Current status: eight members in the Banquet era

MAZZEL remain KAIRYU, NAOYA, RAN, SEITO, RYUKI, TAKUTO, HAYATO and EIKI under BMSG. Their official profile lists all eight, the April 2026 second album Banquet carried an all-member edition of “HERO SUIT,” and the first arena tour put the same lineup across eleven shows. June’s “So Strawberry” and announced late-2026 fan meetings keep the group firmly active.

This matters because a 2024 snapshot would miss almost half the current story. MAZZEL are no longer only BMSG’s promising second boy group or the result of an audition documentary. They have two albums, an arena tour, drama tie-ins, festival stages and enough catalog to be judged on choices rather than potential.

The name is a map, not a motivational poster

MAZZEL combines “Mazel,” “Maze” and “Zeal”: luck or happiness, the difficult route toward it and the passion required to keep moving. The explanation fits MISSIONx2, where success was never presented as a straight line. Some members arrived with visible BMSG history; others carried dance, vocal or stage experience the audience had not yet learned to read.

The name becomes empty if every comeback is reduced to overcoming another obstacle. The more interesting promise is sharing the happiness after the maze. That requires music with pleasure, humor and intimacy alongside the dramatic performance tracks. “Only You,” “Seaside Story” and “So Strawberry” matter to the identity as much as the songs built to hit an arena wall.

MISSIONx2 showed different kinds of readiness

The audition documentary did not begin with eight blank trainees. RAN already carried the emotional weight of THE FIRST; TAKUTO had professional dance experience; others arrived through BMSG trainee development, outside dance scenes or vocal routes. The series worked when it let those histories create friction rather than editing everybody into the same improvement arc.

A finished lineup is not simply the eight highest individual scores. MAZZEL needed complementary timing: singers who could anchor live sections, dancers with different weight, rap colors that did not imitate one another and personalities capable of sharing a documentary-sized audience. The group chemistry was the final audition category even when no scoreboard named it.

Eight members, eight ways to change a song

KAIRYU is one of MAZZEL’s clearest vocal anchors. His control gives difficult lines shape, but the better skill is judgment: knowing when a clean note should remain clean and when texture will tell the story more honestly. He can stabilize a chorus without making it feel like everybody else has been waiting for the designated singer.

NAOYA brings precision, polish and a camera-aware performance style that can turn delicacy into focus. His acting work around “Only You” expands the page, but it should not overwrite his group role. In MAZZEL, he often changes the emotional temperature rather than the volume.

RAN’s dance power is obvious, especially to viewers who followed his earlier BMSG route. The risk is treating him like a permanent climax machine. He is most valuable when power includes restraint—when a smaller preparation makes the next movement hit harder and when leadership shows through how clearly other members can work around him.

SEITO carries krump-informed weight and a grounded performance identity. That background is not a special effect to insert whenever the concept needs aggression. It affects posture, rhythm and the way he occupies negative space. Softer material becomes more interesting when he adjusts that weight instead of abandoning it.

RYUKI changes the pressure through rap. His sharper attack can keep bright production from becoming frictionless, and his youth never required the group to make him perform small. The next step is range: not every rap needs maximum bite, and a conversational delivery can make the hard entrance more dangerous later.

TAKUTO’s professional dance history makes transitions look deceptively easy. He understands how to complete one person’s line while preparing another person’s center. That connective work rarely becomes the thumbnail moment, but eight-member choreography collapses without it.

HAYATO brings agility, quick expression and a lighter movement quality that prevents the group from becoming uniformly heavy. Playfulness is a technical resource. It can lift a chorus, expose a joke in the production or make the formation feel faster without adding another cut.

EIKI provides another important vocal center with a different emotional grain from KAIRYU. Two strong singers do not need to compete for one crown. Their contrast gives the arrangements options: one voice can carry clarity while the other brings ache, then the roles can reverse when the song demands it.

“Vivid” and “Waterfall” found the group in motion

“Vivid” introduced the pre-debut lineup with color and forward movement; “Waterfall” became the May 2023 formal debut. The title image suited a group assembled through a documentary: eight separate routes joining one current, then gaining force because they are moving together.

The “Waterfall” video works when it refuses to make unity look like sameness. Vocal handoffs, texture changes and shifts in physical weight show the members learning to share one frame. RaeRae’s React follows the exact music video because the debut argument lives in editing, styling and choreography as much as the song.

“Fire” makes dance the entire camera subject

The “Fire” dance performance is not a spare substitute for a music video. It is a different exact work whose subject is the eight-person machine. Without a narrative set carrying the eye, spacing, attack and recovery become the plot. The performance earns its own React and its own card.

Controlled combustion is the useful image: RAN and SEITO can supply obvious heat, but TAKUTO’s transitions, HAYATO’s lift and the singers’ physical commitment keep the fire from burning in one corner. Eight bodies only look explosive when the energy travels rather than everybody shouting the same movement.

Parade, Carnival and the first full era

“LIGHTNING,” “Carnival” and the first album Parade gave MAZZEL enough material to move beyond debut definitions. The catalog tested celebration, force, romance and the bright theatricality implied by titles like “Carnival.” A group this performance-heavy still needs songs that work when nobody can see the formation.

Parade is therefore more than a collection of early singles. It is the first attempt to make eight colors coexist across a longer listen. The sequencing reveals whether intensity has somewhere to go and whether quieter tracks feel like part of MAZZEL rather than breaks inserted between choreography showcases.

Royal Straight Flush raised the stakes

“Counterattack,” “J.O.K.E.R.” and Royal Straight Flush leaned into games, risk and spectacle. “King Kila Game” made the party deliberately chaotic, but chaos in an eight-member video has to be designed. The fun survives because somebody is always controlling the next focus shift.

The poker language can become empty luxury styling if the members only pose beside symbols of winning. MAZZEL’s better performances turn risk into motion: a formation commits before the viewer knows where it will land, a vocal enters against expectation or a playful choice interrupts the polished surface.

Banquet is abundance with a seating plan

The April 2026 album Banquet contains “BANQUET BANG,” “Get Up And Dance,” “DANGER,” “MAKERZ,” “MAZQUERADE,” “Only You,” “The Voice” and an all-member “HERO SUIT,” among other tracks. It is deliberately full. The artistic challenge is making abundance feel curated instead of placing every available flavor on one plate.

The arena tour proved the catalog could sustain a larger room, while “So Strawberry” offered a lighter post-album turn. That range is the real current chapter: MAZZEL can deliver technical spectacle without requiring every song to announce how hard everybody trained.

BMSG relationship without a BE:FIRST comparison trap

MAZZEL are BMSG’s second boy group, which makes BE:FIRST an unavoidable reference point and a terrible permanent measuring stick. Shared company values—artist development, performance standards and visible process—explain the ecosystem. They do not make one group the sequel to the other.

MAZZEL’s identity lives in eight-person contrast, MISSIONx2 history and a catalog increasingly comfortable with theatrical play. Company hubs should connect collaborations, shared stages and label projects while letting each group’s page answer its own musical questions.

Fandom file: MUZE

MAZZEL’s fandom is MUZE, with the official fanclub styled MUZEUM. The museum wordplay fits a group built through performance detail: fans collect eras, stages and individual interpretations rather than one fixed image. It also provides an official route for tickets, member content and current announcements.

International MUZE still face a version problem. Japanese releases may have music videos, performance films, television clips and streaming editions scattered across BMSG, MAZZEL and Universal Music channels. The tracker uses exact uploads so affection does not have to substitute for filing.

How to watch eight without turning it into homework

A new viewer does not need to memorize eight biographies before pressing play. Start with relationships. Notice which voice opens the song, who changes the rhythm, who makes a center look larger and who prepares the transition nobody notices until it goes wrong. KAIRYU and EIKI offer different vocal anchors; RYUKI can cut the texture; the five distinct dance histories make the same count land with different weight.

Then follow one member through an entire performance instead of chasing every camera close-up. The person outside the center reveals the group’s discipline: holding a line, reacting without stealing focus and arriving at the next formation on time without looking rushed. MAZZEL’s scale becomes pleasurable once the eye sees cooperation rather than eight separate auditions.

What the third chapter should prove

MAZZEL have proved they can debut, fill an album, carry an arena tour and move between hard performance tracks and softer material. The next chapter should prove the members’ individual taste can reshape the group. More credits, vocal experimentation and choreography choices should make growth audible rather than leaving “maturity” to wardrobe and press copy.

BMSG’s visible development system gives audiences unusually strong access to process. That access becomes meaningful only when the finished records keep surprising the people who watched the training. A documentary can explain how eight members were chosen; the music has to keep explaining why these eight still belong together.

Official video tracker

• “Waterfall” official music videoDaily+2.2KTotal views6.4M — exact playlist upload; read the full RaeRae React.
• “Fire” dance performanceDaily+898Total views2.9M — exact playlist upload; read the full RaeRae React.

The tracker is version-specific. A dance performance is not silently merged with a music video, and later official releases receive separate rows when those exact uploads enter the archive.

Sources and official links

• MAZZEL official eight-member profile
• MAZZEL official news and release hub
• BMSG’s official Banquet album record
• Universal Music Japan MAZZEL discography
• MAZZEL official YouTube channel

Current roster and catalog checked August 30, 2026 against MAZZEL, BMSG and Universal Music Japan. Official artist and label records outrank copied profile databases.

RaeRae Reacts

Waterfall: MAZZEL Found the Group by Walking Into the Current — exact playlist upload ectqcx3hnTI.

RaeRae Reacts

Fire Dance Performance: MAZZEL Turn Eight Bodies Into Controlled Combustion — exact playlist upload 6PAEczbmt2M.

React image cards

Static cards route each exact official upload to its own in-depth React. Every card repeats that React’s featured and hero image so the archive stays visually traceable.