KANO MIYU on Omuta, Songwriting and the Beginnings of “TERMINAL” — March 8 on LOVE FM

From responses to Akiramenaide and a message from an Omuta bar to balancing SIS with solo work and planning Kansha no Tsudoi 2026, the third episode finds MIYU increasingly at ease.

On the March 8, 2026 edition of LOVE FM’s Kanou no Kanou SAY!!, KANO MIYU discussed responses to her photo album, personal memories of Omuta and Fukuoka, her current work with SIS and as a solo artist, preparations for her first Japanese fan meeting, and the meaning behind her new song “TERMINAL”. Following January and February’s broadcasts, this third episode immediately felt more relaxed and conversational than its predecessors.

If the first episode explained her starting point and the second offered a catch-up centered on her Seoul concert and fan meeting, March’s broadcast connected the two. With several encounters with listeners behind her, MIYU sounded more flexible from the opening. Valentine’s Day led to the photo album, a message from an Omuta fan, Japanese fan meeting preparations, listener questions, spring and strawberries, and a live rendition of “TERMINAL”—different layers of her life within one program.

Most strikingly, she is increasingly showing who she is rather than explaining herself. More than a list of activities, we hear how they felt, how she builds relationships with fans, and how she receives her own songs and performances. The program sounds less like a monthly update than a gradually unfolding record of how KANO MIYU moves through the world.

Finding her radio rhythm in episode three

“It’s already our third episode,” she said at the opening, reminding listeners that the second Sunday of January, February and March had become their time together. By this third visit, her words seemed to flow more naturally than at the start.

She began with Valentine’s Day. Laughing that she had given nobody chocolate this year, she explained that she had still wanted to give fans something, so she held a TikTok livestream. Asked who had received her chocolates, she replied that, of course, she had not managed to give any away, continuing the lighthearted exchange.

This might sound like inconsequential chatter. Yet such remarks give the broadcast its texture. They reveal someone sharing the calendar and seasons with listeners, beyond her stage persona. The occasion, her desire to offer fans a gift, and the livestream she chose instead show how naturally she understands that relationship as part of everyday life.

She also recalled that this period coincided with the deadline for first-edition bonus reservations for the photo album Akiramenaide —a title meaning “Don’t Give Up.” February 14 was the final day, and she laughed about how heavily she had promoted it then. Copies should now be reaching fans, she said, and she would love to see their impressions on social media. Even the opening showed that this was about following the connection between a released work and its audience, rather than simply announcing news.

A third introduction becomes a more personal story

MIYU introduced herself again. She acknowledged that listeners might wonder why they were hearing the same introduction for a third time, but this version proved far more specific.

Describing herself as being from Omuta in Fukuoka Prefecture, she clarified that she was born in Mie Prefecture and moved to Omuta at around three. Having spent virtually all her formative years in Fukuoka, she identifies with the region.

An especially memorable story concerned a direct message from someone connected to an izakaya, a Japanese bar serving food, in Omuta. The proprietor had expressed surprise that such a talented young woman came from the city and said they played SIS’s “Ai no Battery” at the bar.

The appeal of this story is that home is no longer merely somewhere she used to live. Omuta is where she grew up, but also a new stage on which people recognize and respond to her present work. Hearing that someone actually plays her music in a business—and in her childhood city—can mean a great deal to an artist. A place from the past reconnects with the present.

Between SIS’s “Ai no Battery” and her solo songs

One particularly interesting moment was her frankness about the feelings between SIS (also billed as SIS/T) and her solo career. She was delighted that the Omuta bar played “Ai no Battery,” but added that she would now love her solo songs to be heard just as often.

The remark could pass as a joke, but it matters. MIYU is pursuing two roles, as a solo artist and a member of SIS. Debuting with the group after Trot Girls Japan introduced her to a broader audience. “Ai no Battery,” one of its signature songs, suits lively bars, Japanese snack bars and social gatherings. Its accessibility makes the local response understandable.

At the same time, she has worked as a solo performer since age ten. That music more directly holds the stories, emotions and sounds she wants to express. What emerged was an entirely human and practical wish: she is happy to be recognized through SIS, but wants her solo songs to reach more people too.

Her comments suggest she is thinking seriously about the balance, rather than simply running two careers alongside each other. Group work broadens recognition; solo work deepens her individual voice. She intends to keep both. Her description of herself as pursuing two disciplines made sense in that context.

A year on Korean television, and a career spanning two countries

In her introduction, MIYU said the audition had led to appearances on a Korean program, where she subsequently featured in something close to a regular role for about a year. The broadcasts remain available on YouTube, she added, directing listeners to search her name for numerous clips.

The point was brief but significant. Her present career can no longer be explained by work in Japan alone. She is building experience by moving between Korean television, concerts, fan communities and local stages, as well as performing in Fukuoka and Tokyo.

She described herself as KANO MIYU, currently expanding her activities while traveling between Japan and Korea. It may sound like a promotional line, but it also supplied a key to the episode. SIS and solo work, Japan and Korea, her hometown and the capital, broadcasting and live performance all contribute to who she is now.

Hearing “It’s a new world” from her present perspective

Her first selection was “It’s a new world.” She invited listeners to hear it with a fresh outlook.

The title happens to echo her current position. Across the first two episodes, she had repeatedly discussed a new radio show, fan meetings, work in Korea and the photo album. Returning to this song early in the third episode, as those projects began taking shape, felt more than incidental.

For an artist with a long working history, a new world is not relevant only at debut. Freshness can require a more conscious choice as a career develops. The selection felt like a moment of recognizing that she was entering another stage.

Taking printed fan comments to her agency: the first Japanese fan meeting

A central topic in March was preparing for her first fan meeting in Japan. Importantly, the recording took place before the event, not after it. She was sharing how she felt while still preparing for something that had yet to happen.

After her solo fan meeting in Korea in January, Japanese fans had repeatedly requested one at home. Rather than let those comments pass, she showed them to senior people at her agency and made the case herself: this many people were asking. Approval came surprisingly quickly, and she was now preparing in earnest with staff.

This was revealing. Fan events can look like agency decisions that performers simply follow, but MIYU described collecting fans’ requests and actively helping bring the occasion about. Beyond appearing onstage, she was advocating between fans and the company for the need for such a gathering.

She also used Instagram Stories polls to ask what people wanted to do, which covers they wanted to hear and what content they hoped to see. She described gathering suggestions, organizing possible songs and considering the most enjoyable program. Her approach was to create something fans would love together with them, rather than simply showcase her own choices.

Why “Kansha no Tsudoi 2026” became a deliberately formal title

One particularly interesting part of the discussion concerned the title. The Japanese fan meeting was called Kansha no Tsudoi 2026 —roughly, “A Gathering of Thanks 2026.”

MIYU knew that it might sound rather composed or formal for her image. She recalled having tea with fellow SIS member Makoto, who asked who had chosen the name. Makoto apparently also found it unusually polite compared with MIYU’s usual impression.

For MIYU, that was precisely the point. The Korean fan meeting had followed the concert under the title “1999,” whereas she expected the Japanese gathering to draw particularly dedicated fans. Gratitude therefore belonged at its heart. She always feels thankful at concerts, but a fan meeting offers a closer setting in which to express it. She wanted the title to carry the warmth and weight of the Japanese words and characters themselves.

The title was not formal for formality’s sake. It was her way of clearly expressing appreciation at her first Japanese fan meeting. Even naming the event involved considering its emotional tone and the relationship it would foster.

Akiramenaide begins reaching fans

The photo album Akiramenaide was discussed as a released work beginning to reach people, rather than a project awaiting promotion. After publicizing first-edition bonus reservations around Valentine’s Day, she was now asking those who had received it to post their impressions.

The change followed naturally from February’s broadcast. The earlier request to reserve a copy had become a request to share a response after receiving it. The radio show was keeping pace with the actual project.

She jokingly asked whether fans were listening every morning and evening. There was sincerity beneath the joke. The photo album is more than merchandise: it brings together her songs, photographs and time. To hold it and repeatedly listen and look in daily life is also to make her time part of one’s own.

“DO IT NOW”: a beat-driven self-portrait from age eighteen

A later selection, which she introduced as a song written at eighteen, was “DO IT NOW.” She praised its beat, and its lyrics and delivery do have a different texture from the other songs.

Unlike Akiramenaide, which holds feelings from age ten, or “TERMINAL,” shaped by recent journeys and relationships, “DO IT NOW” suggests a sharper, more urban sensibility from her late teens. Her songwriting has not followed a single mood. The same writer’s musical tone changes with age, circumstance and the world she sees. Placing the songs alongside one another let the radio program convey that evolution naturally.

Listener messages give episode three its rhythm

The latter part of the program turned more fully to listener emails. Here, the episode developed a distinctly radio-like rhythm.

A listener in Kanagawa, Happy Tennis, wrote of attending her solo concerts and events, traveling to Shibuya for Kansha no Tsudoi 2026 and finding a source of purpose in MIYU. She was moved that the listener had used the exact title and felt pleased with the name she had chosen. Her own sense of purpose, she said, lay in holding shows, singing and meeting fans. The exchange was brief but powerful: grateful to bring meaning to someone’s life, she explained that work, performance and those same meetings gave meaning to hers.

The next question came from a Tokyo listener, Akogizuki, who asked how she writes songs: whether ideas arrive suddenly, while playing guitar, or often at night. MIYU welcomed the question, saying that prompts make a solo radio show easier to talk through. This too revealed a change by episode three. She was treating radio as something made together through questions and answers, rather than a space to sustain alone.

Melodies first; lyrics come flooding in at night

Her answer about songwriting was another highlight. She described herself as someone who starts with melody. Lyrics usually follow. In the past, words and tunes often emerged together while she played guitar; lately, she more often adds words to a melody that has already arrived.

Asked when songs come, she said lyrics can pour out on sad or unhappy nights, when she feels the day has not gone well. After returning home late and reflecting before bed, a sudden rush of words can keep her up until three in the morning.

She did not describe songwriting simply as a technical process. Instead, writing lyrics felt like a form of detox, releasing what had accumulated inside as words for a song. Writing is expression, but also a way of ordering feelings, letting them out and sustaining herself. Such accounts of creativity inspire trust because the artist understands the internal process behind the finished work.

Spring means strawberries: her Fukuoka loyalty to Amaou

A Fukuoka listener, Pink no Cheek, asked what she wanted to enjoy in spring. MIYU immediately thought of strawberries. They define the season for her, and she had been eating them often. Coming from Fukuoka, the variety she thought of first was Amaou, her home region’s strawberries.

Even small Amaou strawberries are astonishingly sweet, she said, recalling how her mother put them in her lunchbox as a child. Recently she had also begun trying Tochiotome, Tochiaika, Skyberry and Benihoppe, but laughed that, as someone from Fukuoka, she still had to champion Amaou.

It may not be exceptional information, yet on radio such moments matter. Seasonal cravings naturally reveal childhood memories and a sense of place. As these everyday conversations accumulate, the person behind the performer becomes clearer.

Merchandise ideas: light sticks, miniature cushions—and rabbits

A Fukuoka listener, TY asked what merchandise she would like to make, prompting another enthusiastic answer.

She had long considered accessories and bracelets and had previously asked fans what they wanted. Surprisingly, the most frequent answer had been an original light stick. She has never made one and would like to try at the next opportunity.

More unusual suggestions amused her: miniature cushions and pillows, cushion covers and even pillowcases. Her laughing response—what did they mean by pillowcases?—was one of the episode’s most everyday moments, suggesting a relationship already comfortable enough for familiar jokes.

Then came an unexpected keyword: rabbits. She had recently worn rabbit ears on a TikTok livestream. People had said she resembled a rabbit since childhood, particularly often over the past year, so she bought a headband to try. Fans responded that she looked like a cute rabbit, while she wondered whether wearing the headband at all was the more unusual sight. The recollection drew another laugh.

She concluded that accessories, light sticks and rabbit motifs might eventually become merchandise. These were not yet formal plans, but they illustrated the imagery and character taking shape among fans.

A spontaneous “TERMINAL” becomes the emotional center

The clear highlight of the second half was a live rendition of “TERMINAL”. MIYU explained that it was the newest track, placed last on the album, and that she felt ready to share it now. She sang a substantial stretch, then thanked listeners and explained its meaning.

She said she had written it after meeting her Korean fans, through a succession of encounters, farewells and new meetings across her life. It was written in gratitude and suited cherry-blossom season, she added.

That explanation matters. “TERMINAL” sounds like more than a sentimental farewell song: it gathers the movement of relationships, stages and life itself as she travels between Japan and Korea. The terminal becomes not merely a transport facility but a place where departures, arrivals, passing encounters and reunions overlap—a metaphor well suited to her current life.

What episode three leaves behind: radio as a record of her time

The March 8, 2026 broadcast of Kanou no Kanou SAY!! was the third episode and offered a particularly rounded picture of the artist’s present life. Valentine’s Day and TikTok, the photo album Akiramenaide and its reception, the Omuta bar’s message, SIS and solo work, Korean broadcasting and the Japanese fan meeting, candid answers, strawberries, merchandise, rabbit ears and the feelings in “TERMINAL”: separately they might be small stories, but here they joined naturally into one life.

Most striking was her growing use of her own voice. Earlier episodes had led with explanations; now the rhythm of conversation came first. What she wants to give fans, the gatherings she hopes to create, why she writes particular songs, and what makes her laugh or offers comfort all became clearer.

Episode three did more than report what KANO MIYU had been doing. It conveyed the feelings and pace with which she was living. That is why the program was beginning to function as a monthly archive of her present, beyond its role in promotion.

Related reading

KANO MIYU on Korean concert memories and the meaning of Akiramenaide — February 8 on LOVE FM →

KANO MIYU on fan meetings, F1 and the Hakata Station stage — April 12 on LOVE FM →

Further information

• LOVE FM · New program and broadcast schedule