dimmed, the crowd erupted in a roar of excitement. It was time. That rush of sound—it’s something I’ve only ever experienced at STARTO concerts, and it only adds to the magic of what this group has to offer. And each time a new member appeared on the screen of the introduction film, the air shook again as the fans shouted for their bias. Then, it was time for the guys to take the stage.

First, Meguro—my bias—descended from the ceiling, gliding down like an ethereal angel, welcoming us with his 1000-watt smile—and that was everything! Mukai followed, bringing the fire with flickering flames, while Abe made his entrance in a dramatic cascade of water. Fukazawa rolled in on a railway trolley, Watanabe descended from a grand staircase, and Miyadate emerged, romantic and mysterious, through a haze of mist. Iwamoto roared onto the stage atop a motorcycle, Sakuma popped up from beneath the stage, cute and comedic as ever, and Raul, ever the center of attention, entered with a flourish of style and grace like only he could—the cherry on top of an already delicious experience, and the crowd (myself included), ate it up with cheers of excitement.

Then, with a smirk and powerful yell befitting the leader he is, Iwamoto’s deep voice boomed over the crowd: “Tokyo!” he shouted. “Let’s get loud!” And in a swirl of classical sound, Mozart’s Symphony No. 25 in G minor exploded around us as EMPIRE, the lead track from RAYS, erupted to life. I’ve said it before, but this track is a ten-ticket thrill ride of sensuality and sex appeal, seamlessly blending pop, dance, and hip-hop with synthesized classical strings and an industrial beat that perfectly showcases their unique style and synchrony. It’s one of the group’s sexiest songs to date, and one of their best overall.

Next—Dangerholic, the theme song for Meguro’s 2023 drama Trillion Game. With its infectious rhythm and comedic flair, it’s playfulness synergizing the group’s ability to balance sensuality with fun. My favorite part? Meguro’s laugh at the end of the bridge. It’s just too cute not to mention.

As the song came to an end, Miyadate shouted, “It’s party time with Snow Man!” and the group jumped into their self-introduction song, Nine Snow Flash. Excited to be back with his brothers on stage, Iwamoto cried out “Tadaima!” which translates into “I’m back!”

Fukazawa, his ever-supportive second-in-command, quickly responded with, “We missed you!” As a call-and-response song, it perfectly captured the unity between the group and their fans, bringing everyone together as one. I’ve always loved these introduction songs, so I was excited to learn that this one would become commercially available for the first time on Snow Man’s first “Best of” album, THE BEST 2020-2025, which drops 22 January wherever Japanese music and movies are sold—including CD JAPAN!

Brother Beat was next. As one of my all-time favorite Snow Man songs, I never get tired of watching them perform it. They always manage to make it feel fresh, whether by switching up the vocal lines or adding their own unique spin to their parts. It’s this constant reinvention that keeps reminding me why this song holds such a special place in my heart.

BREAKOUT followed. Another high-energy, rock-inspired anthem, it serves as the theme song for Honeko Akabane’s Bodyguards—a feature film adaptation of the manga of the same name starring Raul.

LOVE TRIGGER, another favorite, was the theme song to 24 Hour Love Guard, which starred Iwamoto—who also choreographed this song and many others from the night including: Lindy Lala, Endless Night, Snow World, DA BOMB, Wha cha cha, POWEEEEER, Kimi no Kareshi ni Naritai, and Cryout (which happened toward the end of the show—and included a strip tease not only from Iwamoto but Mukai as well—who looked incredibly fit (probably in preparation to promote his Thai BL film debut, LOVE SONG).

Both the MC segment and the debut of their newest song, SBY (which will be featured on THE BEST 2020-2025), were streamed live on YouTube. At its peak, over 534,000 viewers tuned in simultaneously. A sensual power ballad, SBY serves as the theme song for the upcoming feature film Trillion Game: The Movie, starring Meguro, set to premiere on February 14—perfectly timed for Valentine’s Day. Even though I won’t be spending it with Meguro the Man, I can still enjoy it with Meguro the Actor!

After the MC segment, the group launched into KISSIN’ MY LIPS—one half of their second double A-side single (paired with Stories) and their first English-language track. This performance offered a fresh twist as it was the first time I’ve seen them perform the song without the use of chairs.

Another first quickly followed with ONE, Snow Man’s first-ever digital single released on streaming platforms. Serving as the theme song for the popular anime Blue Lock VS. U-20 JAPAN, it’s become one of my current favorites. This performance was particularly special, as it was my first time seeing them perform it live, and it was nothing short of beautiful.

Two wagakki remixes followed, blending modern elements with the timeless beauty of traditional Japanese instrumentation. Tapestry, which served as the theme song for Meguro’s fantasy film As Long as We Both Shall Live, slowed the original track, intertwining the delicate strains of koto strings, the soft chime of suzu bells, and the haunting tones of the shakuhachi flute.

In contrast, W brought the commanding rhythm of taiko drums to the forefront, infusing the piece with dynamic energy and depth. Both versions elegantly captured the essence of Japan’s cultural and historical richness—evoking spectral echoes of the past reminiscent of GALA, the Kabuki theatrical created by Iwamoto, Fukazawa, and Miyadate that debuted this spring.

The unit songs from the album, showcased throughout the show, absolutely deserve some major love for their creativity and performance quality. 

Hoshi no Uta (Watanabe x Mukai)
I was over the moon to see this song come to life on stage! A heartfelt ode to friendship, it beautifully captured the deep connection between the two performers with the final chorus finding them in a hot air balloon where they asked the audience to turn off their penlights and then simultaneously switch them back on with the stage lights. The result was breathtaking—transforming the venue into a magical starlit night.

Nightscape (Fukazawa x Abe x Miyadate)
This track’s chill ’90s vibe was an absolutely tubular to experience live. The smooth blend of their voices created a harmony so perfect it felt almost hypnotic. Their playful yet precise movements added a nostalgic, laid-back groove that was impossible not to love.

HOT FLOW (Meguro x Sakuma)
This one was pure comedic gold! While Sakuma’s knack for humor is well-known, seeing Meguro dive headfirst into it was an unexpected and thoroughly delightful surprise. His adorable expressions and willingness to play along just made him even more endearing than he already is. Their chemistry was magnetic, and the costumes—bold, sparkly, and Olympian in style—cranked the performance’s over-the-top charm to the max. Honestly, Meguro being this cute while being this funny? Total fan service—and I wholeheartedly approve!

GLITCH (Iwamoto x Raul)
This performance was a jaw-dropping showcase of intricate choreography and unmatched synergy. Every movement was executed with flawless precision. Their natural rhythm and complementary styles was both technically astounding and emotionally gripping—they served, and they served hard.

After heartfelt thanks to the staff and fans in attendance, the group closed the show with another new song, Dear. This emotional ballad, dedicated to their fans, will also be featured on THE BEST 2020-2025. A perfect finale to an unforgettable night.

This is my second time seeing Snow Man at the Dome, and I can’t wait to see them again! There will be more soon, so…

Stay Tuned!