With their bold presence, INI cuts through like a blade through the crowded J-pop ecosystem. The 11-member ensemble executes every release and concert with control, yet they are bursting with an energy that grows more pronounced with every performance.

"I believe that someone who is a true artist can perform at their best regardless of the location," Yudai Sano tells GRAMMY.com over a video call from Tokyo. "Whether the venue is big or small, the size doesn't change anything. What's important is to make sure that we really get into the audience's hearts. It doesn't matter if you're at the very back [of the venue] or if you're at the very front, we want everyone to enjoy it the same way."

Members Yudai, Masaya Kimura, Hiroto Nishi, Fengfan Xu, Shogo Tajima, Hiromu Takatsuka, Kyosuke Fujimaki, Takumi Ozaki, Rihito Ikezaki, Takeru Goto, and Jin Matsuda have put those ethos to the test. The group have taken on large-scale arena tours throughout Japan, performed overseas at KCON LA and KCON Thailand, and in 2024, became million-sellers, one of only two J-pop groups to do so that year.

Learn more: 10 Rising Japanese Pop Groups To Know: Number_i, NiziU, BE:FIRST & More

INI were brought together in 2021 through the second season of "Produce 101 Japan." They came from various walks of life — trained backup dancers and former K-pop trainees to everyday individuals chasing a dream — and a duality of identity has been present from day one. For their debut, the group invited fans to pick between two divergent compositions — the raw and driving "Rocketeer" and the more elegant "Brighter" — with the former ultimately going ahead. Since, the group's colorful catalog speaks to the expanse of their musicality: from bright, breezy pop to emotionally charged ballads. Their main tracks tend to be the most sonically intense, with hip-hop beats and rock-shaded textures drifting between rap verses and fluid vocal lines.  

The members of INI have assumed greater responsibility in the creative process — a development made apparent in THE ORIGIN, their third studio album, out June 25. "Potion" unites the melodic finesse of acclaimed producer Kenzie and INI's edge, with lyrics penned by Rihito. "Pineapple Juice" sees Fengfan's hand in the writing, while the sultry "What A Night" benefits from Jin's input.

THE ORIGIN also brings closure to a chapter characterized by an impulse to advance while celebrating their journey thus far. Lead single "DOMINANCE," articulates this artistic declaration, with the group stating: "Even if I burn out, I can rise again / I can't stop, it's my faith." INI is to take that ambition further with three concerts at Japan's major Vantelin Dome Nagoya in September. These shows are set to launch a new phase for the group's story and connect them with a broader audience in their home country.

On their fourth anniversary since formation, the 11 members of INI look back on their path toward increasing success, how their group dynamics have shifted, and where they are now.

The following has been edited for clarity.

Debuting As INI

Yudai Sano: I think one regret I have — and will never forget — from our debut days was that moment when we were chosen to be in INI on the [final episode] of the survival show.

During the lineup announcement, we were given microphones and a short time to say a few words about how we were feeling. I panicked, and was kind of rambling. I didn't know what to do, and I could feel everyone's eyes on me, which made me more and more nervous. [Laughs.] It just makes me embarrassed every time I think about it.

Fengfan Xu: When I joined ["Produce 101 Japan"], I found the system to be quite [unfamiliar] and tough, and it took me a little bit of time to get used to it. But I always looked up to those before me. I was very inspired by how these other artists could inspire others, and that became an important theme for me in becoming an idol.

Now that I've debuted, when I meet fans and they tell me that our music gives them energy and hope, it makes me feel, first, that I'm glad I chose to pursue this path, and second, that I'm slowly becoming the artist I wanted to be [during] the survival show.

Masaya Kimura: When I was a backup dancer, I'd go on stage and then observe the audience, where there were people with handmade fans and posters showing the names of the artists or members they liked. They weren't looking at the backup dancers. But then, when I finally stood on stage as an artist and saw my name on posters, or people holding homemade fans with my face on them, that's when I really felt, Wow. I became an idol.

Hiroto Nishi: I had a similar experience to Masaya's when I first realized people were coming to the concerts for me. I found that quite strange, but I was also very happy to see it. 

On the other hand, one thing I noticed was the difference in dancing. In the past, a lot of it was skill-based, but now it's not just about skill, it's about performance, too. So, while it might seem like we're doing the same thing, it's completely different because it's almost having to learn from scratch over and over again the idea of dancing. I feel more like a dancer now than I did when I was still a backup dancer.

Takumi Ozaki: [Being in INI] has made me think more about what it means to be an artist. There was a time when the focus was primarily on dance, but in recent years, more dancers and vocalists who can sing well are becoming more active. I think that one needs to be involved from the production stage onwards, carefully considering the balance between both sides.

The key going forward will be how well artists and companies can discuss things, and that is also necessary for us at INI.

Masaya Kimura: I don't think I actually do much as a leader because everyone in the group respects each other so much, and when times are tough, the members support one another. Because of that, as a leader, I don't have to stand in front of everyone and boss people around because we just naturally work extremely well together. 

Matsuda Jin: In the beginning, Masaya was quite strict, and it was hard because we were so fresh and didn't really know what we were doing. But as we've grown, I like to think we don't have to make our leader worry as much anymore, because we're able to pull our weight without being told what to do.

Rihito Ikezaki: Our songs are powerful and strong, and we bring a lot of intensity to our dancing. But throughout the process, we're constantly talking as a group about what our audiences in Japan want, and what our potential audiences internationally might be looking for. We often discuss experimenting and we’re always trying to improve so we can [connect] with all kinds of audiences.

Hiromu Takatsuka: We want to continue making good music, and that's really important to us. We want to create music that represents Japan, and we hope it will come to define what J-pop is.

Rihito Ikezaki: We're still the challengers when it comes to the overall scene, and we want to keep looking up and aiming higher. We are standing in large arenas and domes, and that's something that we really hold close to our chest and take great pride in. So, as we keep going, we’ll hold on to that pride and never forget it.

Fengan Xu: When we first performed in L.A. [in 2022], it was our first international performance and was essentially at an arena, all thanks to KCON, which we’re just eternally grateful for. With other K-pop artists performing there, we were super nervous, but I think we could perform at our best and share our colors. At the same time, we were just super excited about gaining international experience together as a group and exploring different cultures. 

Yudai Sano: At KCON LA 2022, we were not sure if people were going to be excited to see us. But then, we banded as a group on the lift going up, and in that moment of solidarity, we came together and said, We’re going to make this happen and perform our best. I'll never forget that.

Hitting Major Stages Throughout Japan

Takeru Goto: The first time we did an arena tour, we were at full throttle. We focused on making the same moves and really tried to make everything go right. But as time went on, we’ve slowly learned to keep going full throttle while also enjoying the concerts more. It's something that has changed every time because we can have more fun.

Kyosuke Fujimaki: When we go to festivals, it's not just our fans there, but also people coming to see their favorite artists. It does make us mindful of trying to give our performance the best effort so that people who don't know us will enjoy it.

Also, we want to make sure our performance doesn't get overshadowed, so we want to keep working to stay on the same level as the other artists. By having this in the back of our minds, the group dynamics are actually better, and we get even more energetic. 

Takumi Ozaki: I'm continuously learning every time, but at our most recent concert in Kobe, I had the opportunity to be the MC. In the past, I only focused on the songs, but I realized how important the MC's role is. MCs weave the different songs together and create a flow that makes the concert feel extra special. 

Leading Their First-Ever Concert At The Kyocera Dome

Takeru Goto: As we were doing our [second arena] tour, I was feeling a little bit down and generally worried about whether INI was growing. I was getting some doubts for myself. But then, when I heard the special announcement that we were going to Kyocera, it [confirmed] that INI is actually doing great and that we’re continuing to move forward. That was a really important feeling for me.

Shogo Tajima: This was our first time performing at a dome just by ourselves, and we truly felt how much bigger the performance stage was. We could feel that it was thanks to our fans' support that we were able to stand there.

Stepping onto the stage at Kyocera Dome really made me think about the future — how much more we can grow as a group, and what our next steps might be. One word to describe that concert, and what we felt as a group while performing, is "potential."

Jin Matsuda: When we began the performance, we started on a lift that brought us from the bottom to the top [of the stage], and I’ll never forget the moment I looked out into the audience for the first time and saw the dome completely filled. Every venue feels like a first time, but this was a dome, and I was a little bit concerned if we were going to be able to fill all the seats. But then I got to look out, and I got really emotional just seeing everyone there supporting us, and the power that I received from it. And I think it's not just me… everyone in the group felt it too.

Selling One Million Units With Their EP, THE FRAME

Hiromu Takatsuka: As a group, we were very happy at that moment, but it also made us feel even more connected with our fans. It really feels like we're able to give back to them in the same way they've given to us. It was a special moment for everyone.

Hiroto Nishi: There was an absolute gratitude we felt for the fans, and for just how remarkable a feat this was for all of us. However, we needed to make sure this wasn't just a one-off thing or a random occurrence and that it was something we could accomplish again and even go beyond.

Crafting THE ORIGIN

Rihito Ikezaki: One thing that we really changed in the process for this album was that we tried to approach it more creatively. More members are now involved in the songwriting process and in choosing different styles of music. It's about developing this idea of a new origin for ourselves, while also celebrating the change that INI has been able to accomplish.

Masaya Kimura: Across our different albums, the lead singles have usually been very "INI-like." Our debut song, "Rocketeer," is a good example, but "DOMINANCE" is an even more powerful track. It's kind of like us at full strength, at our max energy, but still with a bit of that "INI-like" feel. It's like an adult version of where we were when we first debuted, and it represents where we are as a group right now.

Rihito Ikezaki: [Producer] Kenzie-san is truly a legend. She's collaborated with so many artists and written so many songs that we know, and she made a really interesting song for us. "Potion" is very hip-hop-based, but it also has softer, more emotional beats within it, so it’s an interesting balance [compared] to what our usual songs are like.

I wanted to create the best lyrics I could. I wrote them while thinking about our fans and trying to tell them that, because of them, we get power and energy even when we're feeling down. When we perform the song in front of an audience, we get to hear them shout the lyrics with us, and I think that really shows how it gives energy to both sides — and that's exactly what we’re going for.

Fengfan Xu: Kenzie-san was very understanding about changing things on the fly. For example, in the demo, there was a specific section that used falsetto, but we decided that using the normal voice would actually sound better there, so we made the adjustment. It was a very fun and interesting experience.

Preparing For The Road Ahead

Fengfan Xu: Getting ready for [our upcoming concerts at the Nagoya Dome] is very different conceptually from what we did last time [at Kyocera]. This is an upgrade or more like a continuation of what we have been doing in the past but at a bigger scale. We're treating the arena tour and the dome concerts as separate experiences, and we want to approach the dome performances [with the goal of] creating something new and special.

Masaya Kimura: We're really excited [for] the audience, the excitement, and the energy we’ll receive from them. But at the same time, we've had this conceptual timeline that started with our sixth [EP], THE FRAME, continued with our seventh, and led into our third album. We want to make sure these concerts [at the Nagoya Dome] not only represent the conclusion of that project, but also become a significant historical moment for INI and remain part of our legacy.

Kyosuke Fujimaki: We'll keep giving our all moving forward — with our fans in Japan and our global audience in mind, and the objective of reaching a broader age range.

Matsuda Jin: Today we're celebrating the fourth anniversary [since our formation], but I want us to keep improving as a group, and I hope we'll be able to celebrate our 10th and 20th anniversaries too.