NOT WONK’s Kato on “FAHDAY2024”: Preserving Culture in Modern Cities

Attempting to Manage Everything Solo for “YOUR NAME”: A Fruitless Endeavor

The event “FAHDAY2024” (FAHDAY), conceived by Kato, has been announced. A statement positioning this event as an ‘Exchange of Expression Market’ was also released. Could you share more about the spirit behind this concept and the background leading up to this event?

Kato: Since the ‘YOUR NAME’ event at ELLCUBE in Tomakomai in 2019, I’ve felt a strong urge to take action. For ‘FAHDAY,’ I’m relying on support from local friends and businesses, which is a departure from the approach I took with ‘YOUR NAME.’ Back then, I was determined to handle everything myself—from creating the tickets, which were hand-printed by the three members of NOT WONK, to managing the cloakroom and ticket checking. We prepared for the event in just six months, starting in July 2019, with the resolve to do it all on our own.

Kato: So, with 262 attendees and 24 opening bands (as noted), plus the staff, there were a total of 368 people. The way each person’s enjoyment connected truly made it a fantastic day. However, despite starting the event with the intention of handling everything myself, it proved to be utterly impossible. I wanted to create a DIY experience to connect with each individual, but in reality, I couldn’t even manage basics like filling the stove with kerosene. I ended up needing help for every little detail.

The opening bands at ‘YOUR NAME’ were those who performed during the open stage event. All artists who applied between July 5, 2019, 11:00 AM and July 6, 10:30 AM performed. The lineup included Gotch, Discharming Man, Totsuzenshoujo, Yahhoo, TIMELY ERROR, The Triops, SUP, Indie Girl, Yurina Maeda, BANGLANG, INViSBL, The Giraffes, Datto, Hue’s, SEAPOOL, And Summer Club, LADALES, JEEP, The Big Mouth, cult grass stars, zo-sun park, Dr. NY, MAPPY, and Mitsuru Okubo.“

Did your effort to manage everything solo reveal that seeking help from others is acceptable?

Kato: That’s right. I came to realize that I might have been the only one thinking I had to do everything myself. I understood that both the opening bands and the attendees felt they should pitch in. As a result, despite my intention to manage everything alone, ‘YOUR NAME’ turned out not to be a genuine DIY event. I believe DIY is most meaningful when it achieves the highest quality. Otherwise, it might be better not to organize a DIY event at all.

If the aim is simply to do everything solo and it results in lower quality, it’s ultimately counterproductive. ‘YOUR NAME’ was indeed a fantastic day with remarkable performances.

Kato: If I insisted on doing it all myself while still relying on others for help, it would be exploitative. I decided it was better to seek fair support from everyone and build something together. This approach was the foundation for “FAHDAY.”

The Futility of Hosting an Event Just to Showcase Personal Ideologies

Does the designation of this event as an ‘Exchange of Expression Market’ also imply sharing each person’s life experiences in a fair and equitable manner?

Kato: Yes, that’s right. For example, when organizing such an event, it often ends up that the initiator becomes the center of attention, and most of the benefits go to that person. I don’t resonate with that kind of system. If we’re combining everyone’s efforts, then the benefits should be fair, and that’s the kind of space I wanted to create, a thought I had right after “YOUR NAME.”

But then we entered the COVID-19 pandemic, and the sense of needing to assert my own principles or ideology seemed less relevant. Many people felt this during the pandemic: while everyone has their own life and important beliefs, the priority shifted to protecting one’s own life and the lives of those around them, which were constantly at risk. In such a society, organizing an event solely to express personal policies or ideologies began to seem nonsensical to me. It felt like a waste to insist on ‘doing it DIY!’ when the situation demanded more immediate concerns.

Facing a societal system that has long since failed, I also deeply felt that now is the time to create a new unity based on the connections between individuals.

Kato: That’s right. So, rather than creating a space to fulfill themes or ideologies I set up selfishly, I wanted a place where each person present could organically intersect as individuals and ultimately create a unified meaning or expression. This reflects a core belief of mine: that every individual’s footprint is a form of expression.

While I agree that individual daily activities constitute ‘expression,’ in what situations did you personally feel this?

Kato: Spending time in my hometown of Tomakomai during the pandemic was significant. From the start of my band, I never had the desire to ‘make it big in Tokyo,’ but I was often active in Tokyo while keeping my base in Tomakomai. I had some reactions to my expression from both Tokyo and Tomakomai, but I started to feel a gap in how my expression was received in both places. Both seemed disconnected, and I felt like a bat—neither bird nor beast—caught in an ambiguous state.

However, when I was forced to spend time in Tomakomai during the pandemic, I experienced a sense of merging where my musical expression, the reception in Tomakomai, the local situation, the state of Tokyo, and the understanding there all blended together. In essence, the boundary between what I wanted to express as a musician and my daily life in Tomakomai began to dissolve. I came to believe that both were valid expressions of myself.

Kato: Last year, I was working on an album for SADFRANK (my solo project) with the idea of distancing myself and drifting in a vast universe to find my true self. However, when I finished the album, I saw aspects of myself that continued to emerge despite my attempts to distance myself. Since then, I’ve thought that perhaps instead of viewing my identity as a grand, cosmic theme, it might be better to consider it as something smaller—something that changes in color and size with just a slight shift in perspective.

Kato: I believe that this journey has been an opportunity to realize the fundamental truth that minimal daily activities are each person’s form of expression, and that every place has its own culture. It’s not so obvious that the society outside of oneself is also part of ‘self.’ Yet, I feel like I had forgotten this aspect. The basic fact is that individuals live by exchanging their lives with one another. So, I thought it would be meaningful to have a place to loudly affirm this, and that’s something I wanted to achieve.

However, looking back on what I’ve done, it seems that what I once considered to be as vast as the universe actually connects to minimal answers, and that minimal things can sometimes be the largest worlds. It feels like I’ve been navigating between these extremes. But I believe that’s the essence of doing art.

Yes, expanding our options and perspectives on how we view things.

Kato: For example, a place that the local government decided to demolish because it didn’t meet their needs (the Tomakomai City Hall, which will be the venue for ‘FAHDAY’) can become an infinitely playful space with a slight change in perspective. Everything changes, but if it’s going to change, it should change for the better. In the case of Tomakomai City Hall, walking around the venue might provide hints for transformation, or considering its location within Tomakomai could be effective. Alternatively, reflecting on how the building has faded over time through my own memories might be valuable. I want to explore the concept of ‘existence’ from multiple viewpoints. I feel like this is a driving principle within me.

Information about the relocation of Tomakomai City Hall can be found here.

Embracing Each Day Without Desiring Change

The co-hosts include names from local dining establishments in Tomakomai. Were these individuals the ones who influenced your changing perspective on Tomakomai during the pandemic?

Kato: Yes. To put it bluntly, the people from Tomakomai I met during the pandemic seemed to be living each day without seeking change, and I found that really cool. Before the pandemic, I had always approached music with the mindset of changing everything from 1 to 10, so a lifestyle that didn’t seek change seemed to me like it was subtly giving up something. As a result, I had some difficulty fully adapting to the atmosphere of Tomakomai, and honestly, it wasn’t the most comfortable place for me. But now, I see the way people here cherish and enjoy what already exists as incredibly cool. That was fascinating.

Why does the seemingly resigned way of life now feel cool to you?

Kato: I’m not sure… It’s not that I think this is the best way to live as I get older. Rather, I think I’ve come to understand that valuing what you have now can also be enjoyable. It’s not about resignation, but about incorporating unchanging things and a sense of security into life, which can be very fulfilling. Also, I’ve thought that there might be many places and people where such a way of life isn’t possible.

Yes, especially in an era where factors threatening our way of life are increasing.

Kato: I think I used to see such a gentle lifestyle only in a superficial way. But stepping into the local scenery during the pandemic, I found that each person’s daily life continues to change gently in a well-ventilated space, creating a sense of time that wasn’t present in any other city I visited on tour. I realized how much I had overlooked.

Is it that the various ways of finding happiness and the fact that each person clings to it has become clearer to you?

Kato: I think that’s right. I spent a lot of time interacting with people who weren’t interested in things like bands or Tokyo. For instance, a 55-year-old New Zealander friend from Tomakomai took me to a local snack bar, and when the owner asked me what kind of music I played, I was able to say “punk” with confidence. And when she heard it, she said, “It’s good music, but it probably won’t be on TV.” Those moments were great. I realized that even in one-on-one introductions, it’s possible to convey your message. I saw that it’s not necessary to constantly shout about alternative or punk music. Instead, if you can create music that communicates well with people, it’s better to confront others more simply and directly.

City Culture” Isn’t Created Anew: It’s Embedded in Daily Life

You mentioned in an interview with “dimen” that just before the pandemic began, you started experiencing panic attacks. Can we say that you opened up to others as a way to free yourself?

Kato: Yes, stepping out of my comfort zone meant that my perspectives and views changed. It became a catalyst for me to feel that it was okay to let myself be more liberated.

Regarding the core understanding of “daily life” and “city culture”—which is important to address before diving into the “FAHDAY” event—the “TOMAKOMAI MIRAI FEST” began in Tomakomai in 2022. Organized by the Tomakomai Urban Regeneration Project Committee, chaired by Mayor Hirofumi Iwakura, the event aimed to “redefine the new culture sleeping in local areas and the魅力 of the land, and promote it to the world.” The festival was planned and produced by “ASOBISYSTEM,” a production company based in Tokyo that handles regional revitalization projects, and featured many of its affiliated artists. Apparently, the mayor had a great time at the event, and it was so lively that he even mentioned, “Let’s create a club in Tomakomai.”

It sounds like it was quite a lively event.

Kato: Yes, it was quite enthusiastic. However, Tomakomai already has a club called CLUB ROOTS, which is celebrating its 18th anniversary this year, as well as other venues like Bar Base and Rock Bar Jam where people can enjoy music. There are people who have been running these places for years. Given that, the mayor’s comments and the festival’s approach seemed to neglect the local music scene, which didn’t sit well with me. I initially thought it would be best to confront this with the people who have been building spaces in Tomakomai and say, “Don’t you see what we’ve been doing?” But surprisingly, the people of Tomakomai were quite nonchalant about it. They seemed to have an attitude of, “That’s not related to what we’re doing; we’re doing our own thing.”

Kato: This leads us to the discussion of terms like “expression” and “culture.” For example, I think considering which bars to hop to, what to eat, and ultimately what to drink while walking from Tomakomai Station to Bar Base is a significant cultural activity. I question who can neatly define “culture” anyway. It seems to me that culture is formed through the repeated activities of people rooted in a specific place. If that’s the case, I wanted to call the ongoing activities in our city “culture” and felt that living according to one’s own will is itself a form of life’s “expression.” The idea of “creating a new culture” seems absurd to me.

It’s already present in the places where people intersect.

Kato: Exactly. Besides, it’s not something that can be created by someone. Culture is developed through the intersection and consolidation of things that have been built up within each individual. People move through the streets, meet each other, and share various things. The immense number of footprints and traces form the city and the life there. I want to call that culture and believe that it is the expression of each person’s life. Even if one doesn’t create art or music, the movement and interactions of their daily life are expressions in themselves.

For me, as a musician, it’s not enough to only create music. I live as a connected entity within society, and it’s within that context that I express myself. This is true for everyone, and I believe it’s something everyone can realize. While it’s not the main purpose of “FAHDAY” to make people aware of this, I do hope that moments of joy and happiness can bring about an awareness of “how beautiful their lives are.”

The Illusion of Happiness Through Constantly Seeking New Things

I think actions where ‘fun’ comes before messages or issues might be a first for NOT WONK.

Kato: Hahaha, that’s so true.

The idea is that fun and joy come first, and individual realizations are found within that. It seems to me that this is a departure from the previous approach you had, Kato.

Kato: In that sense, I might have had the mindset that I needed to create something new on my own.

But it’s not about creating something based on circumstances or pretenses. The essence of it remains the genuine interaction of each person’s life.

Kato: After all, you don’t need to force something to be created—there’s already culture and life there. Even the cityscape that seems boring can become interesting with just a slight change in perspective. What seemed like isolated points are actually formed within a larger, more gradual flow. Creating those perspectives is crucial, and I think that showing those perspectives is an important part of ‘FAHDAY.’ That’s what I believe the role of art is.

Exactly. Expanding our perspectives, showing different angles or options—this is where the power of music and art lies. We live in an era where it’s easy to become skewed in our thinking about ourselves, society, or the world. Systems have long since collapsed, wars and massacres still continue, and malice pervades both the real world and the internet. The reality of these issues often feels like we’re already shown the end credits in advance. In this context, finding a way to enjoy and live with a smile using what we have now is a minimal approach that actually connects to the largest world.

Kato: The question is whether a new future of great happiness will come from continuously acquiring new things or creating new things. Honestly, I feel like continuing to seek new things doesn’t lead to a happy future. Creating new things and adapting to new technologies may be important, but that’s a means, not an end. I’d like to build a house if I ever become wealthy, but that alone doesn’t define happiness. If we equate happiness with constantly acquiring things, then what do we need to buy after building a house? It becomes endless.

Happiness, for me, can’t be measured by degrees, comparisons, or quantities. It’s about the collective presence of different forms of happiness and the fact that they coexist and breathe in the same way. That’s what I think of as ‘exchange of expression.’ Whether it’s watching an EGO-WRAPPIN’ live show or eating the incredibly delicious vegan ramen made by Kurogome-san in Tomakomai, even though the costs differ, the direction of the happiness gained is the same. This sense of ‘sameness’ is similar to how my personal expression, ideology, and city life have merged. Personal happiness and the expression of life should be understandable even without knowing terms like alternative or punk. If it’s simply placed there, I want it to be a day that everyone can freely engage with. Although I’m the curator, my face isn’t necessary for free enjoyment.

Creating Autonomy Through Connections in Tomakomai

It’s fascinating how people, when given trust rather than rules, create their own sense of autonomy and self-reliance. This means there is no one in a position of elevated authority; instead, it’s about unity in a circle rather than a hierarchical pyramid. I think this is what we need most right now.

Kato: That’s right. In the end, it’s more about whether we can say “I’m counting on you” to each other rather than creating a structure where someone is elevated above others. It might sound idealistic, but if everyone feels that what’s happening is meant for them and their own responsibility, then the hierarchical pyramid gradually disappears, and what you end up with is a flat circle. It’s different from having a price tag attached to something that you can only get by paying. The ideal is to exchange unique manners and trust between people.

For example, if I gave Kato some vegetables I grew at home, and in return, Kato sang a song as a thank you, that would enrich my heart and then I’d return to my daily life. It’s about how different things we can give or do create a chain reaction that becomes part of our lives.

Kato: Exactly. While money and systems are certainly important, it’s the exchange and its chain reaction that matter even more. It’s about sharing what we can do and what we’ve cultivated. Experiencing how people receive and give things is key. This process of exchange and its layering forms a shape, which is what I believe culture is. The beauty of people gathering lies in them seeing and acknowledging each other. Unlike the surveillance aspect of social media, FAHDAY is a large marketplace where everyone forms a circle, sees each other, and shares joy. And I want to watch that from the sidelines [laughs].

You want to remain “one person” rather than just a “host,” right?

Kato: Yes, I think that’s very important.

I intend it to be a strong counter. The redevelopment of Tomakomai is an urgent issue for me, but it’s also a problem that many people in Japan face. The development is often mistaken in its priorities, and this event is definitely my way of addressing the discordant state of affairs and questioning what should truly be valued in city development.

Kato: I do hope many people come who can say it’s 100% fun, but I also think it’s fine if there are people who find it a bit unsettling. However, that’s not something I want to loudly declare as the primary message. It’s not about wanting people to eat curry while thinking, “This is my counter!” (laughs). It’s okay if people are diverse or only partially aligned. What matters is a relaxed solidarity where we can say we somewhat understand each other, and where the event becomes a fun extension of the everyday activities that the people of the city have naturally continued. In Tomakomai, which is neither a large city nor anything grand, I hope that people naturally connect and self-govern. If such solidarity is created, I feel that there could be no greater counter to the current trends.

From the perspective of those who want to control and manage, what happens here is the most annoying thing. A village without a fully operational system forms, and within it, joyful self-governance develops.

Kato: Exactly. Of course, I believe principles should be firmly established. As long as you stay within those bounds, you should feel free to expand. Partial agreement can be more expansive and colorful than complete agreement. I want to see that kind of thing. I don’t plan to create a structure; I think of it as just adding a small stream of water. I see myself as simply participating as an individual.

It’s not about wanting to be the Red Ranger; it’s about upholding the fundamental truth that both you and I are just individuals. I think that’s where the strongest assertion lies.

Kato: The essence doesn’t change. However, when you’re organizing something like this event or being featured in something like the recent NHK documentary, it can potentially become the pinnacle of a centralized structure, no matter how small. That’s something I have to reject. The moment it becomes such a structure, it would be the opposite of what I want to achieve.

“FAHDAY2024” Area Highlights

Let’s talk more about specifically what will be happening. The venue is divided into four sections: Area_1 through Area_4, with Area_2, Area_3, and Area_4 being free entry. What can we expect from Area_4, which has not yet been detailed?

Kato: Area_4 will feature decorations, photo installations, and spontaneous acts from Tomakomai. I envision it as a space that ebbs and flows, moving freely without being bound by time or place. Speaking of the approach to involving participants, when we first started thinking about doing something big, I wondered who could come to Tomakomai and really elevate the whole city’s energy. While discussing this with Tomokiyo-san from Bar Base over drinks, we jokingly said, “Wouldn’t it be amazing if EGO-WRAPPIN’ came? That would really get everyone excited!”

When EGO-WRAPPIN’ plays at Bar Base, the atmosphere on the floor is quite special, and I’ve always thought it was wonderful, even though I had no connections to them. But I decided to take a chance and invited EGO-WRAPPIN’ to Tomakomai while sharing the current situation here. To my surprise, they agreed enthusiastically. So, my pitch was, “Since EGO-WRAPPIN’ is coming to Tomakomai, let’s throw a big party!” and I invited everyone. It was incredible, truly. When I said, “EGO-WRAPPIN’ is coming to Tomakomai!” everyone was thrilled.

Area_1, where EGO, kanekoayano, Odottebakari no Kuni, and NOT WONK will perform, is the main hall of the civic auditorium. What kind of venue is it?

Kato: It’s an old hall, about 55 years old, where artists like Tatsuro Yamashita and Yo-Yo Inoue have performed. It’s a great example of Showa-era architecture, showing its age but still well-constructed. It’s also the place where I had my coming-of-age ceremony, so it’s very familiar to the people of Tomakomai. I felt this hall was perfect for showcasing music, and with EGO-WRAPPIN’ coming, I wanted to bring in artists who excel at singing. That’s why I extended an offer to kanekoayano and Odotte Bakari no Kuni.

On the other hand, in the free-entry Area_3, there will be a variety of food and drink stalls alongside DJ booths.

Kato: I wanted the outdoor space to be a proper place for dancing. So, we’re setting up a sound system in the outdoor parking lot, and it will mainly feature DJs. We’re planning to use a combination of the sound systems made by wool100w from Sapporo and OGASHAKA’s Jammin’ system. This same combination was used in the PROVO area at the RISING SUN ROCK FESTIVAL. wool100w’s Kei is very focused on the relationship between the land and the sound system, similar to Jamaican sound systems. He puts a lot of emphasis on how music is experienced in Hokkaido, so having this kind of system at the ‘FAHDAY’ floor is fantastic.

And in Area_2, we see names like Masafumi Goto and Marewrew. It seems that this space will also feature live performances by artists who have a strong connection with you. What is the concept for this area?

Kato: In Area_2, I want to create an ambient zone. This space is a small hall in the Civic Center with a capacity of about 400 people, and from the windows, you can see the construction of the new Civic Center. Given this context, I want to use the concept of “reconstruction” as a counterpoint. For those who think that creating something new is reconstruction, we want to present our own interpretation of reconstruction. This includes primitive environmental sounds and even DJs, as I see DJing itself as a form of reconstruction. It’s not about creating something new but about changing the perspective on what’s already there to make it feel new. So, in fact, this might be the area with the strongest counter-spirit.

I understand well. I feel that before breaking things down or putting them together, this will become a place where the very act of ‘being’ is carefully reaffirmed.

Kato: That might be the case. We need to confront the question of what this place exists for. What kind of music will resonate here, and what meaning does that music hold for this place? I’m confident that people will come to understand that.

FAHDAY2024

Date: Saturday, October 12, 2024
Location: Hokkaido / Tomakomai Civic Center (All areas: Area_1 / Area_2 / Area_3 / Area_4)

Time:

• Area_1: OPEN 12:00 / START 13:00
• Area_2, Area_3, Area_4: OPEN / START 11:00

Admission:

• Area_1: U-23 ¥4,500 / FAHDAY MEETING Ticket ¥5,000 / Early Bird ¥6,000 / General ¥7,000 / On the Day ¥7,500
• Area_2 / Area_3 / Area_4: Free

Performers:

• Area_1: NOT WONK / Kaneko Ayano / Odotte Bakari no Kuni / EGO-WRAPPIN’
• Area_2: WHITELIGHT / Masafumi Gotoh (※”Recent Report I” 3D Audio Exhibition) / Marewrew / GAK / tommy△
• Area_3: DJ SADA / DJ Yogurt / Marie Kimishima / DJ FANTA / DJ FUMINN / IZAKAYA Sou / Ouchi Coffee / ISHIBASHI COFFEE / Ishikawa Bread / Kaiun Ramen / Kagineko Baked Goods / COFFEE KITCHEN TAPIO / FAHDAY MEETING OFFICIAL BAR (CLUB ROOTS / Bar Old / Bar Base) / ARCH / Boogie / Meshi to Oto / Pansal / TONCINI / Nora no Kimbap / Sushi Taka / Poponta Cafe / Sanbongi / Happy Hokkaido Kitchen and more
• Area_4: To be announced

Hosted/Planned by: FAHDAY MEETING
(Shuhei Kato / IZAKAYA Sou / Ouchi Coffee / Bigfish Co., Ltd. / CLUB ROOTS / Tachinomi King / Tomakomai ELLCUBE / Bar Old / Bar Base)
Production: FAHDAY MEETING / WESS Co., Ltd. / and many others
Sponsored by: Ticket Pia
Supported by: Tomakomai City / FM NORTH WAVE

OFFICIAL HP: fahday.com
OFFICIAL X (Twitter): twitter.com/FAHDAY_official
OFFICIAL Instagram: www.instagram.com/fahday.official/<Ticket Details> ◾︎ FAHDAY MEETING Tickets (Sales end when sold out) Available at: IZAKAYA Sou / Ouchi Coffee / CLUB ROOTS / Tachinomi King / Tomakomai ELLCUBE / Bar Old / Bar Base

◾︎ General Ticket Sales
U-23 Ticket / General Ticket
Sales Period: From Saturday, July 6, 10:00
URL: w.pia.jp/t/fahday2024/

<CAMPFIRE “FAHDAY2024” Project Page>
URL: camp-fire.jp/projects/view/747884<FAHDAY MEETING> Organizers of FAHDAY2024: IZAKAYA Sou, Ouchi Coffee, Bigfish Co., Ltd., CLUB ROOTS, Tachinomi King, Tomakomai ELLCUBE, Bar Old, Bar Base