Bonna Pot: The Unconventional Outdoor Music Journey You Need to Know About

Fujita: When Nodoka and I first crossed paths in the early 2000s, I was running an event called LIVING BALL, which was essentially the precursor to Bonna Pot. We began organizing together, and in 2004, we brought an outdoor rave to Auto Camp Ginga, the same spot where Bonna Pot would eventually take place.

Before we teamed up, my events were primarily trance-oriented. But once we joined forces, our parties expanded musically, weaving in elements of techno, house, and even jazz, creating a much more eclectic atmosphere.

Nodoka: I’ve always had a broad taste in music, so when I started booking my favorite DJs and artists, it naturally gave way to something distinct. We brought in artists like Terry Tempest and Brooks from Accident Records—acts you wouldn’t usually encounter in the mainstream—and I think that made it feel pretty unconventional.

Fujita: Back when we were organizing LIVING BALL, it was the height of the guerrilla sound system trend in Yoyogi Park. We were part of that movement, bringing our own sound setup to host parties. While other crews around us were focused on cranking up the volume to the max, it quickly led to a flood of complaints from local residents and park-goers. As a result, stricter noise control regulations were enforced.

From those early days, I developed a guiding principle for my work as a PA engineer: “Don’t play aggressive sound.” I believe in creating music that has a soothing, healing effect, not something that overwhelms.

Fujita: The Loft used KLIPSCHORN speakers as its main system, and the setup was unlike anything I’d seen—the five speaker sets were arranged in a pentagon, completely encircling the dance floor. The sound was stunningly clear, yet what amazed me most was how gentle it felt. Even after hours of listening, there was no fatigue, no harshness—just pure, immersive sound.

It was a revelation. I realized that with this kind of acoustic design, music could be enjoyed fully and actively, without overwhelming anyone or intruding on the space around it.

Nodoka： I’ve been to David Mancuso’s parties more times than I can count, and every time, the first thing that catches you off guard is how quiet it seems—for a dance party, it’s almost surreal. You can’t just float in the sound—you have to lean in, really listen. But in doing so, you become more present, more attuned. That act of intentional listening sharpens your awareness, and I think it naturally leads to a more open, harmonious state of mind.

Fujita: At the first Bonna Pot, we didn’t use any monitor speakers. I wanted the DJs to hear exactly what the crowd was hearing. That way, the energy isn’t filtered—it’s mutual. When we’re all listening to the same sound through the same system, it creates a deeper sense of togetherness.

In today’s DJ culture, that split between monitor and main speakers is standard—but it creates distance, both physically and emotionally. The DJ is in one world, the audience in another. Bonna Pot was designed to dissolve that boundary. By placing the DJ inside the dance floor, the music becomes a shared current—one that moves through everyone equally. In that space, the line between performer and listener begins to blur, allowing for a deeper, more connected kind of expression.

Nodoka: As in previous events, the first step is to meticulously track the timing of the sunset and sunrise on the event day, along with the movements of the sun and moon, using an AR app. With these natural rhythms as a guide, I craft the timetable, carefully selecting DJs who resonate with the energy of each moment. I then share this vision, ensuring their sets align with the flow of the day and night.

For the last event, I imagined the kind of music that would harmonize with the specific times of day at the Star Viewing Site in Auto Camp Ginga. I invited nø¡R to open the second day, asked BING to perform in the early morning hours before dawn, and had Scott, an expert at closing, create a powerful long set to close the final day. Each of these artists was chosen with their unique time slot in mind, reflecting the essence of that moment.

When it comes to designing the venue, I’m deeply committed to preserving the natural beauty visible from the dance floor. I make sure that no unsightly structures, like sports tents or scaffolding, disrupt the view.

When adding lighting and decorations, my goal is to blend seamlessly with the existing beauty of the space, amplifying its natural allure without overshadowing it.

Nodoka: On the surface, it might seem like the event is an underground gathering that’s hard to access, but from our point of view, we want anyone who shares a love for music and treats others with respect to feel welcomed. We want people from all walks of life and diverse perspectives to be a part of it. This mindset is inspired by David Mancuso’s philosophy. I really connect with his simple belief that “the more diverse the crowd, the more interesting it becomes.”

We also encourage those who can’t afford tickets to contribute as volunteers. Our goal is to remove as many barriers as possible to participation. We’re focused on creating an environment where everyone feels invited and at ease to join the experience.

One more thing we focus on is keeping the dynamic between the performers and the audience as balanced and unpretentious as possible. We don’t want to create an atmosphere where performers are put on a pedestal. That’s why we’ve kept the DJ/live booth level with the dance floor and avoid spotlighting the DJs with harsh lighting.

Nodoka: What stands out to me the most are Nick The Record’s sets as the resident DJ and Asada-san’s sound design. Normally, Nick’s focus is deep house, but at LIFE FORCE, he ventured into world music, like Latin and African rhythms. These genres could easily lose their impact when mixed with house or techno, but under Asada-san’s sound system, even those tracks became the perfect dancefloor bangers.

It’s incredible how the same DJ can sound completely different depending on the sound environment. The trust the DJs have in Asada-san’s setup allows them to explore a broader range of music, knowing it will still work on the floor.

From this experience, I’ve consciously worked to create an acoustical space at Bonna Pot that encourages DJs to play a diverse range of tracks they might not typically get to play on a regular dancefloor.

Fujita: t’s not just the sound; the thoughtful design of the event itself also had a significant impact on us.

At LIFE FORCE, for example, the floor was naturally divided for smoking, but it wasn’t something the organizers enforced—it just happened organically among the participants. That really struck me. It’s a space that nurtures active, free-spirited thinking. There was a beautiful balance between freedom and order, and the acoustics, blending with the richness of the music, created an atmosphere that held real influence. I have such vivid memories of how that space shaped my sense of spirituality and cooperation.

A similar vibe can be found at LOFT. It was a place where children would play tag, and elderly couples would sit on benches, chatting for hours. At certain times, a buffet would appear, and the dancefloor would empty out. I was influenced by that spontaneous, free-flowing atmosphere. I believe that expanding the musical spectrum is an extension of that freedom. LOFT was also a place where diverse music, powered by great sound, turned into the perfect dance tracks.

Fujita: I feel like we’ve finally reached the ideal outcome this time. Over the course of my musical journey, I’ve learned just how crucial it is for an event to have a proper conclusion. If it doesn’t, people leave with their spirits still lingering, untethered. I’ve always felt a strong sense of responsibility to close things out properly—it’s almost a duty for those of us organizing the event.

Kazu: It wasn’t just about ending beautifully; it felt like the beginning of something new was on the horizon. Someone shared on social media that it was like ‘ending while beginning,’ and that truly captured the essence of the set. It was a creative journey that seemed to connect not only to our everyday lives but to what lies beyond.

While making sure everyone enjoys Bonna Pot is a key goal, I also want it to ignite something in participants, encouraging them to begin sharing their own creativity. I hope it serves as a spark—providing the motivation and inspiration for individuals to express their unique perspectives, which can lead to personal creativity and active innovation.

Nodoka： The DJs we admire are those whose sets speak volumes about their deep love for music. They play with passion, and their ability to truly ‘listen’ to the music they’re playing is extraordinary.”

“When we put together Bonna Pot, we focused on the importance of listening with respect, love, and gratitude for all voices around us. This includes everyone—from the staff, performers, and participants to nature itself and the wisdom passed down through generations. By embracing this approach, we believe we can create a space that nurtures a harmonious community.

Fujita: What we’re trying to share isn’t just about the party; it’s about everything around us—the entire planet. If it can provide strength for living tomorrow, then we’ve done our job.