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.

When the lights finally dimmed and the band appeared on stage, so did a whole army of flames bordering the stage. A larger flame, resembling the one from the opening ceremony of the Tokyo 2020 Olympics, blazed high behind the band and continued to glow throughout the entire set.

With the first sounds of the guitar, the flames grew bigger and the band got louder. Quickly, King Gnu had taken up more space with their sound than the Green Stage could even offer them. It was an epic beginning.

With seizure-inducing strobe lights to the beat, quick witted lyrics and swift drumming, the performance was sharp with now a single beat missed. The set consisted of alternative rock, hip-hop/rap, and a few ballads all paired with a technicolor visual show. By the fourth song, the audience were all on their feet, grooving and clapping their hands to the beat.

By 10:10PM, 20 minutes before their anticipated end, the stage went quiet and dark except for the high burning flame. Minutes went by that felt like eternity. Many people left the set while the other half staggered having their bodies moving towards the exit but their heads towards the stage. It was an anxious five minutes trying to determine if there would be an encore or not.But at 10:15PM sharp, King Gnu members were back on stage. A little treat for those who stuck around for the anticipation.

After singing a ballad, vocalist Tsuneta Daiki – who also performed on Friday night with his other band, Millennium Parade – mentioned how King Gnu’s Fuji Rock debut was in 2017 at the rookie stage (Rookie A Go Go). To honor how far they’ve come, they ended their headlining set by playing “Summer Rain Diver” and quietly brought the hour and a half set to a close.

As a steady heartbeat sounded through the Red Marquee, and a voice recording spelled out “C-H-A-I” before repeating “We’re from Japan” in a female computer voice.

One by one CHAI’s members entered the stage wearing metallic ponchos that made me wish I had a copy for the rainy evening! Bright pink fluffy outfits peeked out from underneath as three of the members bopped their heads from left to right, while the entire crowd mimicked their movements.

At first, only Yuna played her instrument – the drums. But gradually, each of the members were handed over or set up by their instruments. Yuuki on bass, Kana on guitar, and Mana on keyboards.

If anyone came to the show expecting a whole hour of idol dancing, they would be blown away (though there were some idol dance moves involved, too). It’s rare to come across a girls’ pop-punk band in Japan that also dress and sound like a J-Pop group at the same time.

This is the New Age of Kawaii. One where the talented girls in Japan can do more than just sing and dance.

The third song, “Nobody Knows We Are Fun,” made me think of a perfect blend of Disclosure’s electronic sounds with Yaeji’s seductive yet innocent voice. The members also harmonized beautifully together as it quickly became one of my favorite songs from their set.

It’s fantastic to see how multi-talented the members really are. At the end of “Choco Chip Kamone” which features Ric Wilson on the track (sadly, not in person), Yuna and Yuuki were behind the pink DJ deck. They tapped away at the beatpad and controller, occasionally throwing their hands in the air like it was Ultra in Miami.

As the electronic beats keep playing, Mana and Kana re-enter the stage and one by one, the girls introduced themselves in their own unique ways – some rapping and singing – and the tune soon turned into something so familiar. It was “We’re All in This Together” from High School Musical, with lyrics pertaining to CHAI’s members. I wouldn’t call this my favorite moment of the show, considering how much more interesting and talented CHAI’s original music is, but I can empathize with the nostalgia from that era of Disney, as a child of the same generation.

Soon, the girls made a comeback that made me regain faith with their punk song, “N.E.O.” – a true banger that showcased each member’s awesome instrumental talents.

But just as I was in awe of their skills with their respective instruments, the girls switched it up for “United Girls Rock and Roll Club” with Mana taking over bass and Kana on drums while Yuuki and Yuna danced and sang.

The show started to wind down as Mana spoke on behalf of the band. When drummer Yuna started to chime in to give thanks, she shed a few tears (actually, quite a lot) as it was evident that all the members were emotional, being able to finally play a live show again. We feel you, CHAI, we’re grateful too. It was an echo of what many other musicians mentioned throughout the weekend – how great it is to be back at a live festival, how we can all be here together, how we want things to go back to normal soon – but to see how it emotionally affected a musician put into perspective how amazing and important the weekend had been.

CHAI went onto play “Wish Upon A Star,” a song they wrote over the last year’s lockdown. Not the most memorable song, but one that relays a beautiful message of hope for all. This song was followed by “Donuts Mind If I Do”. A sophisticated sounding song with a cute name, it feels like a nod to the Showa era pop queens of Japan that reminds you of how far female artists have come in Japanese history.

Finally, CHAI ended their hour-long Sunday evening set with “Future” before leaving the stage full of smiles and clearly evident gratitude.

An incredible Japanese pop-punk girl band that is already signed to prominent record labels in Japan, U.S. and the U.K., the future continues to look as bright as their neon pink outfits from this set.

Thousands of fists pelted the air as the band – all decked out in black and white Cro-Magnons t-shirts – tore through their legendary repertoire. Before one song, the lead singer forgot that he needed a harmonica, and the audience laughed in support; understanding that their heroes – as they had mentioned earlier in their set – were out of practice of playing live shows.

Every sentence of every song was punctuated by fans’ fists pelting the air, as they paid homage to their heroes, whom they no doubt missed immensely during the pandemic. On stage left, their guitarist – his trademark bandana around his forehead – delivered his duties like a Japanese Keith Richards. Their bassist ploughed through the set like Sid Vicious without heroin, and their lead singer lept and bounced around like a skate punk of half his age; propping up a Converse sneaker on top of a monitor to deliver the odd line, then jerking like an epileptic having a fit during the odd instrumental break.

During a particularly driving number, rain ponchos of every color bounced and swayed from side to side in the catharsis of enjoying these living legends live; right after a rainfall no less. Poetry hung in the air.

Half an hour into their set, The Cro-Magnon’s lead singer gently addressed the crowd, asking them if they were okay after the rain, and encouraging them to enjoy every minute of Fuji Rock 2021. And, so they did. Even thirty-five minutes into the band’s set, almost all of the thousands in attendance jerked around in place, and clapped their hands in predetermined rhythms on certain choruses. The intro to the next song had the audience clapping to a rapid downbeat. Basically every song in this band’s arsenal follows the d-beat punk esthetic. And – if you like it – it really can’t be beat. You’d basically never tire of it; as is evidenced by the tireless dancing and fist pumping of the fans in attendance. It’s the sound of California, and is hard to argue with; it fills you with vitality as soon as you hear it; unless you hate punk rock.

As the band tore through a fan favorite called “Kami Hikooki” (Paper Plane) the lead singer used his hand as a visor to scan the faces of the crowd, and thousands of hands went up to be seen. As the song came to an end, The Cro-Magnons’ lead singer yelled out, “Kyo ha saiko!” (“Today is the best”). And, in a flash, they were off into another d-beat number, with red lights beaming down from overhead, and thousands of hands offering punctuation to the singer’s lyrics. Overcome by emotion, the latter rolled around on the ground before getting up again to thank the crowd at the end of the song.

For their last number of the day, the lead singer yelled out, “We are Cro-Magnons” and their logo appeared on both huge stage-side screens. As they powered through the snare-heavy number, the crowd yelled “hey” and punched the air on predetermined cues, despite having been warned against any loud speech; due to the pandemic. Once the track came to an end, the lead singer thanked the crowd, and the band walked off stage as the audience cheered as if begging for an encore.