INDEX
The Illusion of the “Rock ‘n’ Roller” Felt Through the Air of America
-Are there any other observations or feelings you had as a performer when experiencing the atmosphere and music culture of America?
Abe: If you have a loose and cool “rock ‘n’ roller” image of American artists, you shouldn’t take it at face value. Just having finished my first overseas tour, I realized they may seem laid-back, but in reality, they are very strategic and business-minded.
Any artists planning to go abroad should always think about what they are passionate about and what vision they have for their journey. It’s not a one-size-fits-all situation, but unless they collaborate with various people, including staff, they might hit a wall somewhere and lose motivation. Overseas tours require a lot of money, so even artists need to think about practical aspects. In Japan, there’s a kind system of salaries, but that can lead to situations where it’s difficult to take action on your own. Because there are fewer decisions to make on your own, some people might underestimate the importance of making choices. There may be side comments like, “You don’t need to do that,” or “Why bother?” Money and profitability are important, of course, but sometimes you need the audacity to ignore profitability and focus solely on what you want to do. It’s important to balance being a fool and being serious.
Photo by Asami Nobuoka
-I think your experience running your own label also contributed to those realizations.
Abe: I feel like the domestic scene has its set of things that sell. That seems to be the case in every country, right? While there are merits to such things, somehow I don’t feel like I can adapt to them. No matter how I try, I can’t create them. That’s why I believe I absolutely must diligently perform live abroad. Without expanding the audience, we can’t fully enjoy the benefits of streaming platforms, and relying solely on CD sales domestically is no longer feasible. It’s not an easy decision, but I think live performances abroad have become a norm as one of the options in today’s music landscape.
-Live performances in Japan, whether for bands or solo artists, tend to create a “homely” atmosphere where many fans gather. However, I believe this tour required captivating the audience from scratch, much like in the early days of debut. Were there any challenges or fresh experiences during this tour?
Abe: It was incredibly thrilling to perform live for an audience of strangers. While there’s certainly gratitude for those who already know my work with Neva Yan, there’s also a unique tension in performing for those who are unfamiliar with me. The excitement of being evaluated solely on my music by people who know nothing about me was palpable. The confidence born from the tension of being evaluated is crucial for me.
The First show of the American tour at Soda Bar in San Diego. Photo by Asami Nobuoka.
-I believe this tour served as a platform to demonstrate the hypothesis previously discussed: “Merely imitating Western styles won’t make Japanese artists stand out in the global scene. Incorporating Japanese identity becomes a strength.” Were there any significant gains or areas for improvement from this experience?
Abe: I was able to reaffirm that the quality of the music is what matters most, regardless of the language it’s sung in. American audiences simply seek out what they perceive as good. While I don’t believe I’ve completely proven myself in this regard yet, I feel it’s within my control.
One thing I reflected on is that many of the songs weren’t suited for live performances. Since “Fantasia” is primarily a mid-tempo album, performing it in Japan might have led to it feeling drawn out. However, this realization stemmed from having this album, and moving forward, I’d like to create works that can increase my fanbase in America as well, by making albums better suited for live performances and enjoyable for the audience.
– While it’s easy to lump places outside Japan together as simply “overseas,” in reality, I believe cities like Los Angeles and Chicago are entirely different. Did your impressions of the international audience change before and after the tour?
Abe: Every live house had its own unique charm and was interesting, but the enthusiasm of the audiences, particularly in Los Angeles and New York, was remarkable. I felt that cities tend to have a cultural environment closer to music, somewhat similar to Japan. The West Coast crowds were laid-back, and the music they were into had an indie vibe, reminiscent of venues like Basement Bar or Three in Shimokitazawa.
