The number one rapper on the 2025 edition of the LiFTED 50 is Japan’s Awich, who was also number one last year. Yes, all of her numbers and metrics are great, but witnessing Awich’s growth over the past couple of years has truly been inspiring. For one thing, confidence. She has barely made a false step while continuously releasing strong music and expanding her network in Asia and internationally. Secondly, ambition. For a female in any creative field, ambition is a tightrope. Haters will call you bitchy or grasping, while jealous fools will say you’re aiming too high or stay in your lane. Awich has ignored all of that and just gone for hers. Thirdly, influence. Awich’s recognition around the region has grown leaps and bounds in the past year to the point where she’s now known in far-flung places like China, India, Cambodia, and Korea. Increasingly, people in the know are also hip to her in the US and Europe. She has consistently worked with the biggest names in the Asian game, and now comes the best gift of all - an album produced by the Wu-Tang mastermind himself, RZA. This will go down in history.

Awich is our number one Asian rapper again this year because of her relentless confidence, ambition, and influence. Nobody has worked harder and made all the right moves.

Thank you so much. It’s a true honor to receive this recognition two years in a row. My favorite moment this year has to be when we released the ‘Asian State of Mind.’ Working with Jay Park, KR$NA, Masiwei, and VannDa has been very profound and meaningful. Also, when the album with RZA really started to take shape was another favorite moment for me. Being in the studio with him, hearing his thoughts, and watching how he constructs sound. It felt like I was touching the very soul of Hip Hop. It was both humbling and empowering.

This collaboration felt like my destiny. While working on the album with RZA, I heard the beat for ‘Wax on, Wax Off’ that samples an old Japanese movie theme song, and instantly felt that it was a classic. Then, when I was in the studio with Ferg, he heard the beat and went crazy. When we finished our verses, I thought Lupe would be the perfect match to complete the track. Of course, the title ‘Wax on, Wax Off’ is also a reference to Mr. Miyagi from Karate Kid, a legendary character who, just like me, is from Okinawa. That line is iconic all over the world, but it means something deeper to me because it comes from my home. I truly believe no one else could represent that phrase better in Hip Hop than me. It became a cross-cultural explosion—exactly the kind of bridge I want to build with my music.

It honestly feels like I’m being written into history. I strive not to get starstruck and just stay focused on making great music, but sometimes I sit back and realize just how surreal this is. RZA isn’t just a producer—he’s a philosopher and spiritual guide through music. Coming from Okinawa, through Tokyo, and now connecting with the legacy of Wu-Tang. It feels like destiny. There’s deep respect, but also a sense of alignment.

Hip Hop was always meant to be the voice of the voiceless. That’s why I believe if we speak our truths—even from a place like Asia—it can resonate worldwide. I’m proud to be a bridge. If my journey opens doors for others across the region, then I know I did something right. Our history, our pain, our wisdom, is worthy of the world hearing it. It’s not just music—it’s a mission.

We’re working on it! Will let you know when we know something.

Yes, this album features a lot of English verses. But I also switch between English, Japanese, and Okinawan throughout the project. All those languages are essential to expressing my identity. It’s not just about translation—it’s about cultural multiplicity and authenticity.

Can’t tell you yet!

Now the challenge is to live up to the true meaning of Queen. Being a real queen isn't about being the baddest or the prettiest or the wildest—it’s about serving your people. That’s a heavy responsibility, and for a long time, I resisted it. Because stepping into that role can mean sacrificing some freedom in creativity and expression, and honestly, who wants to lose that? I’ve seen artists take on titles like King or Queen and become worn down by the weight of it. I feel for them. People don’t understand how hard it is to be called a queen and carry that expectation. But when I released Queendom, I made a decision. I want to use my music to spark change through education, by empowering the next generation, especially young women and the youth in Okinawa and across Asia. The next chapter is about stepping into leadership and leaving behind a legacy that speaks for itself.

Absolutely. Yuki is doing amazing things, and the younger generation in Japan is overflowing with talent. I think we’re finally finding our voice in a way that can be heard around the world. The key now is how we present it strategically and boldly.

The second half of 2025 will be focused on the global rollout of the album. Then in 2026, I plan to expand my personal projects—scaling my Okinawan sake brand, HABUSH, building a school, and launching new initiatives to support youth. Musically, I’m also planning many collaborations that channel Asian philosophies and lived experiences—projects that reflect our values, our aesthetics, and our stories. I want to show the world that this isn’t just Awich’s movement—it’s the rise of an Asian State of Mind.