It is arguable that
Hanada Mei was famous before she even joined AKB48. Not the kind of fame that I can understand, but with 10k followers on tiktok, it feels like Meimei was certainly not an unknown quantity.
I’m sidestepping my discomfort there, the same discomfort I feel whenever I hear about the debut of idol groups whose line-ups have been decided based on prior popularity and follower counts because I like to think everyone is equal once they join the group and should be treated accordingly, but I also think there’s no doubt that AKS saw those numbers and wondered how many of them they could convert into current AKB fans.
In 2024, alongside
Ito Momoka, Meimei debuted as part of the nineteenth generation, first appearing on stage during a revival of
Boku no Taiyo and then making her full theatre debut with a kenkyuusei revival of
Team A’s fourth stage,
Tadaima Renaichuu, appearing as centre for the song,
Kikyou. Like Itomomo, in the short time in which she has been a member of AKB, it is clear she’s made an impact, appearing on a number of B sides from
Koi Tsun Jatta onwards, not least of all
Yumemite Gomen, the theme song to the live action adaptation of
Hoshikuzu Telepath, but also the kenkyuusei anthem,
Kimi to Boku no Polestar, and
Skipping Stone, a B side from
Masaka no Confession featuring Meimei as centre! I genuinely do not know how to talk about members who joined in 2024 and are already appearing as the centre of certain songs but I think it’s testament to both how much faith AKS has in the new members and how much of a following they have with Japanese fans who are able to attend the theatre regularly. More than at any time since the very early days of the group, it feels like the theatre is at the heart of what AKB does and how they engage with fans.
I can’t work out yet whether the announcement of the new single will set back the hard work that management has done by promoting members like Meimei and her peers or if it will add some kind of legitimacy to where we are, but... as much as I am the audience for returning members, I don’t think the kenkyuusei need to prove themselves to anyone, because, as I say, they’re already at the heart of the theatre. With the refurbishment of that space, the disbandment of the teams, and the new AKB1 stage,
Koko Kara da, Meimei has been performing as
Yamauchi Mizuki’s understudy for the song,
Lollipop (I love this song!), but I think it’s really only a matter of time before Meimei starts appearing as a more focal point for the group and stops being the centre for B sides and starts being the centre for A sides! At the rate things are going with AKB now, I’d even bet on that happening before this time next year!
It’s difficult for me to write about these newer members as there’s so little information available to overseas fans without dedicating a lot of time to studying rips of Showroom streams and I feel a bit guilty that I won’t do that despite my love of the group, and that somehow this makes me less of a fan, but sooner or later, I genuinely believe there will no avoiding Meimei. Sooner or later, members like her and Itomomo will be the face of AKB48.