Everyone experienced a very unique and completely different festival from past years due to holding the festival under extremely special circumstances of the COVID-19 Pandemic. Those differences were seen and hidden in various aspects of the festival, even before the grounds opened to everyone. Even while on the bullet train (shinkansen) to Echigo-Yuzawa Station or while waiting for the shuttle bus to the venue, people are usually happy and chatting. But this year, everyone had few words to exchange. Everyone lined up in an orderly manner at a reasonable distance from each other, with only the goal to reach Naeba. In order to conduct this year’s Fuji Rock Festival, the infection control guidelines were communicated to all staff, related parties, and to the customers. It was clear in every single person’s actions that they were thoroughly trying to follow these guidelines.

The yagura (Japanese Bon Dance tower) that is familiar to all and that is centrally located at Oasis was nowhere to be found this year. The usual scene of people dancing in a circle around it while loudly blasting the local anthem “Naeba Ondo” didn’t exist, either, on the eve of this year’s Fuji Rock. We didn’t get to document the 10-year tradition at Red Marquee of people shouting “I’m home” in response to MC’s call of “Welcome Back!”. Thursday night, the eve of the festival, is usually the first peak of the Fujirockers excitement blasting their joy and happiness of reaching one of the most precious events of a year after the long-awaited time. Even with a two year gap since the last time being at the festival in Naeba, they kept quiet and contained their eagerness.

Photo by MASAMI YASUE

Although we were informed officially that there would be no festival eve party as usual, the one thing that filled me with joy were the fireworks, which nobody knew were happening this year. Other years, the crowds would cheer at the sign of the beginning of the festival, but there were no such auditory reactions this time. However, I heard stories of people gasping or shedding some tears when the first firework burst this year. Overall, it appears like most people were solemnly looking up at that night sky full of fireworks. There was some applause but at the quiet venue, only the sound and light of the fireworks echoed; a scene right in front of our eyes that seemed to symbolize the “Special Fuji Rock”. Perhaps everyone understood it wasn’t easy to get to this point.

Influenced by the fact that, in the early stages of COVID-19 chaos, some clusters and spread of the infection came from concert venues and clubs, those places became a target to be avoided and, along with the government campaign to the public insisting “no activities of nonessential and unnecessary”, even the mass media started taking the live concerts and entertainment as a symbol of the things to be avoided. Many venues were forced to close down, not only depriving musicians and theater people of their work, but also lighting and sound technicians losing their jobs as well. Furthermore, festivals were being postponed or canceled left and right. Of course, we have to prevent the infection with no doubt, but at the same time, it’s undeniable that music and its culture are indispensable elements to our lives. This includes festival culture as well. In particular, Fuji Rock Festival gave birth to such a culture in Japan. It massively influenced a way of life to festival goers called “Fujirockers” as well as to all other small and large-scale festivals all over Japan. Not only did the organizers, but related organizations and local people along with Fujirockers believed that festival culture must not end – it has to survive and keep on going.

That wasn’t all. When Fuji Rock Festival announced the postponement last year, we heard rumors that the host town had asked if it could still somehow be held. The reason being, the economic impact produced by Fuji Rock. Its cancelation would have an immeasurable impact on the local community. It couldn’t be denied that if it was canceled two years in a row, the economic impact could have been devastating. This was another reason why the locals and organizers started looking for ways to safely host the festival. As a result, they decided to establish thorough infection prevention measures. This presented the spectators with some inconvenient and stubborn infection prevention guidelines. In addition, the audience capacity was reduced to about 25% of the original. As a result, the maximum number of people per day was just under 14,000, which is almost the same as filling the Nippon Budokan for a sporting event.

Is this even profitable? Surprisingly, the organizer supported ticket refunds for those who were worried about participating due to infection problems or who were not in good physical condition. Furthermore they even contacted ticket buyers and shipped antigen test kits to those who wished to take a test, which resulted in the majority partaking in testing. However, this was not good enough for the organizers who were aiming for 100% certainty and safety for all. Rumors have it that organizers ran east to west to collect a large number of antigen test kits needed. In addition to the medical tent inside the venue, a large number of medical personnel and three private emergency transport vehicles staked out in the back, ready to respond to any emergency. All staff members had to undergo PCR tests to prove that they were negative or they were not allowed to enter Naeba. In addition, long-term staff at the festival site have to repeat antigen testing on a regular basis. Even if one already entered the venue, they would be quickly ousted from the venue if a close contact was reported positive back home and without proving negative with a new test, they would be able to return. It was not only the spectators but also all the staff who had to partake in the daily temperature check in order to enter the venue. Some news sources used the term “high alert” and that’s exactly how the environment was at the festival.

Photo by KentaKUMEI

We, Fujirockers, worried that in the worst case, that Fuji Rock Festival this year would turn out to be nothing like the ones in previous history. Needless to say, the charm of Fuji Rock Festival is not in the line-up of the acts but the vibes of freedom and guarantee of independence that all of the attendees could feel & share. However, there was still an aspect where our hands were tied to follow necessary rules in order to control the infection. Plus, with Japan’s borders closed to non-residents due to COVID-19, the festival couldn’t host any acts from overseas. The UK team, the main force of the field direction and decoration, could not come to Japan, either. Considering all those factors, Fuji Rock would appear more like an outdoor concert surrounded by greenery rather than a festival in its true sense. In addition, alcohol sales were banned in the venue, and smoking was prohibited except for a few tiny areas located far from the main part of the festival site. Many vendors that have been familiar faces since Fuji Rock began in 1997 canceled this year. Above all, many familiar faces who have always enjoyed our annual gathering decided not to come.

All of the people involved in the festival and its organization were forced to make heartbreaking decisions and choices. Especially when the number of people infected with the new COVID-19 strains started to increase rapidly in the major cities, there were conflicting voices bubbling up all over. Some echoed that the festival “needed to be canceled,” and others pleaded to “conduct it somehow”. Various voices were heard from the artists and performers themselves; those who planned to appear and those who painfully chose not to. Whether they ultimately participated or not, I pay tribute to their involvement and seriously taking Fuji Rock into consideration. I extend my gratitude to each and every one of you who came, and to every individual who decided not to come. A shoutout to those who voiced concern and to those who voiced support, the artists who performed and the artists who declined. No matter where everyone was mentally or physically, I believe that Fuji Rock has become a big presence in many people’s lives. For that, I know that whatever decision you made was not an easy one, so I thank you from the bottom of my heart.

At the festival grounds, we were all overwhelmed by the audience who respectfully followed the health and safety regulations put in place to prevent infection. I didn’t see anyone without a mask on, except in the smoking or food areas. What I realized when I was eating was how quiet it was as almost no conversations were heard. It seems painful to follow the cautionary note that says, “please eat quietly”. I saw friends meeting up, wanting to shake hands or hug each other but hesitantly opt for elbow and fist bumps as greetings instead. Conversations happened with masks on, but no one was talking loudly. I also witnessed people taking a look around to make sure no one was close by when simply taking a sip of water.

Normally, there is only an MC for the Green Stage, but this year, there was one at every stage as a means for ongoing communication with the audience before and after artist appearances.

“Please be sure to wear your mask that covers your nose and do not speak out loud. Check the markers on the ground to keep a safe distance. In front of the stage, please do not bring in food or drinks except water bottles for hydration.”

MCs were given manuals and obliged to make the same announcement to the audience every time. It was, after all, to prevent infection.

These were unprecedented sights at past festivals and live shows. No matter how incredible the performance was, barely any cheers were heard, only applause and clapping. Regardless, the positive energy from the crowd was felt on stage. That energy was reciprocated by the artists themselves, who shared in the same struggles as the audience to participate. Those feelings made for extra passionate and emotional connections with one another. It didn’t matter how many were in attendance, even if it was a small stage with only a handful of audience members. Many others would be able to witness the performances later on on YouTube, but to witness it in person was something else. There was an unspeakable energy that was uniquely born at this year’s festival.

Photo by MITCH IKEDA

Photo by Eriko Kondo

In a rare appearance, Chief Producer General Hidaka stood on the Green Stage twice. On the first day, he stood on stage to announce that two friends who were major supporters and comrades working together with Fuji Rock had passed away. Second time was with Denki Groove, who were the headliners on Sunday. When I spoke to him the following day, he said that what he felt on stage from the audience was so strong. It was “the enthusiasm of them trying to support Fuji Rock”. What he felt was not only the fact that everyone was respectfully following the health and safety guidance, but it was also the reproduction of the miracle that took place in Naeba back in 1999. That year was the result of the Fujirockers’ last hope of a festival location after the disasters of 1997. In 1999, there was almost no trash when the venue closed – same at the end of this year. The iPledge team, which supports the Trash Zero Navigation initiative every year, said that they barely had any trash to collect nor work to do except for managing the garbage tents around the festival.

According to an official statement released by the organizers on August 24th, after the festival ended, there were “no positive cases confirmed at the venue during the festival”. However, that’s not the end. They went on to state: “We will continue to collect information over time and report the results to everyone again, which will lead to improvements in infection control measures at future festivals”. It may be too early to reflect on everything, but everyone involved in keeping the festival safe, the locals, and everyone who ventured out from all over the country to those who chose not to — we, Fujirockers, send our deepest gratitude to say that we have been able to successfully reach this point.

Fuji Rock has faced many tests and turmoil in the past. In its first year in 1997, a major typhoon struck, leaving everyone in a dire situation. However, its first major test in survival was in 1999 when the venue was moved to Naeba. Attendees demonstrated compassion and love for one another against the prejudice that “rock festivals are dangerous,” by proving a little “miracle” to not only the venue but also to the hotels, guesthouses, and to the whole town of Naeba by not leaving a trace of trash or damage behind. This created the tradition of “cultivating festivals along with the locals”. Since then, Fuji Rock has endured and grown with many challenges such as storms or the heaviest ever rain recorded in the area. But this time, it faced an unprecedented viral and global crisis. As mentioned above, it is too early to draw a definite conclusion regarding COVID-19 at the festival. But to all those involved in Fuji Rock, with the love and effort, we made a “miracle” happen of an infection free festival even under the pandemic. There is no doubt that we had a historical Fuji Rock; nobody could and would ignore that fact.

We hear many differentiating opinions and ways of thinking within the music world that is causing some divide. But I believe that it’s natural for festival and music lovers to recognize diversity and to respect and accept each other’s actions and choices. I do hope that we can use this year’s experience as a basis for next year’s festival. At this point, no one can predict how long the effects of this virus will last, but I do hope that one day, we can get together at this same place in Naeba again without worrying about it. With that hope, I would like to close the curtain on this year’s Express.

Lastly, I would like to give my utmost appreciation to the staff who made major moves during this difficult situation. Masks and face shields given, it was not easy to report and cover the weekend while consciously keeping a safe distance. I also thank the staff members who operated the Fujirockers lounge by creating additional and well-prepared infection control measures. From the bottom of my heart, thank you.

Below are the staff who helped deliver the festival this year.

Japanese Team: http://fujirockexpress.net/21
– Photographers: Ryota Mori, Yoshitaka Kogawa, Keiko Hirakawa, Yusuke Kitamura, MITCH IKEDA, Arimoto Shinya, MASAMI YASUE, KentaKUMEI, Ayaka Shirai, HARA MASAMI, Omiso, suguta, Takanobu Shiga, Tetsuro Sato
– Writers: Ryohei Maruyama, Kohei Abe, Yuka Ishizumi, ataso, ayano kajiwara, Hitoshi Abe, Eriko Kondo, Nobuyuki Ikeda, Takafumi Miura, IZUMI AZUMA

English Team: http://fujirockexpress.net/21e/
– Writers: Laurier Tiernan, Jonathan Cooper, Nina Cataldo

Fuji Rockers Lounge: Mika Iimori, obacchi, Fujihara Yamato

Website production & update: Tomoki Hiranuma (Program Developer), Daisuke Sakaue (Design), Yuichi Hazama

Special Thanks: Tetsuya Mitsuishi, Shuhei Wakabayashi, Masaya Morita, Park Baker, all the staff who worked hard to protect the audience, and the audience who overcame the challenges and conveyed the splendour of a festival.

Producer: Koichi Hanafusa

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fujirockers.org is a community site for Fujirockers, people who love Fuji Rock. It is rooted in BBS of the official site of Fuji Rock Festival, originally produced by Koichi Hanafusa. In 1997 straight after the first festival was a disaster hit by a typhoon, BBS left and became a fully independent website with support and cooperation of the organizers. We publish our own coverage not only on Fuji Rock Festival but anything related to domestic and overseas festivals and their cultures. During the annual Fuji Rock Festival, we operate Fuji Rock Express to deliver unique, exciting, breaking, and up-to-date news straight from the venue.

*Please note : As we are not a part of the organizers of Fuji Rock Festival, we are not in position to respond to any inquiries about booking, press or ticketing as such. Please visit:
http://fujirockers.org/

*This is perhaps the first ever English translation of the closing article written by Koichi Hanafusa, the founder of fujirockers.org and the producer of Fuji Rock Express. A Japanese version is written at the end of every Fuji Rock Express. This translation was done by Nina Cataldo.

01. 4s4ki

At times running around like an anime character putting out fires, and then running elsewhere to quarrel with some unnamed lover, it was clear from the get-go that this fresh face had a lot going on. Far from the plastic madness of someone like Kyary Pamyu Pamyu, it was evident that this young woman struggles with some mental health issues. However, the glorious turnaround is that she wields them like Dali. Rapid, multiple changes in genre, tempo and arrangements – a recipe for disaster in the hands of almost anyone – were gracefully and masterfully molded before our very eyes into (as her most recent album title states) a Castle in Madness. She might as well have been a half-Japanese child of Björk. And, at other times she showed us that she could also play guitar with the passion of Kurt Cobain, as well as with the poised calm of James Hetfield. Surely a force to be reckoned with in the coming years, she just released a new music video, and a new release is coming out before year’s end.

REPORT

02. ReN

Similar to 4s4ki’s, ReN’s self-appointed mission would be a disaster in most people’s hands. Wielding the engagement of a famous power trio all by his lonesome from the middle of the stage, like Ed Sheeran in days of yore, ReN built funky soundscapes using only his guitar and a looping pedal. And, every single time, they grew into such pop songs which could ascend into the charts, if justice may be found. Throughout his shiny sixty-minute set, nary a crack was to be found. Lyrically, also, especially in this age of chaos, his indefatigable positivity served as a welcome balm. On one track he crooned, “You’ll be fine. I’ll be fine,” and, on another, he sang the mantra, “We are the lights” over and over again, as his soundscape increased in beauty.

REPORT

04. Kan Sano

For me, this was the group that proved to be the most surprising, this year. Walking onstage in garments that made them look like art gallery staff, Kan Sano served funk with advanced degrees from the college of Prince. Odd chord changes – and choices – seemed to flow like a raging river. And yet, all the while, the funk stayed as solid as a grandmother’s fudge. Also, not just content to stretch the limits of what people can dance to, with fifteen minutes left in their set they stretched things out into hard jazz, before shifting back into 4/4, as a disco ball spun overhead. Many of the better acts on the smaller stages at Fuji Rock graduate to the bigger ones in later years. Ideally we’ll see that happen for Kan Sano as well.

REPORT

05. KEMURI

Although my aversion to horn sections kept me away from ska in the past, KEMURI were a force to behold at Fuji Rock Festival ’21; partially because of how much their positivity is needed right now. Even before the band walked onstage, one noticed a subtitle on their banner reading, “Positive Mental Attitude”. And, throughout their ferocious set which mixed punk, hardcore, and ska, lyrics consistently offered people messages of hope, as well as reminders to stay positive, especially in trying times. During an emotional speech in the middle of their stage time, lead singer Fumio Ito started crying as he admitted that his band had debated whether they should play this year, but when they all found out that they had passed their PCR tests, they decided it was vital that they bring positivity to the people. And, that, they did exemplarily.

REPORT

HONORABLE MENTION: SEAPOOL

I didn’t get the chance to cover their performance, but was lucky enough to catch some of their sound check, and immediately gave them my card and an offer to write about them in the media. These two young women on bass and guitar, and a young man behind them commanding the drum stool held their own with the heaviness of giants from the humble setting of Rookie a Go-Go. Comparisons could be drawn to The Breeders or The Cranberries, but that would denigrate their own freshness and originality. If anyone likes heavy music delivered in a vivifying way, taking in a Seapool show is sure to prove a treat!

SPECIAL THANKS TO: The People!

Honestly, maybe it was partially because we were all tired of harsh conditions – like the Canadian winters that seem to make that nation’s people kind – but everyone at Fuji Rock ’21 seemed to glow with empathy. There were no fights to be seen or heard, everyone gave each other space, and everyone in attendance seem to speak to others with kindness. So, here’s a cheers to you, everyone who spent the weekend in Naeba! You were the honorary stars of the show! And, I salute you.

The lead vocalist at center stage took a bow and yelled “Hey, are you having fun?” as the drummer and bassist kicked off the first song with solid uptempo funk. The lead singer sang in high-pitched strident tones as she strummed on an acoustic guitar that remains inaudible in the mix. The vocalist to stage left kept the tempo of the song on the twos and fours using a tambourine. Despite the fact that it was lightly raining, and that the benches were all wet in front of the Rookie a Go-Go stage, dozens of fans sat and stood near the stage, to show their faithful support; protected by ponchos and rain hats. One enthusiastic female fan sitting right in front of the stage even braved the precipitation without any hat or hood whatsoever. The overhead stage lights then turned red and bathed the whole band in a fiery glow. As the song crawled to its end, the lead singer called out “Konbanwa! We are Little Black Dress!”. And then, the song came to a final halt.

Before the next song started, the lead singer put down her acoustic guitar and picked up a sunburst Telecaster with a maple fingerboard. She then addressed the crowd and told them that, if they got cold and wet, that they should treat themselves to a hot beverage or a tasty hot meal afterwards; that it was important to take care of their health above all. And, again, she thanked the crowd for listening to her band, reminding the audience that they are Little Black Dress. Afterwards,, she said that – in this beautiful natural setting – she was going to present a medley to us called “City Pop Medley”. Then, as the lead vocalist played funky Nile Rodgers-style chords on her Telecaster, the band followed her in a lounge funk style, and the overhead stage lights once again glowed in a bright green color. As this happened, all of a sudden, as if by a stroke of luck, the rain suddenly stopped falling on the crowd..

With fuchsia lighting illuminating the stage, Little Black Dress delivered a mid-tempo lounge-funk number which played out like vintage J-pop. In terms of proficiency, the band members all held their own, and could no doubt get work in any lounge; as well as perhaps support work for other musicians, or jingle gigs as well.

Seven minutes into their set, without taking a break in between songs, as the last strains of lead vocals died out, the drummer was already counting the band in. A handful of middle-aged – and older – men, both sitting and standing, danced and clapped to the beat. The lead singer then asked the crowd to all do the same, and most in attendance complied. She then introduced all her band members, and gave them eight bars each to take an individual solo. Little Black Dress is proficiently polished for the middle of the road which they seem intent on following. The lead singer’s vocals are also sufficiently polished to suggest that she has graduated from some manner of music college; probably with a major in performance. As the funky vamp of the song’s ending drew on, and the lead singer attempted some Mariah Carey-style vocal runs, she smiled at all her band members, and the audience seemed to appreciate her positivity. As the track finally came to a thundering stadium ending, the dozens of fans who braved the rain applauded Little Black Dress enthusiastically.

The vocalist then said that her band would be performing at Blue Note Tokyo in October, and she invited everyone to come to see them play. She then spoke about how so many people were following Fuji Rock on YouTube this year, and that this festival is something that stretches its legacy out into the future. So, she invited her fans to enjoy it to the maximum.

The next song bore a very strong resemblance to Jamiroquai’s “Virtual Insanity” by the way of J-Pop arrangements and processing. And, the green stage lights overhead reflected the lead singer’s positivity.

For their last song, Little Black Dress’ vocalist said that the next number would be a single they are releasing in September, and to please buy it if you like it. It came across as an odd mix of J-pop, lounge jazz, and ska, with melodious screaming on the chorus. The dozens of fans on the rain-soaked benches in front of the Rookie stage clapped in time like metronomes, swaying their shoulders from side to side. This music seems perfectly suited for placements in TV commercials; maybe for automobiles. One can easily picture an average Japanese family driving off happily into the sunset inside the latest car by a major manufacturer, as one of these songs play on. After the drummer drove the last track of the set to a thunderous stadium ending, Little Black Dress’ lead singer yelled, “Thank you very much, Fuji Rock! We hope to see you next year!”. And, the crowd that had braved the rain for Little Black Dress then dispersed into the waiting night.

The immense screen at the back of the stage displayed state-of-the-art digital imagery of multicolored cubes sporting sound wave signatures and other digital staples like MIDI maps and peak meters. Also, as in a Pet Shop Boys show, the music basically never stopped; with one hit blending into the next, encouraging the adoring crowd to never stop dancing. And, in truth they never seemed to. The black metal cage in front of the stage was jammed to the gills with dancers, and possibly tens of thousands of other fans danced along in the valley beyond the cage. If those in attendance didn’t account for everyone who had purchased a ticket for Fuji Rock that day, the difference was impossible to notice.

And, as the lead singer encouraged the masses to jump or wave their hands in the air, it truly seemed like an End Times event. The twenty-four floodlights over the stage blinked and flashed as brightly as an alien spaceship taking off or landing, as the lead singer seemed to sing, “Shuppatsu Ikko” (let’s go to the departure). The throbbing sounds seemed both as mad as our times, as well as being the perfect catharsis for the tens of thousands who danced like the world was about to end.

Thirty-three minutes into their set, images of bulls running appeared on the cubes projected onto the screen at the back of the stage, and the thousands in the black metal cage in front of the Green Stage jumped like the masses in the rave scene from the third Matrix movie. At this point, white and green lasers started striking out into the audience from the stage, and the music started resembling a 21st-century version of the KLF’s greatest hits. As the track came to an end the letters “B.B.E.” flashed on the screen, and the beat evolved into yet another song.

The keyboardist up on his riser to the back of center stage addressed the crowd by shouting some phrases which felt motivational, but were unfortunately incomprehensible. He then took over the main vocal duties for this song, pointing at the sky and making various movements with his free hand which wasn’t holding a mic.

As the tune once again morphed into another, the adoring crowd in the tens of thousands clapped enthusiastically and then kept dancing as if this group were the best one in the known universe. Then, as if in an oddly ironic coincidence, at this point in Denki Groove’s set, images of robots and DNA floated through outer space on the screen behind the band’s heads. The plethora of dancers in attendance then raised their hands as they gyrated, as if they were agreeing about being ready to leave this planet anyway. At one point, the keyboardist called out for everyone to put their hands in the air, and, once again, the masses did so.

Forty minutes into Denki Groove’s set, we heard the first few seconds of silence, and then the group were off again in manic trance-like track with colorful x-rays scrolling across the cubes on the screen at the back of the stage. For this track, the top-hatted lead singer mostly stood in center stage, with the stage-side screens focusing on his face like a combination of Max Headroom and Neil Tennant of Pet Shop Boys. He then started to gesticulate upwards with both of his arms, and the massive crowd jumped up and down with furiously wild abandon.

Then, suddenly, both the keyboardist and the frontman were up prancing across the front of the stage, singing rhythmic phrases in unison. The crowd responded by dancing even more energetically, as if it were the best party of their lives so far. And, who could blame them after the past seventeen months of their lives. More lasers appeared in rainbow colors scanning over the crowd, and hundreds of arms pointed at the sky, peppering the crowd of unknown thousands.

Seventy minutes into their set, the group cut into in a track that seemed to be called “Reaction” as the crowd lost their minds like the biggest rave this planet has seen. Green Matrix-like cubes shifted on the screen at the back of the stage, and green lasers shot out from the stage, then green radars spun on the giant screen. The keyboardist then called out, “We are Denki Groove! We had a lot of fun, didn’t we?” before diving back into another driving trance-like beat to which the massive audience danced with all their might, and as catharsis for everything they had kept inside during the pandemic so far. The beat kicked in even harder again as white light flooded over the audience, and the lead singer screamed “Reaction” over and over again.

The group then delivered one final tune – seemingly called “Fuji-san” – as images of the said mountain graced the large screen at center stage, and the keyboardist ran around the stage with a wireless MIDI controller; that he alternately controlled with his mouth, and then with his hands as he knelt on the stage, as if engaging in a heavy-metal solo. As Mount Fuji started to erupt on the screen behind the stage, the final song finally came to an end, and the immearsuably massive crowd clapped in a loving homage to this group that kept them dancing for eighty minutes. The crowd then kept clapping for a whole three mintues, demanding an encore, but there would be none. In its stead, an MC came out to address the crowd, thanking them for coming out, and saying he really hoped he’d see them all back here next year!

As a warbling background of video depicted twisted urban scenes, and “mentally ill” flashing sequences of imagery across the back screen, 4s4ki alternatively presented herself like the dancer for Sia’s earliest videos, or a veteran heavy metal vocalist.

The music displayed elements of hiphop and glitch, but was probably leaning towards “Yami Kawaii”; a newish Japanese fashion of mixing cuteness with mental illness; Being that 4s4ki’s latest album is called “Castle in Madness,” this is, of course, fitting.

Her musical performance combined with the video and lighting visuals gave a disconcerting effect. It would be a purely alien experience to most people in this world. However, the overall effect remains an engaging one; like one is drawn to find out more about what is going on, regardless of how weird it may seem; as if seeing an alien craft crash nearby, and feeling unable to do otherwise but to go over and investigate.

As she performed under overwhelming white lighting, it was sometimes hard to make out precise details of her figure, but one COULD see the outline of her playing guitar aggressively on the third song. She then continued to do so, as a DJ – like a black outline behind her – triggered her backing tracks.

Fifteen minutes into her set, 4s4ki’s started a slower song with a background of blue water imagery dancing behind her red torii gate. And, as she sang about the Moon, it started to rise on the screen, taking the place of the water. As the song came to an end, and the audience applauded, she handed her guitar to a roadie and thanked the thousands of fans in attendance for coming to see her despite all difficulties.

With one lone white spotlight beaming down from above her red torii gate onto her pink-haired head, she pulled up to a keyboard at waist height and played a plaintive piano ballad all by herself. Midway through, the pace started picking up, and her vocals started speeding up as if in a rant against an uncomprehending lover. “Kimi, DOUSHITE,” (WHY do you,) she sang, as if crying to a lover. And, then she sang, “Tadaima” (I’m home) as the last piano chords died out. After about ten seconds of silence, where the audience seemed to wonder what to do, the crowd started applauding enthusiastically.

4s4ki then started yet another song alone, with a keyboard patch that sounded like bells, and a vocal line that sounded like another insane rant against a lover. Then she went silent and reappeared seconds later on center stage singing with white beams of light streaming behind her. As the track picked up in a hip-hop beat resembling industrial drills, a trio of X’s lit up the stage with white light, and 4s4ki sang at the audience like the combination of a woman coming undone, and the Queen of her own empire. As she ran off to stage left in the second of silence for the prechorus, she leapt into the air and the bright light caught her pink hair as if in an action movie sequence before she ended the song and the audience applauded wildly again.

For the following number, as with the first few songs, disconcerting imagery scrolled across the back screen in orchestrated madness, as the track drove on like a dirty glitchy drum n bass track. For the breakdown, four beams of white light framed her figure on center stage as she seemed to sing in triumph while images of old-school computers whose screens bore her image rotated on the video screen behind her.

Without taking a break between songs, the next track started up in the closest version to a Beyoncé number that a Japanese person could muster, but the glitch starting to crawl back in, the bass got incredibly dirty, and 4s4ki delivered her vocal cues while running about the stage and gesticulating at the audience as if to say, “Yeah, maybe I’m nuts, but, do you know what? This is MY world!” And, indeed, for whatever demons might be troubling this young woman, on this stage tonight – and on these recordings – she IS triumphing.

With twelve minutes left in her stage time, 4s4ki played a song with odd syncopated kick drum hits like mattresses hitting an apartment floor, and a meandering vocal line akin to a traditional asian folk song trying to be remembered by a small child high on sugar.

Quickly shifting into the next song, 4s4ki squealed “The next song is the before-last one! Thank you, eh!” and she was already off and running around the stage as if there were some manner of emergency. As the song hit a musical breakdown, 4s4ki manned center stage and got the audience of thousands clapping over their heads to the beat, before the track morphed momentarily into something resembling a Pet Shop Boys hit, but which once again shifted into a vintage computer’s nightmare music. Before the end of the track, it shifted again to hard trance during which 4s4ki delivered vocals like vocaloid samples. The number eventually ended on a sample akin to a twisted old-school video game sample while 4s4ki’s vocals resembled a furiously delivered monologue heard through a broken telephone. The word “obon” scrolled across the back screen in various neon colours, indicating that this song was about the Japanese festival to honor one’s late relatives; which takes place every August. All in all, 4s4ki is probably the artist Kyary Pamyu Pamyu’s management wishes she had been.

As the song finally ended on a twisted version of a vintage video game’s theme, 4s4ki gently said, “this next song is the last one for real! Thank you so very much for coming out! Please enjoy Fuji Rock until the very end.” And, the last song proved to be the most normal offering of the bunch; a two minute glitchy drum’n’bass number with nothing terribly eccentric about it. After the last note faded, 4s4ki cried out, “Thank you very much, I am 4s4ki!”. Then the audience applauded and left the venue.

The lead vocalist at center stage took a bow and yelled “Hey, are you having fun?” as the drummer and bassist kicked off the first song with solid uptempo funk. The lead singer sang in high-pitched strident tones as she strummed on an acoustic guitar that remains inaudible in the mix. The vocalist to stage left kept the tempo of the song on the twos and fours using a tambourine. Despite the fact that it was lightly raining, and that the benches were all wet in front of the Rookie a Go-Go stage, dozens of fans sat and stood near the stage, to show their faithful support; protected by ponchos and rain hats. One enthusiastic female fan sitting right in front of the stage even braved the precipitation without any hat or hood whatsoever. The overhead stage lights then turned red and bathed the whole band in a fiery glow. As the song crawled to its end, the lead singer called out “Konbanwa! We are Little Black Dress!”. And then, the song came to a final halt.

Before the next song started, the lead singer put down her acoustic guitar and picked up a sunburst Telecaster with a maple fingerboard. She then addressed the crowd and told them that, if they got cold and wet, that they should treat themselves to a hot beverage or a tasty hot meal afterwards; that it was important to take care of their health above all. And, again, she thanked the crowd for listening to her band, reminding the audience that they are Little Black Dress. Afterwards,, she said that – in this beautiful natural setting – she was going to present a medley to us called “City Pop Medley”. Then, as the lead vocalist played funky Nile Rodgers-style chords on her Telecaster, the band followed her in a lounge funk style, and the overhead stage lights once again glowed in a bright green color. As this happened, all of a sudden, as if by a stroke of luck, the rain suddenly stopped falling on the crowd..

With fuchsia lighting illuminating the stage, Little Black Dress delivered a mid-tempo lounge-funk number which played out like vintage J-pop. In terms of proficiency, the band members all held their own, and could no doubt get work in any lounge; as well as perhaps support work for other musicians, or jingle gigs as well.

Seven minutes into their set, without taking a break in between songs, as the last strains of lead vocals died out, the drummer was already counting the band in. A handful of middle-aged – and older – men, both sitting and standing, danced and clapped to the beat. The lead singer then asked the crowd to all do the same, and most in attendance complied. She then introduced all her band members, and gave them eight bars each to take an individual solo. Little Black Dress is proficiently polished for the middle of the road which they seem intent on following. The lead singer’s vocals are also sufficiently polished to suggest that she has graduated from some manner of music college; probably with a major in performance. As the funky vamp of the song’s ending drew on, and the lead singer attempted some Mariah Carey-style vocal runs, she smiled at all her band members, and the audience seemed to appreciate her positivity. As the track finally came to a thundering stadium ending, the dozens of fans who braved the rain applauded Little Black Dress enthusiastically.

The vocalist then said that her band would be performing at Blue Note Tokyo in October, and she invited everyone to come to see them play. She then spoke about how so many people were following Fuji Rock on YouTube this year, and that this festival is something that stretches its legacy out into the future. So, she invited her fans to enjoy it to the maximum.

The next song bore a very strong resemblance to Jamiroquai’s “Virtual Insanity” by the way of J-Pop arrangements and processing. And, the green stage lights overhead reflected the lead singer’s positivity.

For their last song, Little Black Dress’ vocalist said that the next number would be a single they are releasing in September, and to please buy it if you like it. It came across as an odd mix of J-pop, lounge jazz, and ska, with melodious screaming on the chorus. The dozens of fans on the rain-soaked benches in front of the Rookie stage clapped in time like metronomes, swaying their shoulders from side to side. This music seems perfectly suited for placements in TV commercials; maybe for automobiles. One can easily picture an average Japanese family driving off happily into the sunset inside the latest car by a major manufacturer, as one of these songs play on. After the drummer drove the last track of the set to a thunderous stadium ending, Little Black Dress’ lead singer yelled, “Thank you very much, Fuji Rock! We hope to see you next year!”. And, the crowd that had braved the rain for Little Black Dress then dispersed into the waiting night.

As Begin’s members walked out on stage, and the lead singer introduced the band, the hundreds of fans braving the rain applauded Begin heartily. The lead singer then joked that his group was made up of “sunny men,” and so the rain didn’t scare them; because they knew it would pass. He also said that the band threw out their set list, and drew up a new one, in light of recent events. That last comment drew laughter from as far back as the sound technician’s tent. The band’s lead singer then went on to say that watching a band on screens is fine, but nothing can replace hearing music live. And, as he said so, the rain seemed to lighten up. He then concluded that live music is what Fuji Rock is all about, and that it was thanks to fans like those in attendance that events like this could happen.

He then started the first song by singing a traditional Okinawan song a cappella, as the respectful audience listened attentively. Then two of the musicians joined in, seemingly playing a small harp, as well as an Okinawan sanshin; a lute-like instrument. The bass and drums then entered the mix, and augmented the intensity of the tune slightly, but without taking anything away from the delicate beauty of the original song.

In between the next two numbers, the lead singer delivered a renewed plea for organic music. He explained that, yes, recently, even he records albums digitally, but hearing things in an analog way is the whole point of live music; like that which those in attendance were listening to today.

As the band delivered another Okinawa-fueled song, the adoring audience applauded at the end of every virtual paragraph; obviously Begin is a band whose messages are paramount to their listeners. During a breakdown, the Okinawan influence came through even more strongly, as the members of the band let out rhythmic chants that are signature of Okinawan folk music. And, as with every song on their set list, as this number came to an end, their fans applauded heartily.

As they stared off their signature hit, “Umi no Koe,” (“Voice of the Ocean”) the audience applauded with happy appreciation, and then swayed from side to side, applauding at the end of each section of the track. Some members of the audience – seated on camping chairs to each side of the sound tent – nodded as if remembering childhood memories. And, others fell asleep as if soothed by nostalgia.

With less than thirty minutes left in their set time, the lead singer strapped on an acoustic guitar and said, “I’d now like to play you a song from over thirty-five years ago,” to which the audience applauded in support. This also being one of their most classic numbers, it garnered some of the warmest and longest applause.

After a false start on a song that the guitarist forgot that they had cut from the set list (which got the audience laughing happily) they launched into a mid-tempo feel-good number which had the entire audience swaying from side to side. During the chorus, after each classic timeless phrase, the members of the crowd threw their arms up in support of this beloved band, and all clapped on the twos and fours during a shredding rock’n’roll solo. As a plethora of bubbles coasted through the air, and the song wound up to a dramatic “sixties” ending, the audience unanimously applauded over their heads.

Begin’s second-to-before-last song consisted of a heavy hybrid of Okinawan folk music and rock instruments, during which the audience of thousands danced with traditional Okinawan movements. In the middle of the song, the band stopped, and the lead singer said, “There is no alcohol allowed at this festival, so I can’t ask you to raise your beers. But, let’s raise our hands as if we were each holding one!”. He then told them that he understands that a lot of people had to get part-time jobs in the past year in order to pay for their trip to Fuji Rock, and that he really appreciated their efforts. He then yelled “Cheers,” before the band enthusiastically dove back into the song, and the entire crowd resumed their lively Okinawan festival dancing. And, as the audience applauded at the end of the song, the sun once again shone down on Fuji Rock.

During the before-last number of the set – yet another song heavily infused with Okinawan traditional music – the audience cried out “Hee-ah Sah-sah!”; a traditional Okinawan musical chant. Then, as the guitarist on stage left tore into an appropriate solo on his Statocaster, the audience applauded warmly. As more and more large bubbles floated through the air, the song broke down to the piano and the singer’s voice, before picking up again for the pre-chorus, and then building up to the triumphant chorus, during which the whole audience enthusiastically threw their arms up in Okinawan dance movements.

As the lead singer announced the band’s last song, the audience applauded warmly, and the vocalist then said, “I guess this is being broadcast on YouTube, so I should watch what I say!”. He then went on to discuss the fact that many people said this festival shouldn’t happen, while others argued in its favor. He used this as an analogy for everything in life saying, “we often deal with situations where we just don’t know what’s coming next,” and that perhaps it’s good that they were having Fuji Rock this year, because Japanese people might not get to have any traditional festivals this year. They then played “Nada So So,” an old Okinawan folk song that is bound to stir the heart of anyone, regardless of their ability to understand Japanese. As the band wrapped up their last song, the audience gave them a standing ovation like a tropical rain storm, and then the former’s members disappeared.

Without even stopping in between the first two songs, the lead singer quickly said “thank you!” to which the audience applauded, as Mono no Aware ploughed into their next number; built around jangly single-coil guitars, winding bass, and heavy kick and floor-tom action. This four-piece is an outfit that entertains no artifice, and takes no prisoners. It is here to deliver anthemic, clean rock, in as pure a manner as possible. And, the thousands of fans both inside and outside of the Red Marquee hung on their every word and note; dancing in place, swaying from side to side, and throwing the occasional fist in the air.

After taking a few seconds of break in between their second and third number to thank the audience (and presumably to check their tuning) Mono no Aware were off again, with a track that – while distinctly Japanese – bore a heavy influence from David Byrne or the Talking Heads; apart from the largely hip-hop drumming. As soon as I wrote that sentence, the drummer broke into a rhythm which seemed distinctly borrowed from taiko music; as if to defy any expectations.

In between their third and fourth song, the lead singer took a breather to name his band, and to thank the audience for coming out. After the crowd applauded, Mono no Aware jumped into a largely funky number with a disco feel and Red Hot Chili Pepper rap-like vocals on the verses. The lyrics, however, seemed to contain many Japanese tongue twisters. In truth, as their performance drew on, it became apparent that Mono no Aware’s aesthetic intentionally leaned on their cultural heritage. And, as this latest song came to an end, the band received perhaps the most enthusiastic round of applause at this year’s Fuji Rock, so far.

Bathed in pink lighting from overhead, with their colorful logo on a black screen behind them, Mono no Aware then tore into another lively number, like a hybrid between surf guitar and traditional Japanese music; by way of country harmonies. In short, this band are masters of “musicology”. Their appreciative fans held fists in the air, as a symbolic declaration of victory for their heroes.

Twenty-two minutes into their set, Mono no Aware launched into yet another energetic indie rock tune, which blended Japanese festival music and surf guitar.

Almost half-way through their stage time, the band started a number whose intro borrowed a lot from The Cure (who performed here in 2019) – but whose verses bore more of a resemblance to Death Cab for Cutie – as the smoke behind them lit up with blue light, and white searchlights scanned them from above. As Cure-like leads echoed out during a breakdown, it was apparent that more and more fans had started crowding the open space outside the venue. As Mono no Aware then kicked into a loop of the chorus to end the song, and the lights above them burned bright yellow, fists of their fans punctuated each beat. And then, the tune’s last bit of delay blended into the leads of the following song’s intro.

With twenty minutes left in their set, Mono no Aware took a few minutes to thank their fans for coming, to warn them to be careful in the rain, and to ask them to enjoy the rest of the festival. The crowd then erupted into an extended thunderous wave of applause.

As only fourteen minutes remained in their set time, the stage lights above the band’s heads exploded in bursts of white, as Mono no Aware ploughed through a mid-tempo number with heavy tom fills on the pre-choruses, as well as sixteenth-note helicopter delay on the guitar for the choruses. The large crowd standing before them danced joyously to the vigorous music, and raised their fists in support during the anthemic choruses; which seemed to be about their love for Tokyo; as the city’s name was repeated over and over again in a gang-vocal style.

As thunder cracked outside before the last song, the band took a short break to thank the audience; not only thanking those present physically, but also those who could not be here in person today. The lead singer then said the next song would be the last of their set this afternoon. As they drove through an indie rock number deeply steeped in a “vintage Japanese” flavor, thousands of fans swayed gently from side to side, or lightly bobbed at the knees to each beat. One fan in a black baseball cap, a black t-shirt, and a yellow Tower Records towel around his neck, nodded his head and rocked out in place as if overcome by memories of better times. Another male fan behind him – in a black rain hat and a blue raincoat – kept his right hand in the air almost for the entire number. As the track finally ended, and the lead singer calmly said, “Domo, arigatou!” thunderous applause erupted in the venue; so loud that it drowned out the falling rain outside.

Tiernan: Mr. Kaneko, thank you very much for agreeing to this interview.

Shinji: Thank you very much for having me!

Tiernan: How many times have you been here (to Fuji Rock) before?

Shinji: Five or six times, I’d say.

Tiernan: Do you remember in which years that was?

Shinji: I was here…in 2008 (?) which was the first time. And, I worked here as like a translator, in 2012, and 2013. And, I’ve been back as a simple fan for three years in a row now, in 2018, 19, and now 21.

Tiernan: Sweet! Could you please share with us some of your favorite memories from the festival, like, different artists that you’ve seen, and also different experiences that you had here that you liked, that weren’t necessarily related to concerts?

Shinji: Well, for the first time I was here, I stayed in the campsite. And, before that, the only other large festival that I had been to in Japan was Summer Sonic. But, here, for Fuji Rock, I could camp in the mountains! I think I love the location of this festival a lot! The first time that you come to the Green Stage (which is set in a large clearing in the forest) it’s really breathtaking and awesome.

Tiernan: What are some of your favorite musical events that you’ve seen at Fuji Rock in terms of artists and things like that?

Shinji: The performance that was most memorable for me was Rodrigo y Gabriela! That was the very first act that I saw here, on the Green Stage, in 2008. They totally blew my mind! I was totally not expecting to see artists like that here.

Tiernan: Do you have any positive memories about fan interaction between you and other music fans?

Shinji: Well, the past three times…I used to live in the Otsuka and Ikebukuro area (of Tokyo) and there was a bar nearby. And, many of their regular customers were fans of the Fuji Rock festival. And, three years ago, there were like twenty of us that came to this festival together! So, it’s been a great time.

Tiernan: Let’s get to the festival this year, and how things are unfolding. How do you feel about the restrictions, and everything that’s been put in place due to the pandemic this year?

Shinji: Um, it feels like, you know…like, in the beginning, I was thinking, “Aw, this is not great…I want to drink, and sing and scream along (to the music).” [ed: Fuji Rock has safety measures in place this year, because of the pandemic, which include a prohibition on alcohol and the raising of one’s voice.] “That felt a bit negative. However, that was necessary, I feel, in this situation, because the pandemic is getting quite bad in Tokyo. So, I feel Fuji Rock is doing a great job, because many other festivals are getting cancelled. And Fuji Rock has all these dots (colored pegs) on the ground, to remind people to respect social distancing. And, I think they are doing a great job.

Tiernan: So, even if – worst case scenario – the pandemic was still happening next year, would you still recommend this festival to overseas music fans, considering what is happening this year?

Shinji: Definitely! I don’t know. I didn’t see anyone acting crazy! Generally Japanese people behave very well. It feels safe inside this festival! We’re outside, and people are staying away from each other. And, this year the festival is only allowing half of the usual ticket sales. And, I imagine even next year it would be fine. And, I think, I’ve been doing the same thing every day for months – working from home – and being able to come out to the mountains to see live shows is a beautiful thing. I actually cried a few times out of happiness during this festival, because in the past live concerts seemed like a normal thing, but in the past two years we’ve had to do without that healing catharsis. It’s great for your soul and your mental health.

Tiernan: And, obviously, I imagine, if the pandemic has died down by next year, I imagine you would recommend this festival to music fans who live outside Japan?

Shinji: Yeah! It’s the best party in Japan! Yeah, I’ve been to festivals like Coachella in the U.S., but nothing compares to Fuji Rock. I wanna see people from all around the world. Japanese people are known for being polite and kind of square. I guess that’s kind of our image, but here you can see different sides of the Japanese populace. We have fun, and we have a good time here. So, uh, yeah. I think it’s definitely one of the best things to do in Japan.

Tiernan: One last question. What are your hopes for the future of Fuji Rock?

Shinji: I love this festival! I don’t care so much about the lineups, per se. I mean, I would like to see more foreign acts again, like they always had in past years, but that’s it. I just want Fuji Rock to return to the greatness it had before. Yeah, one of the drawbacks this year is that it’s all Japanese artists, and that’s the only thing missing for me; more foreign acts. That’s what Fuji Rock stands for. And (if I was to name a specific genre) I guess I like singer-songwriters, so it would be nice to see more of those as well.

Tiernan: Thank you very much for this interview, Mr. Kaneko!

Shinji: Thank you for having me!

P.S. Mr. Shinji Kaneko even recorded a song about how much he loves the Fuji Rock festival. And, you can hear it HERE if you like.

To a gentle instrumental hip hop track, and a grid of bright blue lights behind the stage, Awesome City Club walked into view, and more fans started to file into the stage-front cage. Almost all decked out in matching shades of white and green, the members of the group smiled at their fans and waved at them. Then, on a predetermined cue, the drummer counted them in, and the ten-member supergroup dove into a signature funk-filled feel-good track; as their backup dancer in a sailor suit projected bubbles from a plastic toy gun that she refilled from a rainbow-colored kiddie pool at her feet. Immaculate heavenly harmonies infused a lovely breakdown; so beautiful that they could have been auto-tuned. Then, after eight bars of this, Awesome City Club were off on a groove again, with the festive crowd before them dancing in their sun hats.

After a quick “Arigatou” from one of their female backing vocalists – and hearty applause from the audience – Awesome City Club drove into an even more lively escapade, propelled by snare hits on every beat of each and every bar. Smiling broadly at center stage, in loose-fitting green and white garb, their bearded guitarist delivered feel-good palm-muting on his Telecaster as he smiled like nothing in this world could ever be better. And, truly this show is nothing short of fantastic. As the blocks of light to the back of the stage glow and flash in a sunny yellow, and the trees around the audience beam in lively green, and a soothing cool breeze blows over our skin, this is the type of concert experience that most humans hope for. The main female vocalist, in her blue bob haircut, and festive flowing green dress tapped at a ribbon-garnished tambourine and smiled as if to say, “yes, it’s true, we are finally having the time of our lives”.

Twelve minutes into their set time, the male bearded vocalist/guitarist in the white and green checked shirt assumed vocal duties for a track that wouldn’t be out of place on a Bruno Mars album, and the blue-haired vocalist strode the stage waving her hand from side to side; with which the audience wholeheartedly complied. A close-up of the string section behind the band – on the stage-side screens – added to the overall heavenly atmosphere. The audience even started blowing bubbles themselves; as a plethora of large ones could be seen coasting outside the cage.

Twenty minutes into their set, the bearded lead singer gave up his Telecaster to a roadie and started a funky duet with the blue-haired vocalist, which kept the party going like Awesome City Club never stop. The thirty-two round spotlights above them – and the set of twelve behind them – danced in rainbow colors; reinforcing the “happy day where nothing can go wrong” kind of vibe. And, almost as if by the power of positivity, the clouds above seemed to say that it might not have to rain today.

About half way into their set, the supergroup delivered a track with Salt-N-Pepa-like vocals, and the entire band performed synchronized dance steps with a now-standing string section; like so many disco-era supergroups of the 70’s. In the cage, and all the way up the hill behind it, thousands of fans danced away as if the pandemic and AIDS itself had never really happened. This is the truly awesome healing power that music holds, and that is why thousands of people flock here every year. During a breakdown, the blue-haired vocalist called out, “Everyone, are you enjoying yourselves?” to which, of course the crowd was not supposed to answer (at least not vocally) but thousands of people within earshot of the stage waved their hands and pointed at their beloved group; in an undeniably positive reply. One girl in a sun hat and shades even DANCED her way into the black metal cage with a male companion who smiled as he followed her.

With twenty-five minutes left in their set, the keyboardist started a song off with a marimba-like intro, to which the audience replied with syncopated cries of “AH!”. A dancer emerged on stage right in a rainbow tutu, and performed a theatrical performance that added to the song like a music video IRL.

With only twenty minutes left to perform, the male lead singer asked the audience if they were enjoying themselves, to which thousands applauded. And, the blue-haired singer pointed to a specific audience member and smiled in recognition. The male vocalist then said he thought it was time to deliver a number with an eye on the future, and they rocked out on a slightly-reggae flavored anthem with a distinctly J-pop chorus, colored with Prince-like harmonies.

For the very last number of their set – with a resplendent violin-section intro – both the male and the blue-haired vocalist strapped on a guitar (the latter using an Acoustasonic Telecaster). Then, the former introduced the number saying it was a song hoping that we all work towards a beautiful future together.

Thousands of fans swayed from side to side for this last slow ballad, and the myriad blue and white lights above the band pointed towards an idyllic future. Then, even the gathering cloud cover parted in the middle, as if by magic, and strong rays of sunshine illuminated both the band and their faithful crowd. One lone fan kept their naked arms up in a V for the repeating chorus, for nearly a whole two minutes. Then, the tune died back down to the violin-intro for a short breakdown, and built back up for a crescendo of an instrumental chorus on a loop. As all guitarists rocked out happily, and the backing vocalists sang like angels, the tune worked its way to a triumphant climax, as the crowd cheered them on. When the final notes started to die out, the adoring audience clapped for their heroes, the blue-haired vocalist thanked the crowd, and then named her band, as her fans continued to applaud while the band took their bows and left the stage.