The bond between a person and their parents is a fundamental part of shaping who they are, yet it remains deeply personal, making it nearly impossible to compare with others. When an artist delves into their relationship with their parents through their work, it becomes a form of therapy—an intimate exploration that not only deepens their self-awareness but also resonates with the audience, prompting them to reflect on their own familial connections.
Naotaro Moriyama’s final domestic performance of his two-year tour at Ryogoku Kokugikan, along with the film Where is This Wonderful World?, which poignantly captures his relationship with his late father, embody the essence of this process. Avoiding conversations about his father since his parents’ divorce in childhood, Moriyama’s journey over the past few years led him to rediscover his feelings of love and sorrow. As he confronted his father’s death, his music evolved, revealing a profound shift in how he perceives the world—an evolution captured in tracks like “papa” and the new song “New World,” which he describes as a creation his father “made him write.” This journey wasn’t just about confronting his father, but about embracing the truth that, through this exploration, he is now more alive than ever.
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Overcoming the Fear of Solo Performances: How the Tour Transformed His Approach to Singing
The song ‘papa’ from the album ‘Wonderful World’ was personally very impactful for me. At a time when I was reflecting on what it means to become a parent, your song about facing your father really resonated with me. When I watched the movie, which also depicted your relationship with your father, I had a similar feeling to when I first heard ‘papa.’ Reflecting on this, what was this tour like for you, Moriyama?
Moriyama: This tour included 107 shows across the country, but for me, sticking to the same thing over and over is just not possible. So, I divided the tour into three parts: solo acoustic, bluegrass, and full band. I often create songs with just my guitar, so playing solo is my foundation. However, in the past 20 years, I didn’t often think about doing a live solo performance. The idea of getting on stage alone and singing my songs felt like exposing my identity, and that was scary.
In the past, your performances have often involved a band, right?
Moriyama: I took that approach because there were more options available, so it felt like the right choice. But this time, being able to return to performing the songs I made solo, in a solo acoustic style, was really significant. For the first three songs of the setlist—’Ikiteru koto ga tsurai nara’ a cappella, ‘Aoi hitomi no koibito-san’ solo, and ‘Rakuda no rappa’—the sense of distance and timing has changed so much compared to 10 years ago. In the past, there was a switch for me when I sang, but now, I feel like there is no clear boundary between when I start singing and before I begin.
After 20 years of not performing solo, what made you decide to take the leap?
Moriyama: A few years before I started this tour, something happened that made me take a long, hard look at my career. For the first time in over 15 years, I realized that, in the end, I am the only one who can take full responsibility for my life and my work. Up until then, even though it was my own career, I never fully treated it as my own responsibility. I was probably afraid of getting hurt, but I reached a point where I realized that I couldn’t keep going like this. It wasn’t enjoyable anymore, so I decided to take a chance with a solo acoustic style. Even if it didn’t work out, I felt like I could always rethink things from there, and that was a big shift for me.
Born on April 23, 1976, in Tokyo, is a celebrated folk singer whose music and distinctive voice have earned him a loyal following across generations. Making his major debut in 2002 with the mini album Kawaita Uta wa Sakana no Esa ni Choudo Ii (The Dry Song is Just Right for Fish Food), Moriyama quickly established himself as a unique artist with a sound all his own. Beyond his musical career, he has also made his mark as an actor, captivating audiences with his performances in NHK’s Kokoro no Kizu o Iyasu to Iu Koto and Yell. His versatility continues to shine as he gears up for his role in the upcoming film Natsu no Suna no Ue, set to hit theaters on July 4. With each new endeavor, Moriyama’s artistry expands, resonating with fans far and wide.
How was the experience when you actually tried it?
Moriyama: I would say there were more positives than negatives. If I had to mention something negative, it’s that I’m not the best at playing the guitar, and when I’m on stage by myself, whether it’s during a song or while tuning, I tend to fill the space with something. But I also thought, “Well, that’s just who I am at this moment,” and it became a daily discovery. Gradually, I got used to it, and I started to feel that the rough sketch of a solo performance felt the most freeing.
So it was more about the style than the sound?
Moriyama: Yes, there’s a sense of reassurance. I don’t have to match anyone else’s rhythm. For example, if I make a mistake, I can just start over. There are fewer physical and sensory limitations, and I think that’s what I enjoy.
Were there any songs that became easier to sing?
Moriyama: Songs like “papa” and “Aishi Kimi e” are ones where it’s important to have myself at the center, so they were easier to perform. Especially in the performance at Ryogoku Kokugikan, we had a small ensemble with cello, piano, fiddle, guitar, and banjo, and it was a center-stage setup. It felt like a kind of silent communication, almost like a breathing rhythm. Every time we played the same song, it felt like a different version due to the subtle interactions between us.
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Confronting the Affection for His Father He Might Have Taken to the Grave
“Papa” is a song about your father, and I believe it plays a central role in the film as well. Could you tell us about the circumstances under which this song was created?
Moriyama: Actually, “Papa” started as a song titled “Mama” when I was about 18 or 19. The idea had been with me for a long time, but I couldn’t put lyrics to it for over 20 years. I thought I might offer it to someone else if the right opportunity came along. But then something happened, and I pulled this song out, changed the title to “Papa,” and suddenly the song just came together.
What was the event that triggered this?
Moriyama: My parents divorced when I was young, and I had been somewhat distant from my father since around the fifth grade. I think there were many reasons for the divorce, but my mother was a very strong presence, and since my father had married into her family, he probably felt somewhat lost. But as a child, I never wished for the divorce. Time passed like that until in 2020, during a conversation with someone, I was suddenly asked, “Did you like your father?”
That was quite a sudden question.
Moriyama: Yes. Normally, you don’t really think about whether you like or dislike your family members. So, I sort of avoided the question, saying, “Well, he’s a good person.” But then I was asked again, “Did you like him?” So I started thinking about it, and instead of just rewriting my memories, a very fundamental, early memory surfaced.
In that memory, my father was really a charming person. He loved baseball, and we would play catch together. We had a very typical father-son relationship, and I looked forward to playing with him every day. So I told that person, “I really loved him,” and I was able to acknowledge the feelings I had for my father. It made me realize that my low self-esteem came from feeling like the people closest to me were rejecting my father. And I realized that, at some point, I had been the one to reject him the most. But at that moment, I was able to be honest with myself, and it felt very healing. That’s when the lyrics for “Papa” came to me.
Facing your father’s feelings led to a deeper understanding of yourself, didn’t it? And still, it was such a sudden realization.
Moriyama: Yeah, usually, songs like this come out when someone passes away or when you can’t see them anymore. But when I wrote this song, I never imagined my father would pass away. It was more about finally being honest with feelings I had kept hidden, and that honesty sparked the creativity for the song.
Had you ever written a song about your father before that?
Moriyama: No, I hadn’t. I had always kept some distance, both physically and emotionally. “Papa” was the first time.
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Wonderful World: A Glimpse from the Brink of Death
The film is titled “Where is the Wonderful World?”, but there is also a song called “Wonderful World” on the album released in 2022. I believe this is where you began expressing the idea of “wonderful world.” What led you to start thinking about the concept of “wonderful world”?
Moriyama: In the summer of 2021, I contracted COVID-19. It was pretty severe, and I had a fever of around 40°C for about a week. I was writhing in bed, and my oxygen levels dropped to dangerously low numbers. As my consciousness began to fade, I started seeing hallucinations and nightmares.
Moriyama: During the intense fear of my body deteriorating, I confronted the darkness within me. At the same time, it felt almost like the fever was helping me detox. Physically, all the things I had been suppressing—like taking medication or receiving IV drips—came flooding out in that moment.
I see.
Moriyama: About ten days later, after everything had passed, I felt like I was gently floating on a calm lake, as if the day after a storm, the sky suddenly cleared up. And with that, the way I saw the world completely changed. I found myself crying uncontrollably over things I normally would’ve brushed off—like sunlight shining through the curtains or hearing the sounds of children playing outside. Even something as simple as going to the bathroom became overwhelming, and I couldn’t stop the tears.
It sounds like you truly experienced the essence of being alive.
Moriyama: Yes, exactly. You think you understand that “life is like this” or “we all die someday,” but even then, sometimes we wish we could just die without the courage or will to actually do it. But in that moment, I realized how desperately my body clings to life, and it made me feel an incredible sense of awe. That was when “Wonderful World” came to life.
The “Wonderful World” you saw at that time was a reflection of that experience.
Moriyama: Yes, exactly. When I faced the darkness, which felt like death, and my perception of the world shifted, I realized that “Wonderful World” was something within me. Before that, I had been looking for greatness outside of myself—in society, in my environment, and in the people around me. But then I realized, it was something that only exists inside of me. So, while getting COVID was definitely a bad memory, it also brought a very important process and experience for me.
Do you still see that world now?
Moriyama: No, I don’t see it now. In fact, I often wonder how I can get back to that feeling. When life returns to normal, it’s easy for your thoughts to stop. But I’m glad that by talking about that experience now, after such a long time, I feel like I’ve been able to recall it, even just a little.
