Early on, Blake emerged from London’s emerging dubstep scene, invigorating the modern jazz with a degree of seriousness and modern aesthetics. His take on dubstep made it more popular with young audiences around the world, achieving fame with minimalist arrangements and clever lyricism. Lights and his simple on-stage formation also highlighted a performance style stripped of every excess. The conscious decision to strip away artifice allow the audience no escape from the sadness and melancholy of his music, a direct confrontation like a slap in the face, which can be frightening to some but comforting to others suffering deeply from their own demons.

Trained in classical pianist, Blake continues to do all aspects of composition and recording in the studio and on stage. He’s a focused songwriter who doesn’t rely upon production tricks to carry a tune. The only exception may be live loops he creates and uses on stage.

As the White Stage filled up for his performance, many were anticipating his first track which was predictably “Assume Form”. After a simple piano interlude, Blake’s powerful vocals hit you immediately, both soothing and unsettling, anchored mainly by a drum beat and Blake’s unusual time signature which includes empty moments to reinforce chorus and refrain.

Today he his performing as a trio with drums and supporting guitar and synth. These instruments are orchestrated to support rather than mask Blake’s primary instrument, his voice. In the second track, “Life Round Here” and the next number, “Timeless”, his voice takes on a haunting, ghostly presence, bouncing around the forest surrounding the White Stage. It’s a contemplative moment, with many hanging their heads and swaying to the downbeat tempo.

Blake’s slowed-down musical style helps resonate specific notes and melodies, but make no mistake he’s about vocal manipulation, creating waves of music which wash over the audience like a slowly rolling wave. His expert arrangements lead to meticulously crafted soundscapes. Commanding the audience from behind a keyboard isn’t easy, requiring full confidence and practice.

“Mile High” had the reckless feel of a party, bringing the audience to different areas where it had never been before. He led the audience into a festival mood, a proper feeling for the final night of this year’s Fuji Rock. The mood continued to get a little wild with “Voyeur” which had a four by four time signature which bounced and fluttered over this night time audience. And then it was time to conclude the show with the highly anticipated “The Wilhelm Scream” which left everyone breathless and fully satisfied.

Vince Staples previously participated in James Blake’s “Timeless” and the latter has worked with just about all of the top hip-hop talent in the world. Through cooperation with Blake, Vince Staples has been able to take the next step, moving beyond his allegiance with Odd Future, with lyrics that transcend life in the hood.

Today, Vince Staples frequently referenced his hometown of Long Beach, CA, and pre-recorded seagulls could be heard in the background whenever he took the mic and spoke to the audience. Known as a lyricist, he still takes pride in doing the heavy lifting on many songs, instead of singing just the chorus as is want of others artists in hip-hop these days. As for his music, it is mainly trap inspired, which is the main genre in clubs and NBA locker rooms.

Vince Staple also falls into the new generation of rappers who put more emphasis on individualit such as Chance the Rapper, Tyler the creator, Frank Ocean, and Kendrick Lamar. In this way he is more modern than old school crews such as Wu Tang and Public Enemy.

On stage, eight huge oversized TV screens emerged with each playing a different channel such as u”Office” re-runs, Jeopardy, and other common US television fare. It symbolized the divided state of the nation. Some image even featured Vince Staples randomly appearing. It was a clever visual trick, and at one point I wondered if the TVs were real, they were in a sense, much more than simple screen projections.

As expected, he started the show with “FUN!” pacing the stage like a panther challenging the audience by swinging one arm freely, and accentuating his stage swagger with an occasional leap and spin. He was in full on in performer mode relishing the spotlight of the big stage.

The words “Applause” on the screen behind and Vince Staples takes a moment to address the crowd telling everyone he is from Long Beach and that he is happy for his first performance in Japan. “I am glad it’s here, we’ll see, I love it here”.

Then it was “Big Fish” and “Rain Come Down” from “Big Fish Theory”, which is electro- bass heavy and tone. Staples takes a break and tells everyone to step back and make a big circle, and when the music begins again a huge mosh pit emerges. This shows that he can comfortably rock such a crowd.

Staples then steps back and looks at the madness he has orchestrated noting “that was nice, that was crime.” Seagulls once again chirp through the PA speakers and he’s about to soon finish off this stellar yet short set with what he describes as “my magnum opus’’.

The tune is of course “Norf, Norf” with the famous refrain, “I aint run from anything but the police.” The audience knows the song, you may even know the song, as this young star is rising quickly with high profile performances like the one we just saw tonight. It was a thoroughly enjoyable performance, and we will surely be seeing more from this up and coming young rapper.

Intimidating in appearance and delivery, Tokyo-native KOHH with his extensive tattoos and piercings and aggressive bulldog stance does not appear to be a rapper you want to mess with.

Though he does show a slightly softer side at times, for example on opener “Hitotsu” which incorporates autotuned vocals and sounds a bit like a Japanese version of The Weeknd, KOHH doesn’t stay in that territory long. Immediately leaping into heavier and harder waters, deep pounding bass provides a backdrop for strained shouts with KOHH barking like a junkyard dog.

Accompanied by glitchy visuals that seemed to mash up the real world live stage footage with trippy CG worlds was interesting and disorienting, bringing the crowd into his world.

Abrupt ends to songs, spliced with beat-poet-like interludes of freestyle acapella rap were also unexpected soundscapes that felt almost as if being scolded at.

It has been said that KOHH had been brought up in a world of drugs and violence, quite an uncommon occurrence in Japan, and if true, then one can without a doubt see that in his music and performances. That he found a way to channel that violent past into his art as a performer gives KOHH a realness that can’t be found in a large chunk of Japanese rap.

They then emerged two minutes before their call time and dove straight into a latin-flavored jazz song that was difficult to describe; stretching the limits of explorational jazz and catchiness; all layered on top of an elaborate bed of Afro-Cuban percussion. Trumpets blared passionate melody lines over trombones and funky keyboard parts; the latter dropping hints of Deodato. An expansive and eclectic crowd of audience members bobbed at the knees, while swaying from side to side and nodding their heads to the funky beats. A few minutes in, the trumpet player took a fantastic solo which started to meld in counterpoint with the chords of keyboardist and band leader Roberto Carcasses. Then, the whole band swung back into the head of the song in unison, before a breakdown in which Mr. Carcasses showed off his chordal skills. Soon thereafter, the bassist soloed along with the keyboardist. Some audience members hooted and hollered their approval. Interactivo’s band leader called out for all musicians to come back together and, as they did, the audience roared with a wave of pleasure. This was a particularly beautiful sight to see under semi-sunny skies; which offered whimsical lighting as well as idyllic temperatures. Just as the song seemed about to wrap itself up, the drummer took a solo of syncopated rhythm hits against the main flow of the time signature; to stunning effect. Almost ten minutes after they launched into their first track, the band wrapped up their latest composition with horn hits, and the audience exploded into cheers.

As the band leader warmly called out “Arigatou! Gracias,” repeatedly, the bassist launched into a stunningly funky groove that threw the whole audience into fits of latin-fevered dancing. A solid-looking woman in a blue, pink and purple one-piece dress with a fantastic mane of black hair sang with a passion and delivery akin to being Amy Winehouse’s great-grandmother having traveled through time to teach this audience a thing or two. The overhead screen captured every moment in all its glory. The band leader then joined into the vocal fray, interacting beautifully with the former vocalist and, afterwards, they collectively drew the song to a close.

The third track started off with something of a gypsy violin part, and melancholy piano riffing, before both musicians broke into bumble-bee like 16th notes. And then, the horns led the band into a heavy groove. The aforementioned woman in the purple, pink and violet dress wielded a violin masterfully, in between her vocal cues. A female guitarist then tore into a fierce soloing section that would give Carlos Santana a run for his money. As they closed this song with a thunderous vamp, they were met in kind with matching applause.

A woman in a green tank top and short blond dreadlocks who hitherto seemed to act as a backing vocalist, told the audience that the next song was a new number called “Anana Oye”. It started off with her vocals and an incredibly deep bass line, while the audience accompanied the musicians flawlessly by clapping a clave beat in unison. Towards the end of the song, the entire band started jamming hard like an undertow, and the audience clapped on the ones and threes. An impressive piano solo was then featured, followed by a bass solo. Most musicians fell back during these solos. Post-solos, the whole band roared back to life with the “Anana Oye” chorus, with horns blaring and cymbals crashing. The band then died down slightly again, and the vocalist in the green tank top asked the audience if they’d like to sing with her. When they agreed whole-heartedly, she played a call-and-response game with them, before the whole band burst back into a raucous rendition of the chorus. The audience collectively shook their hands above their heads like leaves in the wind. Their applause at the end of this track might have been the most enthusiastic at Fuji Rock 2019 so far.

As the keyboardist assumed the vocals for the next number – a hard grooving uptempo track – the entire audience was swept away in mimicking the dance moves of the backing vocalists displayed on the screen above the stage. It was a call and response number, with the male vocalist passionately calling out vocal lines to which the female vocalists replied in rhythmic counterpoint. The male vocalist at center stage laid on the ground shaking, as if carried away by the passion of the music, and the audience laughed heartily. As the song ended, he said, “Arigatou” to audience cheers.

The female vocalist in the pink, blue and purple dress then told the captive audience that she was so happy that her band could return to Fuji Rock for the second time this year, before the band launched into a tune reminiscent of the Buena Vista Social Club. The seemingly endlessly-growing crowd continued to dance enthusiastically, while putting the odd hand in the air in emotional support for these stunning musicians. Towards the end of this latest song, the tempo sped up and then the track seemed to end, but – just as quickly as they had stopped – the whole band launched back into the same chorus while slowing it down gradually to a crawl; where they drew it to a close. As they did, the audience erupted in cheers, and the lady in the blue hat yelled out “Arigatou! Nihon Saiko,” (“Thank you! Japan is the best!”) to which the audience cheered wildly again.

The before-last song started with a deep and funky slow riff from the fire-haired bassist (who also assumed lead vocal duties for this song) and the audience accompanied her by clapping a clave beat. The rest of the band then joined them. This song featured a fantastic trumpet solo by a black male musician in a white golf hat and matching shirt, and his skills transcended all genres; while marrying the groove without fail. As all the other vocalists lent their skills for harmonies and a chorus effect, it became dream of a track. Towards the end of this song, the trumpet player lead a call and response section with the audience, also to lovely effect. Most audience members never stopped dancing, but some of them seemed a bit overwhelmed by so much goodness; like when you’ve already had three desserts, and are offered a fourth. The band then drew this song to a halt after a rollicking vamp and, without missing a beat, they were already performing their last song.

For the last track of Interactivo’s set today, the overhead lighting rigs burnt bright yellow like dozens of marigolds and, although your humble author could not understand the lyrics, the song undeniably had the feel of “feeling good and enjoying life”. As if on a magical cue, the clouds parted overhead, and hot sun rays came pouring through. The lady in the blue hat dove into some rhythmic vocal phrases that bore a resemblance to dance hall vocals, but with more melody. The band then vamped triumphantly behind her, and drove back into the joyous chorus; seemingly giving the audience the energy to dance even harder. Even a white guy in his twenties – dressed all in black, like a priest with a fisherman’s hat and shades – could be seen trying to be funky on the far right-hand side of the crowd. As the song broke down repeatedly to bongo riffing, all the singers took turns assuming lead vocal duties. Then, suddenly, the track drew to a jubilant close, and one of the female vocalist called out, “Arigatou Nihon! Saiko!”. The musicians then all formed a line at the front of the stage, wrapped their arms around the shoulders of the musicians next to them, and collectively took a bow before leaving the stage to warm and thunderous cheers.

On the the last day of Fuji Rock, the weather was quite good and nearly perfect, to the relief of many and especially Smash boss, Masahiro Hidaka, who took the stage 10 minutes before the band started. He was no doubt here to watch the band perform though he left the introduction to Fujirocker leader, Koichi Hanufasa, who did the honor of introducing the band.

For the uninitiated, Banda Bassotti have deep roots in the ska-punk and Oi music scene. The love of this music led the band to develop a relationship and deep affection with the Clash, and later, Joe Strummer and the Mescaleros. Formed in 1987, the band have always championed anti-Fascist causes and regional battles for equality ranging from Ireland to Latin America, often performing and attending protests on the behalf of these causes.

As the story goes, members of the band Sigaro, Picchio, David and Pasquale in the ’80s worked on building sites and helped build stages for political rallies. After listening to the Clash and the Specials, and other Latin rhythms, they decided to mount these stages and perform, and that’s how Banda Bassotti was born.

Says the band in a documentary film “in those years in England there was working class music, in Italy the working class was making music”. It was this love of political action that brought the band to places such as Nicaragua and elsewhere to support such causes.

Band member “Sigaro”, a nickname of the late Angelo Conti, died in December of last year. A soccer uniform hung on a mic stand near the drum kit representing as one band member said, “his soul is here”.

A screen drawn behind the band said “Save Donbass Children” appeared, referring to an area of the Ukraine engulfed in war with many children in the middle. Then an air siren blared and the song “The Internationale” played over the sound system. The first song the band played was “Luna Rossa”

Later it was a slow tempo reggae number “Avanzo De Cantiere” making the mosh put an interesting place to be. Banda Basotti’s punk attitude was in full effect, with flags of Che Guevara and Joe Strummer front of stage. The soul of Sigaro was also with them as they sang together, “O-O-O”.

The next song they said was “dedicated to Joe Strummer” dropping the Clash cover from London Calling, “Revolution Rock”. The band have recorded this song earlier, releasing it on the album Vecchi Cani Bastardi (2006). Their performance of the song is and they very much similar to the the Clash in style. Furthermore, they fully agree with the power of music to change the world, and create a world where weapons are not needed.

It was a performance that was inspiring and later it was “L’altra Faccia Dell’impero” with a little heavier beat and speed as it was full skank mode on stage and in the audience as heels kicking led a sort of mini dust storm to rise up. Lastly, it was the anti-fascist hymn “Bella Ciao” and ended with the “No pasarán!” banner which means “don’t pass them over” and then the re-appearance of the song “The Internationale”.

The audience signaled their approval and the band would later appear at Ganban Square for a press conference and sign their special edition “Fuji Rock/ Revolution Rock” 45-inch which was marked as “Limited Edition for Fujirockers”. Copies are limited to just 100 so hurry up and get one.

It’s a testament to SIA’s headliner draw that so many people braved the elements to see her. Ever the enigmatic stage presence, the singer took to the rear of the rear and allowed her troupe of dancers to front the performance for her, their storytelling adding further nuance and impact, particularly as many of their displays can make for discomforting viewing. The sight of a suited man wearing shoulder pads made of enormous hands slapping and punching himself is certainly not for everyone. The violent theme continued with the slower arrangement of “Titanium” in which two animal-headed characters inflicted injuries upon one another. Meanwhile, during “The Greatest”, dancer Maddie put her head through sheets of glass.

While Janelle Monae’s performance on Friday wowed with it’s slick production, this performance felt distant because of it. “Elastic Heart” and “Chandelier” powerfully recreated their video performances, but one was left with the feeling overall that one may as well have been at home watching on TV. With such a well-rehearsed stage show there’s not much that can be done about this, but it would have been nice to see some engagement from the stage to brighten the spirits of those down in the wet melee. Gaps between songs seemed interminably long to some, with unintelligible whispering and pre-recorded video – for every pause, there was a new exodus of people announcing that they’d seen enough and were off to seek higher and drier ground.

That all being said, it was an absolute pleasure to see SIA performing in the flesh. Her bombastic brand of pop was on point and nicely reworked to keep things fresh, the performances powerful and and emotive. Worth getting drenched for? Definitely.

They took to the stage at the end of a truly epic 4 minute intro song taken straight from an 80’s movie montage, and landed in front of a projected mountain backdrop, one that was clearly not Fuji. But hey, Fuji Rock isn’t at Mt. Fuji anyways.

The songs are still wry, rueful, witty and very American. The trumpet floating above like it was plucked straight from a Morricone soundtrack or grounding it with mariachi jazz. The guitars all jangly, bluesy and folksy. The familiar tones of John McCrea’s lightly nasal and slightly singsong vocals. His ‘oh yeahs’ and ‘alrights’ did show his age a bit however. Or maybe it was just jet lag.

During Sheep Go to Heaven he was able to coax some singing out of the ‘beautiful voices’ of Japan. He spoke slowly and clearly to the crowd, something which many performers don’t bother to do. Cake knows good service. Their newer songs, many of which they played, sounded like they could have come off classic albums like Fashion Nugget, specifically Sinking Ship.

While they may not have provided the biggest, most impactful Green stage show this far into the festival, it is still impressive that decades into their career they can still grab a crowd as well as they did. With their stated key words being service and sincerity they did not use a set list, catering their set to the crowd. The Cake serves you.

In the end most bands of Cake’s level of golden era fame would be lucky to stay half this fresh this long into their careers. They made the rainy afternoon just a little sunnier.