原宿いやほい Harajuku Iyahoi

Ah, seeking stimulation.

刺激求めて opens on appetite and motion rather than on a narrative setup.

Wanting to feel bright and lively.

ランランと is vivid and mood-heavy, closer to sparkling animation than plain happiness.

A sky starting to cloud over just won't do.

The line rejects dullness immediately; atmosphere must be transformed.

Change it into something colorful.

Very Kyary-like logic: mood becomes color, and color becomes action.

Let's gather everyone together.

The song moves toward collective scene-making, not private feeling.

A lively, lovely show.

ワイワイ gives noisy collective excitement; the English show keeps the tone performative.

A fortress adults cannot even notice.

砦 makes Harajuku feel like a hidden youth stronghold.

If you're going to get shy...

Short, clipped setup line that works almost like a slogan fragment.

I've had enough of turning into that, so let's dance.

成り飽きた is sharper than simple boredom; it means being tired of becoming or playing that role.

Get high.

Not drug language here so much as performance energy: rise up, get excited, join the scene.

It began from that intersection.

Harajuku is anchored not in abstraction but in a very physical city image.

Please put your hands up, one, two.

Borrowed English works here as chant architecture more than as semantic depth.

Up to your paradise.

楽園 makes the district sound idealized rather than merely geographic.

I want to rise there now.

昇る gives an upward surge, like climbing into scene-energy.

Iyahoi in Harajuku.

The place name and chant lock together as one emotional unit.

Iyahoi in Harajuku.

The title line works like a location-stamp and a crowd cry at the same time.

For now, just iyahoi.

とりあえず makes the chant feel casual, immediate, and socially natural.

One, two, iyahoi.

Pure rhythmic hook language; meaning comes from participation.

One, two, iyahoi.

Repetition turns the chorus into an event rather than a message.

Ah, the real road...

リアルな道 explicitly contrasts lived streets with the earlier more stylized imagery.

...isn't like a runway.

ランウェイ introduces fashion imagery, then contrasts it with ordinary streets.

But even at times like that...

The ね softens the line and keeps it conversational.

Look, we turn it colorful.

The song answers dull reality with active restyling.

Gathering everyone together.

Again, collective energy is the solution.

Lively, lovely, and a show.

Slightly broken phrasing helps the line feel chantable and stylish rather than grammatically neat.

Even children wouldn't notice it.

The earlier contrast with adults shifts here, broadening the hidden-scene feel.

Not alone.

Elliptical and compact. The line feels like it needs the crowd to complete it.

If you're going to get shy...

The refrain returns like crowd instruction.

I've had enough of that, so let's dance.

The song rejects hesitation by pushing immediately back into motion.

Get high.

Another pure energy command.

It began from that intersection.

The city intersection remains the song's origin-point image.

Please put your hands up, one, two.

The crowd-call comes back almost unchanged.

We're all counting together.

The chorus becomes collective participation, not solo expression.

Iyahoi in Harajuku.

Again the district name is inseparable from the chant.

Iyahoi in Harajuku.

The chorus remains a scene-marker.

For now, just iyahoi.

Casualness is part of the hook's charm.

One, two, iyahoi.

Counting and shouting become one shared rhythm.

One, two, iyahoi.

By now the hook feels ritualized.

Iyahoi in Harajuku.

The song ends by leaving us inside the chant-state rather than resolving into narrative.