After recruiting dancers Nozomi Bando and Harumi Sato, and three vocalists Reina Washio, Kyoka Ichiki, and Chiharu Muto, Exile's Hiro—the head producer and CEO of LDH—announced the "Girls Entertainment Project", which was later changed to E-Girls; he confirmed that it would consist of all members from Dream, Happiness, and Flower.

[5] For the release, two new members were added into the band: Reina Kizu and Anna Suda, both coming from EGD (EXPG Girls Dancers), a dance group formed at the Exile Professional Gym Academy.

[7] Before the preparation of their follow-up number "Follow Me", Happiness member Mayu Sugieda went on hiatus in August to undergo medical treatment after being diagnosed with infectious mononucleosis.

[12] The following hit, "Candy Smile", performed moderately on the charts but earned a Gold certification by the Recording Industry Association of Japan (RIAJ).

Additionally, Kawamoto was promoted as a vocalist and sang the B-side "Love Letter", marking her the first E-girls member to change positions.

[14] This was the final effort by EGD member Reina Kizu, whom left the group some months later; her position was replaced officially by Nakajima.

However, her position was allocated as a primary performer when member Mizuno signed off from E-girls, and Watanabe was featured in the promotional shoot for the groups following number, "Kurukuru".

[26] Subsequently, each member started to embark on several separate endeavours from the group; 10 of the group's members: Shizuka, Kaede, Karen Fujii, Anna Suda, Shuuka Fujii, Nozomi Bando, Harumi Sato, Kyoka Takeda, Anna Ishii, and Nonoka Yamaguchi, each starred in one episode of the drama A Perfect Day for Love Letters.

[32] From June that year, E-girls released three singles consecutively, one per month; the first was "E.G. Anthem: We Are Venus", which included all members and vocalists on the jacket covers and accompanying music video.

[33] The following number was "Odoru Ponpokorin", which premiered on 30 July and experienced moderate sales in the charts and featured 14-elected members for the cover art.

[42] However, on 27 January, the staff at LDH announced a new line-up system titled the E-girls Pyramid, which showed each member in the band and their respective sub-groups.

[48] Because of Ichiki's departure, LDH re-added ex-Rabbits' member Yuzuna Takebe to E-girls, but only attributed as a performer until the following year.

This was yet another change in concept, having embraced a new style called "Japanese Neo Tokyo"; for example, the accompanying visual promoted the girls in various Japanese-influenced fashion.

All three members confirmed their graduation from E-girls, whilst Aya effectively retired from being a musician and performer indefinitely, in order to serve as the chief creative manager towards the group and the newly established girl entertainment franchise within LDH, E.G.family.

Additionally, members Miyuu, Ruri Kawamoto, Shuuka Fujii, Manami Shigetome and Mio Nakajima removed themselves from the E-girls too, focusing on their activities within their groups Happiness and Flower.

[74] According to the girls' website, members Karen Fujii, Reina Washio and Yuzuna Takebe would serve as the band's primary vocalists, and would have no assisting group leader.

While Harumi Sato, Nozomi Bando, Anna Ishii and Nonoka Yamaguchi will focus on their work as actresses and models, Yuzuna Takebe will form a new unit with the successful contestants that passed Afrojack's LDH Europe audition, Reina Washio will debut as a solo artist and Happiness will work with 88rising for global expansion.

[92] However, Japanese magazine CD Journal believed that their debut adapted the trend of "soft" K-pop and EDM, two genres which were particularly prominent through the mid-2010s, along with its influenced on the Western market.

[15] Their second album, Colorful Pop (2014), saw a return to their dance-pop style, but a writer of Selective Hearing noticed that the sound was a more "upward trend" than their debut.

[95] The material, particularly the "faster tracks" and cover songs: "Rydeen (Dance All Night)" by Yellow Magic Orchestra, "Koi no Boogie Woogie Train" by Ann Lewis, and "I Heard a Rumour" by Bananarama, were widely praised for the producers abilities to "reconfigure J-pop's past into the buzzing present."

Additionally, the band's management, LDH, hired a variety of new producers and composers to work on the album, namely Yasutaka Nakata, Lauren Kaori, Fast Lane, and husband-wife duo T.Kura and Michico.

[41] This was their first record to remove a large portion of ballad songs, having been replaced with "aggressive" EDM numbers and "twinkly" electropop anthems.

According to Patrick St. Michel, writing for The Japan Times, majority of the recordings have the vocalists singing in unison, which has been a notable factor in various Japanese acts such as AKB48 and their sister groups; the writer identified "Music Flyer" as the most prominent example from E.G.

[98] The first offerings to these themes were the "dynamic" dance-pop anthem "E.G. Summer Rider",[99] and the tropical house number inspired by 1980s disco, "Pink Champagne".

Furthermore, he explained another trait was the typical performance of idol groups singing in "unison", but said "...whereas AKB48 just sound louder, E-Girls turn it into a focused, wordless chant.

"[97] With the release of their album E.G. Crazy in 2017, E-girls yet again broadened their appeal by emphasising two styles; a "pop[pier]" and "fun" vibe that brings reminiscence of their earlier work, whilst E.G.

These small clips are connected to the story line of the parent music videos—which are regularly placed at the start of end of the visual—and generally focus on various dance styles by the performers and its accompanying instrumental composition.

[107] Despite this, some singing members, such as Erie Abe, Mayu Sugieda, Karen Fujii, Ruri Kawamoto, Chiharu Muto, Kyoka Ichicki, and Yuzuna Takebe, have appeared in selected visuals.

Smile: E-girls Best became their first release to enter the top twenty best-sellers list (placed at number 11), and were ranked the 9th highest-grossing Japanese act with reported revenue up to ¥1.75 billion (an approximate equivalent to $15.57 million USD).

[116] This was the first musical release to feature both siblings together, after first distributing their fashion coffee table book Antithese, which garnered critical success and sold over 100,000 units in Japan.