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

──────────────────

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.

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.

envy then mellowed momentarily to a quieter breakdown, while the vocalist on center stage addressed the crowd about the challenges facing us in this era, before delivering his first vocal clues. Then, the whole band, decked out in pitch black, returned to pelting those in attendance with some of the most nightmarish metal around; befitting the rain that had just stopped falling, and the puddles of water under the crowd’s feet.

After the song ended, the lead singer seemed to stare at the ground, before delivering something of a prayer which might have been a poem. When he was done, the drummer countered the band in, and envy continued to deliver their assault; delivering anger and frustration – which was probably already there – but which must have been distilled by the recent pandemic. The hundred in attendance, nodding in their raincoats, seemed to get every single word; with a spiritual kind of resonance.

The band continued to deliver their nightmarish ordeal as one song blended into the next, but which must have seemed like catharsis for the rain-drenched masses in attendance. When one song ended, and the singer gently thanked the crowd, the whole audience clapped with arms above their heads.

For lovers of hard metal, it couldn’t get much better than this; blistering riffing and hellish darkness; like a rain of brimstone that only lets up long enough for you to feel the next wave. And, those who waited over a year for this kind of release savored it to the last drop. A large Japanese man in a black raincoat threw his fist in the air at a few strong angergasms. And, some fans – like a young lady in a grey poncho with pink highlights in her hair – shot their fingers repeatedly in the air towards the stage, as if to say, “yes, yes, you are correct in every bit of your fury!”. As another track came to a halt, the grateful masses applauded with arms stretched out above their heads.

After a short instrumental, mostly consisting of gentle down strumming from the guitarist on stage left, envy were back to their darkness; like a hybrid of MONO and screamo, giving anyone pretending to be heavy a terrifyingly deadly run for their money. Once again, as another track ended, their adoring fans clapped over their heads.

With half an hour left in their set time, envy tried something a bit more melodic, but with chorus vocals like Napalm Death’s first album, and verses like Nirvana’s “Endless Nameless”. The next song ended quite violently with all guitarists flailing like Radiohead’s Jonny Greenwood in a nightmarish scene, as the vocalist crouched and screamed on the ground, and the rain-soaked crowd once again applauded gratefully.

In a gentle voice, in between songs, the lead singer stated, “I’m grateful that the rain stopped. We’re now going to play a duet,” for which he introduced a female co-vocalist. As she delivered Enya-like gentleness, the drummer played a tribal rhythm on a few of his toms, and the guitarists delivered gentle chiming picking phrases. After a few minutes, the band built up the track into an apocalyptic anthem, and the contrasts they delivered seemed even more beautiful. As the song wound down to a slow ending resembling its introduction, the audience applauded with great appreciation.

envy’s last song started off like a gentle pop song – maybe “Nothing Compares to You”. And, after a few minutes of gentle monologue, the nightmarish screamo came rushing back in. We were carried to the ninth plane of hell, where someone’s suffering was clearly unbearable, with an everlasting absence of reprieve. The golden lights above the band’s heads seemed to allude to Heaven above that the protagonist could never reach. Many rabid fans in attendance raised their hands and swayed from side to side, as if this catharsis was something they could not live without. And, as the ending got heavier and all so much darker, hundreds of heads in raincoats nodded their approval. The crowd then clapped with vigor as envy said “thank you,” and “goodnight,” before delivering one last sonic assault, to which all in attendance provided punctuation with their fists. All hands then reached for the sky and applauded as the band swung their guitars and placed them before their amps to end their set on a hail of feedback.

It’s a surprise that this is the band’s first time performing at Fuji Rock, given their 21-year history. AJICO started as a side project for musicians Ua and Kenichi Asai. Their collective sounds and Ua’s haunting presence make for a perfect set at the White Stage, encircled by Naeba’s mountains and unpredictable weather.

Though the sun beamed down while everybody waited for the band to come on stage. One by one, the members quietly set up. Lastly, Ua walked on, dancing, dressed in a cream white parachute pant jumpsuit and neon strings bound all around her hair tied up in pigtails that resembled a sheep’s horns.

The wind pattern changed as soon as she joined the stage, casting thick grey clouds over the valley. The wind danced as swiftly and smoothly as Ua did throughout the hour-long set.

Her eccentric looks paired with her coy personality is similar to that of Australia’s Sia. Similarly, Ua’s voice is boastful and captivating. “She’s like a shaman-figure,” I overheard some audience members nearby. It wasn’t a surprise, seeing how she moved the crowd and Mother Earth while she sang and danced.

Some highlight accompaniments from the set were the bassist Takie’s use of the electric upright bass, Ua’s flirtatious use of her tambourine, and of course, Kenichi Asai’s vocals and guitar.

It was truly about damn time that this band got their turn at Fuji Rock, which is just as mystical as AJICO themselves. We hope that this won’t be the last time, either.