The young star has set out on a first Asian arena tour, and the Japanese audience is showing that the venture has paid off. Vaundy, 26 years old, launched the Vaundy ASIA ARENA TOUR 2026 “HORO,” on Sept. 5, opening at Makuhari Messe in Chiba, Japan. The tour takes in East Asia’s cities, with Seoul, Hong Kong, Fukuoka, and Taipei among its destinations. Each ticket sold out the moment they went on sale.
The name “HORO”, which translates to “wandering” in Japanese, led to a two-night run in Seoul at INSPIRE ARENA (roughly 15,000 capacity) on Sept. 19 and 20. The fans had been waiting for this tour from across Asia, and their support in Seoul was instant.
Seoul’s First Sellout
On an earlier trip to Seoul, the writer met a fan whose look mirrored Vaundy’s own, both in style and dress. Upon speaking with him, it became clear he had crossed the sea to Japan simply to catch him perform live. That same devotion was evident among the audience at his last home tour, where supporters seemed to have gathered from across the whole of Asia.
The tickets for the Seoul shows sold out at once when they went on sale. It is a brand-new place for Vaundy to play, and how quickly it happened points strongly toward a fan base there that matches the devotion he has back home.
From Domes to Arenas
Vaundy first appeared in 2019, entering the scene at age 19 with “Tokyo Flash.”. From there, he became a defining presence with a steady run of hits, and 19 of his songs have surpassed 100 million streams. The list includes “Tokyo Flash”, “Time Paradox,” the theme song for Doraemon the Movie: Nobita’s Earth Symphony, and “Hadaka no Yusha,” the opening theme for the anime Ranking of Kings.
His biggest hit is “Kaiju no Hanauta,” released in May 2020. It has now topped 1.1 billion cumulative streams, and that number keeps climbing. The track was written with call-and-response and singalongs in mind from the start, and it has become the kind of anthem that whips his live crowds into a frenzy.
Take “odoriko,” for instance, a track that has drawn similarly large streaming numbers and has turned into a lasting favorite instead of disappearing after a brief wave of attention. The song has won over listeners on its own terms, without needing the backing of an anime series to draw them in. That sets Vaundy apart from most other performers who gain international recognition through licensed tie-ins.
The Global Comment Section
His music videos on YouTube and the replies on social media carry comments from people speaking a wide variety of languages. That global reach has built up through the power of the songs themselves, rather than any single anime tie-in.
Unlike most of his catalog, which is driven by anime numbers, “odoriko” stands apart.
The Live Stage Test
A large number of Vaundy’s songs, including “Kaiju no Hanauta” and “odoriko”, have held their appeal over time and continue to attract listeners. This endurance speaks to the lasting quality of his work within a field where popularity moves on quickly. The record moves across Japanese kayokyoku (vintage pop) and J-pop, and reaches into British rock, club music, and hip-hop, covering ground from the 1970s up until now.
His singing carries a wide range, moving between rapping, rock-style shouting and a beautiful falsetto. Before he became known for his own work, he performed as a so-called “utaite”, a cover singer, which taught him precisely what kind of vocal expression each song demands.
The Full Creative Portfolio
Beyond his songs, Vaundy’s work extends into visual design, where he handles both merchandise and album art, as well as directing his own music videos. A self-described “multi-creator”, he applies his creative skills to almost every part of the production pipeline, from concept through final release.
The visual side stands out here. A series of videos runs from “How do I know” to “The SILENCE”, building wide-scale imagery with science-fiction elements. He recorded “Kiseki,” which was released November 2025, at Abbey Road Studios for a full orchestral arrangement. That recording showed that Vaundy’s songwriting is still very much developing.
| Tour Stop | Venue |
|---|---|
| Makuhari Messe | Chiba, Japan |
| INSPIRE ARENA | Seoul |
| Hong Kong | — |
| Fukuoka | — |
| Taipei | — |
The Dome Record
Vaundy became the youngest male solo artist ever to tour Japan’s four major domes with Vaundy DOME TOUR 2026 “SILENCE.” Seven shows across four cities (Fukuoka, Tokyo, Osaka, and Sapporo) drew more than 350,000 fans in total. The tour’s success set the stage for this larger regional trek.
Each date on the present tour sold out the moment tickets were put up for sale. The scope has grown bigger, and the map now covers more ground, yet the audience’s eagerness has kept pace with him.
The Seoul Fan
A fan from Seoul dressed up like Vaundy and made the trip to Japan to catch him live. That one meeting sums up how deep the devotion runs. Across Asia, fans have been waiting for this tour, and the Seoul shows showed just how prepared they were.
Vaundy began performing live with his very first headlining show in 2020, and he later drew attention when he played a two-night stand at Nippon Budokan in 2022. The demand was extraordinary: more than 150,000 people tried to secure tickets for a venue built for just 26,000.
What This All Means
Hits, a global audience, and an unwillingness to lock himself into one sound or role define Vaundy’s career. He composes his own songs, directs his own videos, and performs across several genres, keeping a huge following in Japan while expanding it worldwide.
The Seoul sellout serves as fresh proof that the international push is paying off. Fans from across Asia filled the venue, and for them, this tour marks the long-awaited event.
The songs themselves have been driving Vaundy’s global reach, separate from any anime tie-ins that have brought his music to audiences beyond Japan. Comments on YouTube and social media replies come from people speaking a wide variety of languages, showing how his global presence has expanded based on the music alone.
More than six years after it came out, the song still holds people’s attention, and the numbers back it up: 1.1 billion streams on “Kaiju no Hanauta”.
Vaundy’s live performances have been the centerpiece of his career. His two-night run at Nippon Budokan in 2022 made headlines when more than 150,000 people applied for a combined capacity of 26,000. That kind of demand has followed him to every venue he has touched.
The tickets for the Seoul shows were gone right away after they went on sale. This is a brand-new arena for Vaundy, and how fast it emptied hints that his following there matches the loyalty he enjoys elsewhere.
Vaundy’s live shows are the proof of his worth. The crowds at Makuhari Messe and the Seoul arena have shown that the music translates live, and the sellouts across the region confirm the tour’s success extends to Seoul.
Source material: “Hitmaker Vaundy Proves His True Worth Live as Fervor Spreads Beyond Japan,” Billboard.
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