INDEX
A Thought for Every Seat, Everywhere in the World
You’ve been touring overseas at an incredible pace in 2025. How does it feel now that you’ve completed so much of the tour?
Aoba: Honestly, it’s been really exciting. I sing entirely in Japanese, so I’m sure the lyrics don’t always come across, but people come to see the shows without worrying about that at all.
Seeing how much the audience enjoys themselves is really heartening. The crowds tend to be much younger than in Japan, which is always inspiring. When I first started touring abroad, there were times I was completely alone, but finally I’ve been able to set up the current system.
Wait, you toured alone?
Aoba: Yes. I carried my instruments, equipment, and merchandise by myself, and sometimes even took trains between cities (laughs). That was tough, my nails would break too.
Touring at such a relentless pace must be exhausting. Do you consciously do anything to keep your mind at ease?
Aoba: For me, the most protected and peaceful feeling comes from being face to face with the audience. Being on stage is what brings me that calm. The time spent with people who truly understand me feels like a safe shelter. Moments with those who look forward to my music are the most nourishing.
Has this always been the case?
Aoba: In the past, it was more like “me” versus “music.” That feeling of being shielded while playing my instrument hasn’t changed, but now it’s more like “me” versus “others.”
We sometimes call our audience “wallflowers.” When I see someone leaning against the back wall, listening alone, I recognize a reflection of my younger self. There was no one to talk to, yet I still wanted to experience the music—it resonates deeply with me.
I think, “They probably worked part-time jobs or managed other responsibilities just to get a ticket. Thank you so much. Let’s make this time together something truly precious.”
What prompted the shift toward the awareness of “self” versus “others”?
Aoba: The biggest factor is, of course, the presence of the audience who come to see me. Another is working with Taro Umebayashi on the two albums, Adan no Kaze and Luminescent Creatures. Those works received more recognition than ever before, which made it possible for me to tour overseas.
Collaborating with Umebayashi feels like receiving a special talisman. I have the mission of carrying the melodies and arrangements he crafted to audiences abroad.
So having trusted people around has allowed you to direct more of your energy outward.
Aoba: Exactly. I see myself as a kind of messenger—or a “music courier.” The notes that Umebayashi meticulously composed are carried through my body when I perform.
It’s not so much about my own feelings, but about keeping my body healthy so it can sing. The same goes for mental strength. I’ve mentioned it in various interviews, but I want to become something like a “conduit.”
Do you have any habits or practices to stay healthy?
Aoba: Yes, quite a few. On the physical side, I make my own miso and pay careful attention to my diet. Mentally, I try to stay completely honest.
Everyone has things they have to endure, but I can’t just let things slide thinking, “I’ll feel uneasy forever if I don’t say something,” or “No one’s commenting, so I’ll stay quiet.” Even if it causes a brief disruption, I prefer the clarity and new paths that come afterward.
Not holding things in is important, isn’t it?
Aoba: Absolutely. Sometimes you think you’re being considerate, but that energy just lingers inside. It’s better to speak up right away.
In that sense, this new album feels really healthy. It has the clarity of pure wind and water.
Aoba: Thank you. I receive letters from fans like little messages of the heart. Some say, “I really love this, thank you,” while others have shared that they were in a dark place but, after hearing my album, thought, “If she’s singing, maybe I can keep going a little longer.” Reading messages like that makes me truly grateful that they’re alive.
There are times when creating music puts me in a state I could almost call depression, but somehow I pull through. And now I get to connect with people again. Knowing that people around the world entrust me with everything and allow the music to free them—it’s something I can’t take lightly or be anything but honest about.
Luminescent Creatures
Ichiko Aoba
Luminescent Creatures
Released February 28, 2025
- COLORATURA
- 24° 3′ 27.0″ N, 123° 47′ 7.5″ E
- mazamun
- tower
- aurora
- FLAG
- Cochlea
- Luciférine
- pirsomnia
- SONAR
- Wakusei no Namida
https://ichiko.lnk.to/luminescentcreatures
Luminescent Creatures Japan Tour
September 17, 2025 (Wednesday)
Venue: Fukuoka Civic Hall, Medium Hall, Fukuoka Prefecture
September 19, 2025 (Friday)
Venue: Hiroshima JMS Aster Plaza, Medium Hall, Hiroshima Prefecture
September 23, 2025 (Tuesday, Holiday)
Venue: Amano Arts Creation Center, Nagoya, Aichi Prefecture
September 26, 2025 (Friday)
Venue: Matsuyama Civic Hall, Medium Hall, Ehime Prefecture
October 10, 2025 (Friday)
Venue: Sapporo Concert Hall Kitara, Small Hall, Hokkaido
October 18, 2025 (Saturday)
Venue: Morioka Civic Cultural Hall, Small Hall, Iwate Prefecture
October 19, 2025 (Sunday)
Venue: Hitachi Systems Hall Sendai, Theater Hall, Miyagi Prefecture
November 1, 2025 (Saturday)
Venue: Hokkoku Shimbun Akabane Hall, Ishikawa Prefecture
November 7, 2025 (Friday)
Venue: Ryutopia Niigata City Performing Arts Center, Noh Theater, Niigata Prefecture
January 17, 2026 (Saturday) Ishigaki Performance (Band Set)
*Venue to be announced later
