🎵 A chart-topping single produced by one of its own members, marking the group's fifth No. 1 hit on Japan's most prestigious music chart— Number_i's "3XL" is proof that these former boy-band members have evolved into full-fledged artists with creative vision. That same week, girl group XG claimed the album chart throne with their debut full-length. Two Japan-based acts, two different strategies, one shared moment at the top.
Number_i's "3XL" — A Love Song That Conquered the Charts
On the Billboard JAPAN Hot 100 chart released February 4, 2026 (tracking period: January 26–February 1), Number_i's new single "3XL" debuted at No. 1.
The numbers were dominant: 75,075 downloads (No. 1 in downloads), No. 3 in video views with nearly 5.5 million plays, No. 10 in streaming, and No. 1 in radio airplay. This marks Number_i's fifth song to reach the top of the JAPAN Hot 100 (sixth time overall), following previous chart-toppers "Mikakukin Ryouiki," "GOD_i," "INZM," and "GOAT."
For a group barely two years into their career, five No. 1 singles is an extraordinary pace that speaks to both their popularity and the quality of their releases.
What Makes "3XL" Special
The title "3XL" refers to the clothing size, but in the song's lyrics, it serves as a metaphor — a love that was "too big to wear" at the time, representing feelings too overwhelming for a younger, less mature self to handle. The catchy hook translates roughly as "This love is way too big / I want to tell you, 3× Love / Looking so good it fits — 3XL."
This is notably Number_i's first love song released as a lead single. Since their debut, the group had been known for hip-hop and EDM-influenced tracks. Proving they can dominate the charts with a pop love song demonstrates impressive musical versatility.
The music video, released simultaneously on YouTube, hit No. 1 on YouTube Charts' Japan Daily Music Video ranking and No. 6 on the worldwide daily ranking on its release day. It reached 10 million views in a record-breaking 1 day and 50 minutes, and surpassed 15 million views within five days. Fans have praised its cinematic quality and rewatchable storytelling.
Sho Hirano — From Performer to Producer
Sho Hirano is one of the biggest names in Japanese entertainment. He was previously a member of King & Prince, one of the most popular boy bands under the former Johnny & Associates talent agency — Japan's dominant pop idol empire for decades. In 2023, Hirano, along with Yuta Jinguji and Yuta Kishi, left King & Prince and joined TOBE, a new agency founded by former Johnny's executive Hideaki Takizawa. Together, they formed Number_i.
The group set their sights on global expansion from day one. In 2024, they performed at the Coachella Valley Music and Arts Festival in California through the 88rising stage, a platform for introducing Asian artists to American audiences. Their debut single "GOAT" (Greatest Of All Time) went viral, reaching No. 1 on the U.S. iTunes Hip-Hop chart.
With "3XL," Hirano is credited as producer — a significant evolution. The release date, January 29, was also his 29th birthday, adding a personal dimension to the milestone. The chart success validates Hirano not just as a charismatic frontman but as a creative force capable of crafting hit music.
XG — The Other Chart-Topper of the Same Week
On the same chart week, girl group XG's debut full album THE CORE - 核 (kaku, meaning "core" or "nucleus") claimed the No. 1 spot on the Billboard JAPAN Hot Albums chart.
XG (short for "Xtraordinary Genes") is a seven-member group of Japanese artists who trained in South Korea and debuted in 2022. They perform primarily in English and have built their brand around global accessibility from the start. Their approach differs fundamentally from traditional Japanese pop — they create music designed to compete on a worldwide stage.
The results have been remarkable. THE CORE - 核 debuted at No. 93 on the U.S. Billboard 200, marking their first top-100 entry on America's main album chart. The lead single "HYPNOTIZE" topped the "Global Japan Songs Excl. Japan" chart, meaning it was literally the most-streamed Japanese song worldwide outside Japan. The album charted on Apple Music's Albums Top 200 in 68 countries and territories.
In 2025, XG headlined the Sahara Stage at the Coachella Festival — the first Japanese act to do so — performing a full 12-song set. They completed a world tour spanning 47 shows across 35 cities in 18 countries. Their YouTube channel now has over 4 million subscribers.
Two Strategies for Global Ambition
Number_i and XG reaching the top of their respective charts in the same week is a symbolic moment for Japan's music industry.
Their approaches represent two distinct models. Number_i builds from a massive domestic fanbase (iLYs — their fan name), leveraging Japan's enthusiastic idol culture while gradually expanding internationally. Their YouTube subscriber count of around 960,000 reflects a concentrated but passionate Japanese audience.
XG, by contrast, was designed for global consumption from inception. English-language tracks, K-pop-style training methodology, and a touring strategy that prioritizes international markets have given them a different kind of reach. Their 4 million+ YouTube subscribers come from around the world.
Neither approach is inherently superior. Number_i demonstrates that Japanese domestic stardom can fuel chart dominance and create a launchpad for international growth. XG proves that Japanese artists can compete head-to-head in the global pop arena when equipped with the right strategy.
Together, they represent the diverse potential of Japan's music industry in 2026 — no longer limited to a single path toward international recognition.
What About Your Country's Music Scene?
Number_i's "3XL" achieved something rare: a member-produced song topping the comprehensive chart, showing that Sho Hirano's evolution from performer to creator is real and commercially proven.
Meanwhile, XG's global breakthrough proves that Japan-based artists can transcend language barriers and genre boundaries to reach listeners worldwide.
In Japan, this was a remarkable week — two very different acts, two different strategies, both sitting at the top of the charts.
How does your country approach music exports? When a domestic artist breaks through internationally, how does the public react? Are there similar debates about "domestic popularity vs. global reach" in your music scene? We'd love to hear about your country's music landscape.
References
- https://www.billboard-japan.com/d_news/detail/158320 - Billboard JAPAN Weekly Roundup
- https://www.billboard-japan.com/d_news/detail/158197 - Billboard JAPAN Hot 100 Chart Details
- https://www.billboard-japan.com/d_news/detail/158203 - Billboard JAPAN Download Songs Chart
- https://www.billboard-japan.com/d_news/detail/158219 - Billboard JAPAN Hot Albums Chart
- https://www.rbbtoday.com/article/2026/02/06/243535.html - XG Billboard 200 Ranking Report
- https://natalie.mu/music/news/658003 - Natalie Music: Number_i "3XL" Release
Reactions in Japan
Sho Hirano is starring in and producing the 3XL MV at the same time — what kind of brain does he have? Geniuses really do exist.
Honestly expected them to keep going with the GOAT-style tracks, so a love song hitting No.1 was a total surprise. Actually, I might like this direction better.
Both Number_i and XG topping the charts the same week? Japan's music scene is alive and well!
They say 5th No.1, but streaming was only 10th. It's fan purchasing power driving this, not mainstream penetration. There's still a long way to go.
Been supporting Sho since his King & Prince days, but never imagined he'd deliver results as a producer too. Leaving was the right call.
10 million views in 1 day and 50 minutes — the fan replay power is on another level, lol. I mean it as a compliment though.
So many articles comparing XG and Number_i. Their directions are totally different, so comparing them is pointless. Just support both.
Had no idea what '3XL' meant from the title alone, but reading the lyrics — 'a love too big to wear, now finally fitting' — I cried. Sho Hirano is a poet.
They claim global expansion but the songs are mainly in Japanese — isn't that contradictory? Without going English like XG, it won't truly reach international audiences.
The pink aesthetic in the MV is so cute I keep taking screenshots. The gap from GOAT actually makes it even more addictive.
Stationhead, multi-platform advance releases — the chart strategy is so calculated that it feels more like marketing talk than music talk. Kinda bothers me.
Releasing on Sho Hirano's birthday and gifting him a No.1 — the iLYs' unity is insane.
75K downloads but only 5.49M streams — doesn't that balance suggest nobody outside the fandom is listening? I'll wait to see next week's numbers before judging.
Number_i is transcending the idol framework. Breaking free from old constraints through TOBE was huge. Hideaki Takizawa's eye for talent was spot-on.
XG entering Billboard 200 and Number_i topping the domestic chart in the same week — this is a festival for Japan's music industry.
World daily MV ranking No.6 is casually mentioned but isn't that quietly impressive? They're right up there with Korean and Western heavyweights.
American here who first saw Number_i at Coachella and got hooked on GOAT. 3XL is a totally different vibe, but showing this softer side proves their depth as artists.
From a K-pop fan's perspective, a member producing a chart-topper reminds me of BTS and G-DRAGON. Number_i is approaching that level. But reaching beyond the Korean/Japanese sphere is still a challenge.
Not many people in Germany know J-pop, but XG's HYPNOTIZE kept appearing on Spotify's New Music Friday. As a house music fan, I was impressed by the production quality.
Taiwanese fan here. Been following Sho since King & Prince. So proud he succeeded as a producer. The MV is getting tons of plays in Taiwan too.
From Nigeria. J-pop is niche in Africa, but XG dance clips showed up on my TikTok and blew my mind. Didn't know Japanese groups were going this global.
Number_i comes up a lot in Mexico's anime community. But 3XL isn't an anime tie-in and it's still selling — proof they're competing on pure merit.
UK music journalist here. XG's Billboard 200 entry is a genuine breakthrough. Number_i will need more time for the same international success. Hopefully their massive domestic popularity doesn't become an obstacle to their global strategy.
Thai iLYs here! On MV release day, our Thai fan community stayed up all night streaming lol. The story-driven MV never gets old. Sho Hirano being smart on top of his looks is just unfair.
From France. Self-producing was rare in J-pop idols, at least in my impression. It's already standard in K-pop, but if this trend is coming to J-pop too, that's an interesting shift.
Based in Singapore. Got tickets to XG's world tour Singapore show! Both Number_i and XG topping charts the same week — 2026 might be a turning point for Japanese music.
Korean music producer here. Honestly, 3XL's production quality holds up against top-tier K-pop. The bassline work is skillful. Hirano has real talent.
I study pop culture at an Italian university. Japan's music industry succeeding simultaneously on domestic-focused and global-focused axes is academically fascinating.
In Vietnam's fan community, Number_i isn't talked about much yet, but XG is pretty well known. It's interesting how much language choice affects recognition.
Based in Australia. Number_i is still a 'if you know you know' kind of deal here, but XG is starting to get radio play. Proud that both are Japan-based. Hope more artists like them emerge.
Brazilian here. Was surprised to hear 3XL's MV hit No.6 on the world daily ranking. Japanese music is still niche in Brazil, but numbers like these demand attention.