Trouble, ATARASHII GAKKO! & YOASOBI at matsuri ’25 Occasion in L.A.: Wrap-up

Trouble, Atarashii Gakko! Yoasobi’s Peacock Theatre Stage in Los Angeles Matsuri ’25: Japanese song experience Los Angeles A song occasion hosted by the Japanese Cultural and Entertainment Promotion Organization (CEIPA) on Sunday, March 16.

Yoasobi opened the program, with 7,000 followers in the target market supporting the noise in terms of noise as the duo flashed their names on the display behind the stage. The subtle noise and weird songs are happy when the banner is separated by wild beasts. Ikura and Ayase appear in the stage of proclaiming the “phase of invitation to the surreal globe”, and the group shouted and waved their beautiful sticks, sharing their enjoyment. The introduction of “Seventeen” began to play after a brief silence, and Ikura claimed in English: “Invite to Matsuri ’25. We are Yoasobi from Japan. Get ready to blow up tonight. Los Angeles, Los Angeles, are you all set up? Followers shouted “oi! oh! “reaction.

Ikura spent a minute describing the purpose of the occasion and said, “Japan’s 3 acts – Trouble, atarashii gakko! and yoasobi! It’s here, I want to enjoy excellent songs here with everyone, J-pop songs.” After that, she asked the target market to light up their phones and guides to develop a sense of unity, while the duo performed the emotionally centered ballad “Tabun.”

After “Brave,” the band performed “Beast,” a busy track with fun low-tempo real-time efficiency. Ikura said in English: “As J-Pop musicians, we’ve actually been working hard to spread songs from Japan to the world.” “We’re so happy to show you. Thank you very much. I love your man. We got fifty percent of 2%. Let me see your interest, okay, okay? Are you all going to make noise? Can you offer more? Can you offer more? OK? OK? OK? After that, both maintained some of the biggest fight back, and the unity of the “Blue” choir brings the position with the unification of the “Blue” choir and the power and interest of the “Idol” target market. The frustrating shipment in the last three music confirmed that when Yoasobi was sold immediately when it was going overseas today, Yoasobi has actually become one of Japan’s most popular efficiencies.

After 15 minutes of conversion, 4 participants in Atarashii Gakko! The sound of the ringtone appeared from the target market aisle, holding a huge white flag on its head. As the participants (Suzuki, Lynn, Miz and Canon) collected in the stage, Suzuki welcomed the group in history with the trumpet voice: “Hello, everyone. Hello, everyone. We are all atarashii gakko! Everyone! Everyone! Everyone! Choreography in the bat. Diving! “Followers are more willing to follow it. For “Arigato,” each participant sang while holding a mop like a microphone, or claimed to play like a guitar, and happily suggested to us the institutional era. The introduction of “Otona Blue” of the target market’s introduction to the band’s progress was passionate, and participants attracted the band with trademark thinking and a special choreography.

After spelling with Suzuki’s team, he hyped up the target market and shouted, “Everyone, Gambat (hang there)! Wow!” The woman executed the “Torians.” Throughout the introduction, followers wave beautiful times with stages and dance with digital audio from Japanese tools. Each of the four participants shouted, “Everyone skipped!” “Yes!” and “National Adjustment!” Use poems in time to stimulate the group.

The exhibition appears in the Tokyo Metropolitan Area and photos of Atarashii Gakko! Enter the “Tokyo Telephone”. Suzuki fell from the stage, singing enthusiastically while running in the group, back to the verse of “We are the Ritual”. The ladies show up in the words “one heart” and “Saiko” (“best”), the target market signed and sang. The “Hope to Take You Bigger Ag” verse resembles the modern Japanese variant of Ike & Tina Turner, “I Want to Take You Bigger,” while the track’s lift and ideas resemble the best songs.

Check out Atarashii Gakko! The author was unable to agree with Rob Kelso of Creativeman Productions in a previous interview: [artists] It’s about realizing that we’ve actually got rid of the last reason. Their last reason is that it needs to keep it English…anything in the United States needs to keep it English. It no longer exists. Currently, we can use English… we can make the most of this. The door again evokes various other languages. The participants of “Atarashii Gakko learned exactly how to satisfy the team in efficiency abroad and used the short Japanese words “Ganbatte” and “Saiko” with their followers and excitedly excited them in English, saying “everyone”, “Agree! Efficiency certainly never shows cheap or excessive efficiency. Whether you are Japanese or American, anyone who sees Atarashii Gakko! Of course, there will be a capacity to fully appreciate its efficiency, and the team’s scenario in Matsuri ’25 proves that.

Afterwards, in the stages of the facility, the “Trouble Box” is built for the last musician, the weird singer’s trouble (never revealed her face). The 22-year-old singer immediately introduced her popular singer “The Show” and then played “New Genesis,” “usseewa” (which seemed to be faster and more effective than seeing her on a scenic tour in North America a year ago) and “Lucky Bruto.” The style of the stage work is also aesthetically pleasing, as sitting in a chair in a box, “regulation” is performed through dance and vocal singing.

The singer spoke with the band for the first time on a “Allowed Go” call throughout the target market, talking about the reality that living in Los Angeles for a month in 2015 was one of the best experiences of her life. She shares stories that reveal her personality, such as her delight in hamburgers and the most likely way Macy’s is. “I endorse the sharing phase with Atarashii Gakko and Yoasobi,” she claimed. “I’m so grateful for your concerns about the songs and society in Japan today. It actually makes me happy if you still like songs and society in Japan. It’s a very positive night. Thank you.” After that, she welcomed the target market to sing and dance with her, after which she performed her last track “Odo”.

In the past, a musician who never revealed that his face could do it continues to be confidential, which is unimaginable. Many, however, did pay attention to The Trouble Song, and when she introduced the program outside her home country, several followers were eager to get tickets. This is with Ellen Lu, deputy head of Goldenvoice, claiming at the workshop: “The celebration is currently being reserved with an international feel. Since this is where individuals are paying attention, then if we are most likely to correspond to something that is intended to be bigger than simply looking at the United States or Europe. [international] To be looking to see their musicians in the target market, or never have the potential to see them. “That’s why Trouble has the ability to see the world effectively in 2015 and will certainly be on a second international expedition in a larger location, including fields this summer.

All 3 efficiencies performed during the Matsuri ’25 period were previously residing in the United States and Canada, which is a high-end and important experience. Tonight, it will surely make followers intend to maintain various other Japanese musicians who are sure to follow these teams and still do it at the global stage.

– This article Tomoya Ogawa Very first appeared on Japanese signs