KANO MIYU opens a Fukuoka morning with quizzes and music — KBC Asadesu Radio

One answer short on Time Shock, yet all the more distinct: the Fukuoka singer-songwriter’s natural personality, dreams and present in spring 2026

KANO MIYU appeared on KBC Radio’s morning broadcast of “Asadesu Radio” on April 7, 2026, bringing her characteristic brightness and frank conversation to an unvarnished account of her recent activities. Rather than a straightforward interview, the broadcast opened with the quiz segment “Asadesu Time Shock” , drawing together her personality, quick reactions, everyday life, music, first photo album “Akiramenaide” (meaning “don’t give up”), her role as Avispa Fukuoka DAO ambassador and that evening’s Hakata Station performance.

The appearance was also interesting for revealing a different kind of appeal from the previous day’s FM FUKUOKA broadcast. If that conversation considered her music and career more seriously, KBC Radio brought her personality and private everyday life into sharper focus. Her confusion during the quiz, momentarily missing the host’s name and admitting she is “a little scatterbrained” instead became sources of familiarity and charm.

Above all, the broadcast showed that she can attract people through radio as well as through strong singing. Bright and naturally playful, she was clear when it mattered; she could be funny while remaining definite about the meaning of her music. Although it seemed like a light morning appearance, it vividly recorded where KANO MIYU stands today.

A morning appearance opens with Asadesu Time Shock—and her personality comes through immediately

She appeared as a special challenger on the popular KBC Radio segment “Asadesu Time Shock”. The format was simple: answer twelve questions in one minute, with ten or more correct answers earning listeners a program sticker bearing her autograph. That simple setup proved a particularly quick way to reveal her personality.

Asked whether she was good at quizzes, she answered “No” without hesitation. Although every question concerned her, she sometimes paused to think or laughed at how quickly things moved, responding in a very human way. Her laugh about whether her brain would work so early in the morning had already relaxed the atmosphere.

Interestingly, fans would have recognized the subjects of the questions. Her hometown, age, the title of February’s photo album, her connection with Avispa Fukuoka and ten million views for her “Over Drive” performance all condensed her recent activities into successive keywords. The segment was more than a quiz: it briefly and rhythmically introduced KANO MIYU to morning listeners.

Nine correct out of twelve: one answer short, but unmistakably KANO MIYU

She ultimately answered nine of twelve questions correctly, narrowly missing the target of ten. The decisive moment came when the host asked, “Who am I, speaking to you now?” Her thoughts suddenly veered toward herself; an unexpected response came before the host’s name, and time ran out. She fell one answer short.

Yet that moment became the broadcast’s first highlight. More than the failure itself, the way she failed felt unmistakably like her. After getting the host’s name wrong, she laughed that making a mistake helps her remember better. The host replied that she would not forget now, keeping the mood lively.

The scene worked because it showed that she does not hide mistakes or retreat in embarrassment. Instead, she immediately turns them into light jokes and absorbs them into her personality. That instinct matters on radio, where a little fallibility and honest reactions can linger longer than excessive tension.

Time Shock also revealed an unexpected side. Asked what “DAO” brought to mind, she immediately thought of the taiko ensemble TAO (Wadaiko Shudan TAO), explaining that she remembered seeing their performances several times as a child. She said she was surprised it came out so quickly. Such moments also showed that she cannot be reduced to a scatterbrained character: she is bright and unpredictable, yet the sensations worth remembering remain within her.

KANO MIYU: twelve Time Shock questions (Kanou Miyu Time Shock: 12 Questions)

Laughter continued after the quiz

After Time Shock, the host naturally continued discussing her slightly absentminded side. A listener’s message also mentioned that she could be forgetful, which she did not deny. She comfortably admitted having a somewhat scatterbrained streak.

The quiz mistakes became material for the next conversation. Miyu acknowledged that side of herself, and the host took up her answer to keep the exchange going.

A childhood talent for endless hula-hooping: everyday conversation brings the past to life

Another memorable subject was her ability to keep a hula hoop spinning indefinitely. It initially sounded like an amusing variety-show talent, but she explained its connection with childhood rhythmic gymnastics and frequent practice at home. There was always a hoop in the house; spinning it while watching television eventually led others to suggest that it was a special skill.

When she said she could no longer do it as well, the host replied that some things are easier as children than now. A question about a talent became a discussion of childhood practice and present-day life.

Miyu said she was considering taking up hula-hooping again to strengthen her core and continue singing. She also gave a practical reason for hesitating to buy one: her home is not very spacious.

An ambassador’s experience of singing in a stadium

The broadcast also revisited KANO MIYU’s role as Avispa Fukuoka DAO ambassador . She said she had always known the team and naturally felt close to it as someone from Fukuoka. The actual connection, however, grew from the 2023 Japan–Korea audition and her subsequent television work.

Miyu explained that Avispa Fukuoka became interested after watching Korean-related programs and audition content. Work away from home had led to an encounter with her local football team.

She also described singing on the pitch at Best Denki Stadium two or three times. Looking back on those performances, she spoke of wanting to sing in large stadiums and still wider spaces.

She said she had felt her voice carrying far across the stadium and the freedom of its open space. She linked that experience to her dream of singing on even bigger stages.

Ten million views for “Over Drive,” and a response expanding to Korea and Taiwan

The host raised another key topic: ten million views for her performance of JUDY AND MARY’s “Over Drive” . She explained that the response had really begun with the 2023 Japan–Korea co-produced audition program “Trot Girls Japan” and her later singing appearances in Korea.

She called singing “Over Drive” in Korea a turning point. That stage introduced her to Korean viewers, and the response subsequently extended through Fukuoka and Tokyo and now to Taiwan. Although she had shared similar stories on other broadcasts, this KBC Radio appearance articulated her dream of expanding across Asia particularly directly.

The host described her voice as refreshingly clear in a way that makes one want to keep listening. She replied that she often hears similar comments in Korea. She had not originally recognized that quality herself, but reactions gradually helped her understand the strengths of her voice.

Responding to the host’s assessment, Miyu said she heard similar things in Korea. It was a conversation in which audiences and presenters reflected back a quality of her voice she had not noticed herself.

“I’ve wanted to be a singer since I was eight”: a starting point shaped by Hannah Montana

Asked when she first wanted to become a singer, she answered almost without hesitation: since she was eight . As she has often explained, the inspiration was “Hannah Montana” . Its premise—a regular schoolgirl living as a star onstage—had made a powerful impression on the young Miyu.

She also mentioned that this year marked Hannah Montana’s twentieth anniversary, saying that recently revisiting a related special had brought back feelings. She found it surprising that almost twenty years had passed since the dreams she had formed while watching the show.

Her childhood dream of singing after watching Hannah Montana and her present career came together in the same conversation. She said the recent twentieth-anniversary special had reminded her of that time.

Why “Akiramenaide” became the album title: a song written at ten returns as a statement at twenty-six

Her first photo album “Akiramenaide” again occupied a substantial part of the conversation. She emphasized that the song playing was the first song she wrote at ten . She said its lyrics and chords had barely changed, explaining that it had originally been much more folk-oriented.

She admitted that she had never intended to release it. Written when she was very young, it felt too direct and embarrassing to revisit now. But her agency’s representative kept telling her it was a good song that should be released. Above all, hearing the new, rock-oriented arrangement used for the current version changed her mind.

Miyu explained that even after so much time, the words “don’t give up” still felt relevant. That was the background to releasing the childhood song in a new arrangement and giving her first photo album the same title.

How she writes: “The melody comes first, and lyrics pour out while traveling”

The host also asked how she had written more than fifty original songs. She explained that, in general, the melody tends to come first. If lyrics occur to her while traveling, she immediately notes them and later adds a melody; alternatively, she places words over a melody that has already come to her.

There is no fixed order for melody and lyrics. She may put words to a melody that comes first, or note lyrics that occur while traveling and add the melody afterward.

What the photo-album format means: a first release preserving scenes as well as music

The host also asked about the format itself. Why a photo album rather than simply an album? Miyu laughed that only recently had she herself become newly aware that such a format existed.

The photo album includes stage photographs from her 2025 birthday concert. Alongside hearing the songs, listeners can see the expressions and movements of that performance in photographs.

She introduced the opportunity to enjoy photographs together with music. From discussing the songwriting process, the broadcast moved to the contents of the finished work.

Hoping to sing in Omuta too

Later, the host asked how frequently she returned to Fukuoka. She said local work had gradually increased since last year, bringing her back occasionally, but her schedule was still too packed to spend much time at her family home.

Although her schedule seldom lets her stop at home, she expressed a wish to sing in Omuta someday and give something back to her hometown.

A Hakata Station performance announced for that evening

One practical purpose of the appearance was to promote that evening’s performance at JR Hakata City’s Large Roof Event Space. KANO MIYU said she would appear on the “Lions Sakura Festa” stage at around 6:15 p.m., personally inviting listeners to attend the free performance.

Especially memorable was her admission that it had been a very long time since she had sung outside Hakata Station. She had performed there as a high-school student through FM FUKUOKA-related radio work and local stages, but described this appearance as almost her first time back since her second year of high school .

The evening announcement led to memories of singing outside Hakata Station in high school. She shared how it felt to return to the same place after so long and invited people to the free performance.

From the morning quiz to an evening-stage invitation

The morning broadcast began with twelve Time Shock questions and childhood talents, then moved through making the new release, singing at a stadium and that evening’s Hakata Station plans. Miyu laughed at her incorrect quiz answers and explained her creative process concretely when introducing her songs and work.

As the host asked questions and Miyu shared experiences, each exchange opened the next subject. The evening show introduced at the end offered an opportunity to encounter onstage the voice listeners had heard on the radio.