REVIEW · Concerts & Live
sis PROLOGUE: Opening a First Chapter in Seoul with Original Songs
Songs performed at PROLOGUE in Seoul
Confirmed performed songs · Complete repertoire and running order unconfirmed
- Dancing Queen
- Can’t Take My Eyes Off You▶ Watch video
- Smile for Me▶ Watch video
- Ai no Battery▶ Watch video
- Cinderella Honeymoon▶ Watch video
- Umji Cheok
- Zankoku na Tenshi no Thesis▶ Watch video
- Aoi Sangoshou▶ Watch video
- Sekaijuu no Dare Yori Kitto
- DIVER▶ Watch video
- Michishirube
From the main show to a fan meeting
A high-touch event followed the main show, which featured new original songs and cover repertoire. The fan meeting for VIP audience members included a Q&A, dance challenges, a prize draw, and photo time.
sis (SIS/T) held PROLOGUE, its first solo concert in Korea, at Space Brick in Hongdae, Mapo-gu, Seoul, at 5 p.m. on June 7, 2026.
This was the first solo concert the group, comprising KANO MIYU, MAKOTO., RIHOKO TARA, and AI ASAHI, had presented in Korea under the sis name. For approximately ninety minutes, the four members met Korean fans with a repertoire spanning new original songs, Korean and Japanese popular music, and classic pop hits.
A message before the Seoul concert
SIS PROLOGUE · Seoul
Filming / channel: Diego Watch on YouTube ↗
After the concert, a separate special fan meeting lasting around sixty minutes was held for VIP audience members. VIP and S-seat ticket holders received a high-touch benefit with all four members, while VIP guests also attended the fan meeting and a one-to-four Polaroid photo session with the entire group. Tickets were priced at 165,000 won for VIP, 132,000 won for S seats, and 99,000 won for A seats.
As the title PROLOGUE suggested, the stage served both to bring together what sis had shown so far and to preview its future direction. Original music joined the group’s previously cover-centered performances. The fact that a group active in Japan met Korean fans directly in Seoul also gave the show the significance of a new starting point.
sis’s first solo concert in Seoul: Korean and Japanese fans together
Space Brick welcomed not only Korean fans but also fans who had traveled from Japan to Seoul. Audience members who usually supported sis at venues across Japan, including Tokyo, Osaka, and Fukuoka, came to the Seoul show, allowing Korean and Japanese to mingle naturally throughout the audience.
The four members of sis became known through the Japanese audition program Trot Girls Japan. They subsequently introduced the group to music fans in Korea and Japan by releasing a Japanese reinterpretation of HONG JINYOUNG’s hit Love Battery. KANO MIYU in particular had become relatively familiar to Korean audiences through appearances on MBN’s Hanil Gawangjeon and Hanil Top Ten Show, as well as her work in the Korean–Japanese duo ATLANTIS KITSUNE with former NATURE member KIM SOHEE.
Ticket exchanges and official merchandise sales began outside the venue at 3 p.m. People who had booked online received paper tickets after their reservation details and identities were checked. Merchandise available on site included concert posters and random member cheki instant photos.
At a time when more concerts use mobile tickets alone, the separate distribution of paper tickets left audience members with a physical record to remember the show by. With the added significance of sis’s first solo concert in Korea, the tickets and concert posters became more than simply a means of admission or merchandise: they became mementos of this particular performance.
Admission began at 4:30 p.m., and Korean and Japanese fans filled their assigned seats as the start approached. Fans who had followed sis at Japanese venues gathered in the same space as people who had discovered the members through Korean broadcasts, showing how the group’s work in both countries was translating into an actual shared audience.
Four members in black: a close distance that deepened immersion
At 5 p.m., KANO MIYU, MAKOTO., RIHOKO TARA, and AI ASAHI appeared onstage in coordinated black outfits. Compared with sis’s familiar bright, approachable image, the styling emphasized a sharper, more contemporary atmosphere.
These outfits had previously appeared at PROLOGUE at Shinjuku ReNY in Tokyo on May 5. The Seoul performance carried forward the Tokyo show’s basic direction, but the significance of being the group’s first solo concert in Korea, together with Korean fans’ reactions, created a different atmosphere. The Tokyo performance took place at Shinjuku ReNY on May 5, 2026.
Space Brick is a venue with a relatively short distance between stage and audience. It is difficult to use elaborate staging or extensive movement routes as one might in a large venue, but the closeness allows the audience to see the members’ expressions, small gestures, and even the moments when they exchange glances.
Whenever the members moved, audience reactions reached the stage immediately, and the members continued performing while making eye contact with viewers nearby. The setting encouraged attention to the four members’ live vocals and rapport rather than the scale of the stage, increasing the intensity of the performance.
For roughly ninety minutes, sis moved briskly through the show without leaving long gaps between songs. Bright, lively retro numbers, songs emphasizing emotion, and new material with a greater focus on choreography appeared in succession, continually changing the atmosphere of the concert as a whole.
In duration alone, the show was not long compared with a large solo concert. Yet the succession of songs in different genres and languages made it feel densely packed. The venue’s layout, allowing the audience to experience the four members’ vocals close up, also contributed to their immersion.
From Dancing Queen to Umji Cheok: classics reinterpreted in sis’s own colors
PROLOGUE offered a broad range of the retro classics that sis had been reinterpreting in its performances. Dancing Queen, Can’t Take My Eyes Off You, Smile for Me, Ai no Battery, Cinderella Honeymoon, Umji Cheok, Zankoku na Tenshi no Thesis, Aoi Sangoshou, and Sekaijuu no Dare Yori Kitto were among the songs performed.
KANO MIYU · Stay with me
SIS PROLOGUE · Seoul
Filming / channel: Diego Watch on YouTube ↗
The songs differ in release period, country, and genre, but share melodies familiar to audiences across generations. Rather than simply reproducing the originals, sis reconstructed them to suit the four members’ vocal colors and the atmosphere of its stage.
It was also notable that classic pop, Japanese popular songs, and Korean popular music followed one another within a single show. Instead of drawing firm divisions between languages and genres, sis placed songs according to their mood and the flow of the performance, joining them into one repertoire within its own stage.
Globally familiar pop songs such as Dancing Queen and Can’t Take My Eyes Off You made it easy for the audience to enter the performance from its early stages. Even people who did not know the songs from beginning to end could respond naturally through their familiar choruses and rhythms.
Aoi Sangoshou and Cinderella Honeymoon brought out the distinctive sensibility of retro Japanese popular music. Rather than simply restoring an old style, sis recast it through a contemporary stage sensibility and the images of its four members. The focus was on turning familiar songs into songs sung by today’s sis, rather than repeating them unchanged.
KANO MIYU · 青い珊瑚礁
SIS PROLOGUE · Seoul
Filming / channel: Diego Watch on YouTube ↗
Zankoku na Tenshi no Thesis emphasized the force and dramatic development characteristic of anime music. Showing a powerful energy different from the bright retro numbers, it demonstrated that sis did not remain within a single mood.
Umji Cheok and Love Battery ringing out in Seoul
Umji Cheok and Love Battery carried particular significance because this was a Korean concert. Unlike hearing Korean songs on a Japanese stage, Korean and Japanese fans were listening together in a venue in the country where the originals had been created, producing a different atmosphere.
Umji Cheok drew a response from the audience with its bright, repetitive rhythm. It was familiar to Korean fans, and had also become a familiar stage through numerous shows for fans who had followed sis’s activities in Japan. The members combined singing and movement to raise the energy of the concert.
Love Battery is close to a symbolic expression of sis’s work across Korea and Japan. The group released its Japanese version, Ai no Battery, in December 2024 to announce its group activities in earnest, and subsequently performed it at various events in both countries with changes in language and arrangement.
In Seoul, the sensibility of the original familiar to Korean listeners met the trajectory sis had built through its activities in Japan. Japanese members had interpreted a Korean trot hit in their own way and brought it back to the Seoul stage, revealing the process of cultural exchange between the two countries that the song had traveled through.
Rather than treating Korean songs as a separate novelty segment, sis incorporated them naturally into the whole concert. Korean-language songs followed pop and Japanese popular songs, forming a single repertoire sung by sis rather than separating music according to country.
This structure also connected with sis’s identity. Although the group began in Japan, Korean trot and television programs laid the foundation for its formation, and its activities have continued to move between the music of both countries. PROLOGUE in Seoul directly presented that trajectory to Korean fans.
From covers to original music: DIVER as a turning point
The most important change in this performance was the full introduction of sis’s new original songs. Until then, the group had mainly presented famous Korean, Japanese, and Western songs reinterpreted in the four members’ own colors.
Singing classics in new ways is a clear strength of sis, but developing a long-term direction and independent identity also requires music containing the group’s own stories. DIVER and Michishirube, unveiled at PROLOGUE in Seoul, signaled the beginning of that change.
DIVER differed most sharply from sis’s existing retro stages. The performance was built around a strong beat, contemporary arrangement, and rapidly shifting movement patterns, with the four members placing greater emphasis on choreography than before.
At the concert, DIVER was introduced as a song whose composition involved Shin Junki, the bassist of the band Buzz. A Korean musician’s involvement in a Japanese group’s original music naturally connected with the significance of sis’s first solo performance in Seoul.
As its title suggested, DIVER evoked sis stepping outside familiar territory and diving in a new direction. It was something of a turning point, as a group known for retro classics and trot covers expanded toward more contemporary performance and music centered on the team.
The members’ movements were also more complex than in their previous cover stages. They had to maintain their individual parts while handling rapid changes of position and synchronized group choreography. In passages where all four moved simultaneously, their coordination as a team became especially important.
In DIVER, KANO MIYU foregrounded a powerful energy different from her usual restrained singing. She maintained the center of the stage even as the choreography continued, while the song’s contemporary mood and black outfits combined to reveal a different side of her established image.
DIVER showed sis moving beyond a vocal group adept at covers toward a team with its own performances and music. Although the group did not yet have many original songs, this one remained a central part of the concert because it allowed the audience to imagine its future stages.
Michishirube, with lyrics co-written by AI ASAHI: a first step containing sis’s story
The other new original song, Michishirube, showed sis’s direction in a different way from DIVER. Where DIVER centered on performance and powerful energy, Michishirube gave greater importance to its lyrics and the four members’ emotional expression.
AI ASAHI participated in co-writing the lyrics of Michishirube. The song contains the trials and errors the group has experienced, its direction ahead, and a message of walking together rather than alone. It expresses a story beginning from zero to one, alongside the idea that even a detour is not wasted. The official release materials also confirm the song information and co-lyricists, including AI ASAHI.
A member’s direct participation in the lyrics gives this song a different meaning from performing material supplied from outside. A story that began in AI ASAHI’s words expanded through the voices of KANO MIYU, MAKOTO., and RIHOKO TARA, becoming a message from sis as a whole.
The song also connected naturally with the concert title, PROLOGUE. Both the title and the lyrics expressed not an arrival at a finished conclusion, but the beginning of a new story. It also reflected sis’s current position, moving toward original music after a period centered on covers.
Onstage, the focus fell on the members’ singing and expressions rather than spectacular movement. The four conveyed the song’s message calmly without pushing it too hard, taking over one another’s parts and expanding one person’s story into the voice of the team.
In Michishirube, MIYU approached the song by holding emotion within her voice rather than releasing it in a large outburst. Immediately after the forceful performance of DIVER, she offered expression at a completely different temperature, showing how she adjusted the intensity of her power and emotion to the character of each song.
After the concert, Michishirube was officially released on June 24 as sis’s first original digital single. The Seoul show was meaningful in that it introduced the song’s live performance to Korean audiences before the recording became available.
KANO MIYU connecting the center of each song: a presence without exaggeration
Throughout the concert, KANO MIYU connected the flow between songs and between members rather than unilaterally pushing her own presence to the front. In bright retro songs she approached the audience warmly, while in new material demanding powerful performance she increased the intensity of both her movement and her singing.
MIYU’s strength lies in not remaining within one image. In Dancing Queen and Umji Cheok, her bright, relaxed expressions drew a response from the audience; in DIVER, sharp movements and forceful expression changed the atmosphere of the show.
Conversely, in songs such as Michishirube, where lyrics and emotion mattered, she restrained her expression. Rather than strongly highlighting only her own part, she left space for the other members’ voices to follow and balanced the song so that it could cohere into a single emotional whole.
At Space Brick, where stage and audience were close, these details of MIYU’s expression also came across more clearly. The audience could see not only large movements but shifts in her gaze, small gestures, and moments of eye contact with other members.
This steadiness became still clearer as she handled songs of different genres and moods in succession. In bright retro numbers, MIYU sustained her rapport with the audience; in new songs requiring forceful performance or emotional expression, she adjusted her strength to suit the material. Rather than making herself stand out in one moment, she maintained the four members’ flow to the end of the show, connecting the songs naturally.
Seoul in particular was also a place where MIYU had expanded her connections through work before the other members. She had already met Korean fans through television appearances, ATLANTIS KITSUNE activities, and individual performances. This time, she stood on the Seoul stage as a member of sis.
Her role was significant in extending relationships first formed with Korean fans through her individual work to a stage shared by all of sis. Instead of allowing attention to focus solely on herself, she provided a center through which the individual qualities of MAKOTO., RIHOKO TARA, and AI ASAHI could also come across, creating balance in the group performance.
Ultimately, MIYU’s presence accumulated across the entire concert rather than in a particular solo or single scene. Without emphasizing herself, she connected the flow from its center whenever the performance changed, leaving an impression afterward as one of the members who had most steadily demonstrated sis’s direction.
Four different voices: connecting solo abilities to a team identity
A defining feature of sis is that its four members have distinctly different voices and means of expression. Rather than aligning everyone with one tone and image as a conventional group might, it forms a team while retaining each member’s vocals and experience.
MAKOTO., KANO MIYU, RIHOKO TARA, and AI ASAHI all demonstrated their individual abilities as contestants on Trot Girls Japan. Even after joining as a four-member team, they chose to shift the center according to the song and part, rather than erase their personal characteristics.
This structure became an advantage in PROLOGUE, with its frequent changes of genre. Pop, retro popular songs, trot, anime music, and contemporary originals followed in quick succession, but the members broadened the performance by sharing responsibility for expressions suited to each song.
MAKOTO., RIHOKO TARA, and AI ASAHI added different vocal colors and atmospheres in their individual parts. While MIYU steadily maintained the central flow of the concert, the other members added new colors to each song, keeping the performance from becoming monotonous.
AI ASAHI’s involvement in writing Michishirube also showed that the members’ roles were not limited to singing. If other members’ creative work or individual musical characteristics are reflected in future original songs, sis’s identity as a team could become still more distinct.
Each of the four has the ability to carry a solo stage, but in this concert they connected their individual strengths into one flow instead of displaying them competitively. As different voices intersected, familiar covers took on new atmospheres, while the original songs revealed sis’s particular direction more clearly.
Filming allowed where it did not interfere: clearer on-site guidance remains a task
There was some confusion over filming rules at this concert. Advance guidance explicitly prohibited all forms of filming that interfered with the performers or other audience members’ viewing. Some interpreted this as a complete filming ban, while on site others were seen recording without blocking fellow viewers’ sightlines.
Read literally, the wording could be understood to allow filming itself provided it did not interfere with viewing. However, separate detailed explanations before the concert about permitted recording and usable equipment were insufficient. Some audience members accustomed to strict filming restrictions at Japanese performances naturally kept their cameras put away.
Those who did not film could focus on the performance itself without worrying about framing or focus. For fans who had wanted to record some songs, however, discovering only afterward that filming may have been possible left a sense of regret.
Since filming rules vary from show to show, advance guidance needs to make clear what ‘without interfering with other people’s viewing’ specifically means. Distinguishing whether phones and cameras may be used, what photography and video recording are allowed, and which songs may be recorded could reduce confusion on site.
At the fan meeting, by contrast, staff confirmation established that ordinary photography and filming were permitted. Audience members could take photos and videos while the members posed onstage or participated in the program, and a separate photo time was provided at the end.
During the VIP one-to-four Polaroid session, however, separate photography, video recording, and audio recording were prohibited to protect audience members’ likenesses and personal information. With different standards for the main show, fan meeting, and Polaroid session, the importance of guidance for each segment became all the more evident.
High-touch immediately after the concert: a brief first exchange with fans
After the main concert, a high-touch event was held for VIP and S-seat ticket holders. KANO MIYU, MAKOTO., RIHOKO TARA, and AI ASAHI stood in a row near the exit as audience members moved past one at a time, touching hands with all four.
It was meaningful for fans to meet the members close up while the immediate afterglow of the concert remained. Having watched the four perform from the audience, they could now briefly make eye contact and convey words of thanks and support directly during the high-touch.
The overall pace, however, was relatively quick. Audience members had to high-five the members in sequence without stopping the flow of movement, making long conversations difficult. The exchange amounted to quickly offering a brief greeting of a word or two.
There were operational reasons to move many people through within a set time, but the format could feel somewhat short to fans expecting direct interaction with the artists.
Even so, the chance to greet all four members immediately after their first solo concert in Seoul helped extend the show’s lingering feeling. After completing the high-touch, VIP audience members waited briefly outside the venue for admission to the special fan meeting.
The VIP fan meeting: a warmer, more familiar atmosphere
After the main performance and high-touch, the venue was tidied and the stage reset. VIP audience members then reentered, and the special fan meeting of approximately sixty minutes began.
Although it took place in the same venue, the fan meeting had a distinctly different atmosphere from the main concert. Where the concert presented lighting, music, and polished performance, the fan meeting focused on the members’ everyday personalities and spontaneous reactions.
The members also returned in different outfits from those worn for the concert. These were styles previously shown at the Shinjuku fan meeting in May, creating a brighter, more relaxed atmosphere than the black stage costumes.
The fan meeting comprised individual self-introductions, a Q&A, TikTok dance challenges, a prize draw, and photo time. From closer up, the audience could see the four members’ personalities and relationships with one another, aspects less visible during the main concert.
Holding a separate fan meeting immediately after the show presented both sis’s stage and the individual members’ appeal in one event. While the concert conveyed the musical direction of sis as a team, the fan meeting centered on the four members’ everyday characters and natural rapport.
KANO MIYU’s MBTI is INFJ: a new self-introduction catches the audience’s attention
The fan meeting began with introductory profiles for each member displayed on the screen behind the stage, which the members explained themselves. They introduced personal subjects difficult to encounter during a concert, including things they liked, recent interests, and their personalities.
One of the details drawing the greatest interest was KANO MIYU’s MBTI. She had previously been known as ESFP, but her introductory profile that day listed INFJ.
MIYU explained that when she previously took the MBTI test in Japanese, many questions contained difficult kanji and expressions, and she had answered some without fully understanding them. More recently, she had read the questions more carefully and retaken the test, receiving INFJ as the result.
Fans accustomed to an ESFP result for MIYU, who appears bright and proactive onstage, received this as an unexpected change. Others responded that INFJ actually seemed natural when considering her sensitivity and careful manner in conversations with fans, as well as her tendency to organize her thoughts alone.
The explanation also showed that a stage image and an actual personality are not necessarily identical. A performance requires her to attract the audience’s attention and lead the mood, while away from the stage another side emerged: MIYU observing situations more carefully and sorting through her feelings.
Rather than merely revealing an MBTI type, she explained personally why the earlier result had changed, creating an opportunity for natural conversation with fans. Surprise and laughter arose together from the audience, easing the tension at the beginning of the fan meeting.
Everyday questions in the Q&A: introducing the four members offstage
After the self-introductions, a Q&A followed in which the members drew questions written by fans and answered them. Their responses centered on relatively light subjects, such as favorite foods, recent interests, and everyday habits.
Time did not allow many questions for each member, but the audience could still see everyday sides of the four that a polished performance alone would not reveal. The members read the questions, reacted to one another’s answers, and added related stories, creating a relaxed atmosphere.
Where the main concert required them to follow a fixed order and movement patterns, the fan meeting offered many moments of listening to one another and responding spontaneously. Relationships built through working as a team, along with differences in individual personality, appeared naturally.
Because Korean and Japanese fans shared the space, audience members speaking different languages could share the fan meeting’s atmosphere through the members’ expressions and reactions. Rather than lengthy exchanges of questions and answers, it proceeded through short anecdotes and interactions between members, making it relatively easy to enjoy casually.
The short Q&A might have left some wishing for more, but considering the dance challenges, prize draw, and photo time to follow, the structure was geared toward moving briskly between the parts of the overall program.
MIYU leading the TikTok dance challenges: trend awareness and a polished result
The TikTok dance challenges were the segment that most lifted the fan meeting’s atmosphere. When music played, the members performed the corresponding choreography on the spot, naturally revealing each member’s response to current trends and short-form video content.
KANO MIYU was especially strong in this segment. As the music began, she recognized the choreography faster than the others and led the overall flow, showing positions and movements to members less familiar with the steps.
Her ongoing interest in current trends and social media content became immediately apparent. She did more than remember choreography: she also considered how it would look on camera and where the members should stand to make the overall movements work best.
The most memorable moment came when meme choreography associated with Sakanaction’s Yoru no Odoriko appeared. After the first attempt, MIYU seemed to judge the result insufficient, readjusted the members’ positions, and proposed another try.
As the same song’s challenge was repeated three times, laughter and cheers continued from the audience. Rather than letting it end as a simple entertainment segment, MIYU tried to present even a short routine in a more complete form, and the other members rearranged their movements in line with her suggestion.
The process revealed two sides of MIYU at once. She had the trend awareness to pick up new memes and choreography quickly, while also displaying a habit of checking detailed positions and movements again until the result satisfied her.
Where MIYU had steadily connected the four members’ flow during the concert, she led the atmosphere more actively at the fan meeting. Adjusting her role to the different situations of a concert and a fan meeting, she showed both her restrained stage manner and natural leadership.
A prize draw and photo time: ending the fan meeting with audience participation
After the dance challenges, a prize draw used audience members’ admission numbers. The host called out numbers one at a time, and the prepared prizes were handed to the winning guests.
Each number announced prompted a mixture of cheers and disappointed reactions around the audience. Adding a segment in which viewers waited for their own result, rather than simply watching the concert and fan meeting, refreshed the atmosphere in the later part of the event.
The final program item was photo time. The four members struck various poses together and individually onstage, while the audience took photographs and videos within the permitted limits.
From hand hearts and bright expressions to poses responding to fans’ requests, the segment offered time to record sides of the members that had not been captured during the main show. It also pleased fans by focusing on individual expressions and personalities rather than stage performance.
Because filming was allowed during the fan meeting, audience members could personally record the self-introductions, dance challenges, and photo time. Even those who had not clearly understood the main concert’s recording limits now had a chance to document sis’s activities in Seoul.
The official fan meeting program ended after photo time. The benefits schedule for PROLOGUE in Seoul continued afterward, as VIP guests received a one-to-four Polaroid photo session with all four members.
From covers to originals: PROLOGUE previews sis’s next chapter
The concert was meaningful simply as sis’s first solo performance in Seoul, but the introduction of the group’s original music made it a still more important stage.
Until then, sis had reinterpreted Korean and Japanese classics known across generations through its own vocal colors and stage style. Those activities created the group’s approachable image and laid a foundation for meeting audiences of different ages.
Yet singing familiar songs in new ways alone makes it difficult to fully communicate a group’s own narrative and direction. DIVER and Michishirube showed that sis was beginning to move beyond interpreting other artists’ songs and create its own music and stories.
DIVER expanded sis’s stage range through powerful performance and contemporary arrangement, while Michishirube conveyed the team’s inner story through lyrics involving a member directly and a warm message. Introducing the two contrasting songs together broadened the directions sis might show in the future.
The concert title, PROLOGUE, also connected with this change. Rather than declaring a finished result, it signified the opening portion of a story still to come. The Seoul performance therefore encouraged the audience to look toward sis’s next stage rather than only its present.
Korean and Japanese fans sitting in the same audience also symbolized sis’s direction. Although formed and active in Japan, the group grew through Korean trot and television, singing both Korean and Japanese songs while meeting fans in both countries.
The program’s continuation from concert to fan meeting conveyed both the team’s music and the members’ individual appeal. The concert showed the four members’ singing and performance, along with the potential of their original music; the fan meeting revealed more natural sides through introductions, the Q&A, and dance challenges.
KANO MIYU provided a center between songs and members during the concert, then showed another role by actively leading the TikTok dance challenges at the fan meeting. Across both settings, her manner of avoiding excessive self-emphasis onstage while taking charge of the flow when necessary connected naturally.
MAKOTO., RIHOKO TARA, and AI ASAHI also broadened sis as a team by adding their individual vocals and personalities. Michishirube in particular, with lyrics co-written by AI ASAHI, showed the possibility of one member’s creative work expanding into music for the group as a whole.
Overall, PROLOGUE in Seoul brought together the group’s established retro cover stages, new original music, and close interaction with fans. sis retained its existing colors through familiar classics while pointing to its future direction through new songs.
The first solo concert in Seoul did more than simply reproduce sis’s Japanese activities in Korea. Korean and Japanese fans encountered new songs together in one space, then interacted directly with the four members afterward, collectively witnessing the group’s next departure.
True to the name PROLOGUE, this concert felt closer to a beginning than a conclusion. Although the number of original songs was still small, DIVER and Michishirube marked the beginning of sis’s own music, and the group opened that first chapter directly for Korean fans on the new stage of Seoul.
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