Viral Campaign Asks: Can Japanese Singer Beni Join China’s “Sisters Who Make Waves” After Stunning Singer 2025 Finale?

Beni, a veteran of Japan’s pop scene, was invited to compete in Singer 2025, a premier music contest that pits established artists against one another in a series of live shows. In the final episode, she performed an all‑vocal, all‑dance rendition of “Crazy Girl,” a track she co‑wrote and recorded a decade ago. Viewers praised her “stable vocals, powerful and precise movements and overall stage presence,” with many likening her charisma to that of late‑legendary J‑pop star Namie Amuro. The performance quickly amassed millions of views, and the hashtag #Beni能不能去浪姐 trended for several days, fueling a cascade of comments that read like a collective recommendation from a legion of fans.

The core of the appeal lies in the format of Sisters Who Make Waves. The reality show, now in its sixth season, gathers female celebrities—often with prior performance experience—to battle for spots in a newly formed girl group. The programme distinguishes itself by celebrating mature talent, positioning women in their 30s and 40s as empowered, stage‑ready performers. In this context, Beni’s near‑40‑year‑old stature is seen not as a hindrance but as an asset. Netizens argue that her “idol‑level” singing and dancing, combined with her seasoned presence, would give the competition a fresh, international spark.

Chinese social‑media users have been relentless in their advocacy. Posts ranging from “Beni唱跳好稳” (“Beni’s singing and dancing are solid”) to “有效参赛推荐Beni去明年浪姐” (“Strong recommendation for Beni to join next year’s Sisters Who Make Waves”) pepper the trending feed. Some commenters have even proposed a “double‑show linkage,” suggesting that Beni’s momentum on Singer 2025 could be leveraged to secure a spot on Lang Jie, effectively extending her exposure across two of China’s biggest music platforms.

The buzz has not gone unnoticed by media outlets. Hunan TV, the network behind Singer 2025, highlighted the performance in a series of Weibo video clips, which only amplified the conversation. Meanwhile, entertainment journalists have begun to draw parallels with earlier successes: Japanese singer‑actress Mariya, who participated in Lang Jie 4, proved that foreign artists can thrive in the format. This precedent fuels optimism that Beni could follow a similar path, should she or her management decide to pursue the opportunity.

At present, there is no official word from the producers of Sisters Who Make Waves, nor a confirmed statement from Beni’s team. Rumors circulate that she might appear as a guest on the upcoming Lang Jie 6 season, but no firm commitment has materialised. What is clear, however, is the intensity of public sentiment. The story underscores how a single, well‑executed performance can ripple through the tightly knit ecosystem of Chinese reality TV, turning a song into a movement and a performer into a cultural talking point.

Whether or not Beni ultimately steps onto the Lang Jie stage, the phenomenon of “Beni能不能去浪姐?” illustrates a broader shift in Chinese entertainment: audiences are increasingly demanding cross‑border talent, celebrating seasoned artists, and using social media to shape casting decisions. In the digital age, the line between viewer and influencer blurs, and the question “Can Beni go to Sisters Who Make Waves?” may soon be answered not just by producers, but by the collective voice of millions of netizens.