INDEX
Being Physically Present is Essential for Forming Real Connections
In regular conversations, when someone speaks to you honestly, it makes you want to speak honestly too. Do you think this same feeling influenced SATOH’s music this year?
Linna Figg： That could definitely be the case. For example, when you greet a convenience store clerk, there’s a certain way you say it, or when you pick up the phone for a call, like with a service provider, it’s just a “Yes, hello?” to get the message across. I really dislike that kind of communication. It’s all polite, nice, and proper, with a boundary that says, “Don’t cross this line.”
So, could we say that this year, SATOH’s music was about breaking those boundaries and creating sounds and attitudes that invited mutual engagement?
Linna Figg： Exactly. When we performed at WWW X, I didn’t have it all figured out yet. I was still trying to make it a show, thinking that the audience had paid to be there, so I needed to make sure they were satisfied with a high-quality performance. I was even putting a lot of thought into my MCs. But then I realized that this approach made me feel like I was hiding something. When you hide something, the audience hides too, and it just becomes a performance instead of something more real. I used to work at WWW, and the manager once said, “You were a rock star today. But is that really who you are?” That’s when I stopped overthinking my MCs.
A live performance where you fully embrace the rock star persona is cool in its own way, but you felt that it wasn’t something SATOH should do, right?
Linna Figg： Training, repeating the same thing every time — that’s also cool in a professional sense, but I felt that wasn’t for me. When I was in high school, I wasn’t too fond of Disneyland either. I can enjoy it now, though. Everyone goes to Disneyland to enjoy it in the same way, and the Disney staff always have their “Disney face,” right? But even Mickey Mouse might have days when he’s frustrated. When it comes to live performances, it’s more fun when you can see those raw emotions. I didn’t want it to be about “following the planned enjoyment, with everyone leaving with the same expression.” I wanted to avoid that.
Earlier, you mentioned that doing music feels like searching for friends all over the world. If you don’t step onto the stage as “yourself,” not as a character with a mask, you can’t find those friends.
Linna Figg： Exactly. If I’m not being myself, I can’t connect with people. If I’m hiding behind a façade, the opportunity to connect is gone. I really think live performances are like that.
Kyazm, what do you think about this after hearing Linna’s thoughts?
Kyazm: That was interesting [laughs]. What I always admire about Linna is his words. I usually think what he says is really good. As for live performances, as I mentioned earlier, I’ve been focused on my instrument this year, so I’ve been thinking more about the technical details. But the overall vibe of what Linna said definitely resonates with me.
So it’s because both of you are playing your respective roles — with Kyazm focusing on professionally fine-tuning the sound — that the SATOH stage comes together.
Linna Figg: That’s absolutely true. If it were just me, I’d probably end up doing a crazy live show and calling it a day [laughs].
