INORAN B-DAY LIVE CODE929/2015
INORAN, NEW AND IMPROVED, HAS EMERGED
The road to 929 was quite interesting with the contrasting atmospheres on that day. Activists were vehemently expressing their views around Roppongi, first staying at one place and then going on what looked like a motorcade, megaphones blaring. At Ex Theater Roppongi, however, it was a mix of fans lining up inside to buy goods, another group gathered outside waiting for the ticket numbers to be called out, and still another group seated by the lockers, busy on their smart phones as they waited. It wasn't long before the doors opened, those lined up on the second level entering as ticket numbers were announced in tens, while those with handicaps and guests entered through the first floor entrance.
Looking from above, one could see that this was a very well-attended event, just about filled to capacity on the first floor, be it the area close to the stage or the area behind the separation bars. The stage was dim, lit only by the backdrop of "Beautiful Now" as it changed colors from a bright red to a more subdued blue. The music playing in the background was catchy, perhaps getting every one ready for the celebration about to start. Right above the waiting crowd was a mirror ball radiating light around the place, complementing what looked like a solar eclipse, more like two or three solar eclipses above. The stage floor had what looked like Persian rugs, two at the center and one on each side, marking the spots of the three front liners.
The crowd began its clamor with constant clapping, eager for the party to start. The place finally dimmed and the audience continued clapping to the beat until the stage then lit up and the musicians entered - guitarist Yukio Murata from my way my love, barefoot bassist u:zo, drummer Ryo Yamagata and finally the birthday boy, Inoran, in a red leather zip up jacket adorned with pockets that zipped horizontally on the chest and another pair that zipped vertically on the sides. Black skinny jeans above red sneakers with white laces completed his ensemble.
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| The birthday celebrant getting the party started |
The set opened with the title track of his new album, "Beautiful Now." From this new tune, one could get a feel of the more Westernized style of Inoran's newer songs, the new album filled with almost similar types of songs.
Almost.
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| The unique troupe of backup dancers - the lights - accentuating rhythm and movement |
"Beautiful Now" was then followed by "might never see might never reach" As in past birthday lives, Inoran has employed the services of the unique troupe of backup dancers - the lights, providing staccatos and legatos to accentuate not only each part of the upbeat, catchy tune but also the movement of each artist and the stress put by each instrument at different parts of the song.
Lights dimmed for the start of "Rightaway" but not for long as the stage lit up again, giving way to the upbeat feel of the song, emphasized at one point as u:zo moved out of the carpet to execute a pirouette in parallel attitude.
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| Guitarist Yukio Murata and the hot hand |
"smoke" started differently this year, noted by the absence of the backdrop that had what looked like smoke undulating upward from a lit cigarette. This year, smoke was very real as it slowly filled the stage. The fog effect, however, was intensified by Murata's use of the hot hand, motion sensors and sound waves partnering with the movement of his right hand as their combination created the effect of a lightning storm, the "thunder" sounding like a blend of scratched vinyl and wah as lines of blue light floated around the fogged up stage. The hot hand, however, was merely a prelude, a precursor, a foreshock as "smoke" did not end with the storm but instead started with it and proceeded to the main melody that served as the eye, the calm, before things intensified to the fury of the tail, the tempo accelerating, beat strengthening as it went into full force until the tempest passed and the music stopped.
If one did not notice it before, one would have noticed by that time the way a garland of lights adorned the amplifiers and drums just like lights on a Christmas tree. It was time for that one song that could be described in one word - sexy - "no options." That familiar beat started, accentuated drum strokes accompanied by the loud bass reminiscent of the song of The Romantics. Take it any way you want, from Marilyn Monroe and sleeping beauties to just about any other idea as you see Inoran crossing his hands over his eyes as he shows the vagueness of a memory, and then beckons with his right hand as his voice corners you with a melodious declaration that you have no options left.
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| Inoran with the acoustic 12-string for "HOME" |
At some point, Inoran removed the red leather jacket and switched to an acoustic guitar for "Finding Memory, " which seemed to border on country rock, a rather different direction from that of his other songs. He then switched back to the Jazzmaster for "Sakura," the solemn yet hopeful melody playing under a mantle of pink as the stage was blanketed by light the color of the cherry blossoms whose name the song title bore.
When Inoran dons the acoustic 12-string and starts strumming, you know that he is going to play "HOME," which is the tune that precedes the bass and drum duet. Anyone who loves the rhythm section of a band would look forward to this part of a live show. While a bassist usually provides rhythm that complements the drummer, it is when the bassist turns his guitar into a lead melody instrument that his/her technique is demonstrated.
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| Barefoot Bassist u:zo did not disappoint during his bass solo |
The minute u:zo started the slap and pull, and if you have seen him do this before, you would know that he would then proceed to play a melody on his instrument as Ryo Yamagata, Yukio Murata and Inoran provided the rhythm to support his solo As in both of last year's Code 929 performances, u:zo did not disappoint, technique of both hands generating a beautiful melody that deviated from the usual lead guitar solos that one heard during the concert. And from his lead bass solo, he then switched back to rhythm as it was time for him to join Murata with the constant riffs as Ryo Yamagata's drumbeats then flowed into variations and accents, the drum solo a different form that would remind one of a few Japanese jazz groups that employ the same type of support exchange as each rhythm instrumentalist turns into a soloist. In contrast to the Western drum solo that usually has the drummer playing without anyone else, the Japanese tend to employ a technique that involves all other instrumentalists playing a constant riff while the drummer goes into variations of the beat. The variations, in contrast to the constant riffs, let the audience know that what is happening is a drum solo.
Inoran left the stage for a time only to return in a black blazer over a "Patron" shirt. It seemed like the time for the occasion to be celebrated as a special guest was announced and Shinya came out with u:zo. The cake was brought out as well, the top frosting covered with strawberries. Shinya then did his usual microphone grab that was his signature move during the individual introductions of LUNA SEA. Tonight, the drummer was clad in a hat to match his white shirt with black leaf prints. The crowd was then given the cue to sing 'Happy Birthday'. In compliance, the audience sang wholeheartedly and then waited for the birthday celebrant's next move. As in the birthday live last year at Akasaka BLITZ, Inoran made a bit of a threatening move to throw the cake straight out of the tray just like J did during the birthday live of his "On Fire" tour in 2012. He did not, however, do the knife hand motion that would result in half of the cake being thrown at the audience. Gentle as always to his predominantly female audience, Inoran did not throw the cake but, instead, picked at the strawberries, eating a few in the process and letting everyone know how delicious they tasted.
With Shinya's exit came u:zo with the boombox. While those who follow Inoran might associate the word Tequila with Muddy Apes, it seems that the song with that title is associated as well with his "Dive Youth Sonik Dive" band these days. The instrumental piece played up to the point where the music stopped, the audience cheered, after which u:zo jumped into the crowd. With Murata flying into the crowd, guitar and all last year, and u:zo doing it this year, perhaps this is something the audience can pretty much expect every year?
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| ピンク スパイダ (Pink Spider) had Inoran singing without his guitar |
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| Inoran getting fired up with his audience |
"Nasty" did well to pave the way for one of the highlights of the show, "Get Laid." As in his past shows, Inoran employed a tactic similar to J's in which he plays one side of the audience against another. Contrary to his colleague's tactics, however, the contest involved a preparation for the song as the lines 'Get Laid' and 'Oh yeah' were repeated, singer/guitarist first, audience next. The match almost always ends in a draw before Inoran, his band and the audience really get into it, the crowd showing that the preparations were not in vain. As the song that is supposed to bring things to an end with a big bang, the mood never died as everyone was on fire, hyped up and either screaming or singing along, depending on what was required at the moment. Even Inoran, fired up as he was, executed a bit of a Curly shuffle as he turned, the bright lights signalling the end of the song.
But what should have ended the whole thing didn't, as there was one more song left. As he announced the last song, Inoran invited his audience to all sing together with him. "All We Are," a slower, calmer one, was the finale, but it marked one thing as well. Inoran - not the globally oriented musician of today, but the one known to those who have followed him since he started his solo career - was back.
Lyrics were in Japanese!
Inoran, as his fans knew him, was back!
This was the Inoran every one missed! With his more global outreach yielding songs that contained lyrics that almost all of the world would understand, a lot of the guitarist's fans - Japanese and non-Japanese alike - missed hearing him sing in Japanese. With "All We Are, " both sides of Inoran came together, perhaps evolving him further in his musical journey. Wholesome yet sensual, laid back yet naughty, a paradox to many. While the past two years have marked his reaching out not just to Japan but also to the world, this year marked another stage of his musical evolution as he brings both aspects of his musical personality together for all to see and hear. No cake needed to be thrown here, as nothing could have tasted better than the gift that he gave everyone on his birthday. And as last year's birthday celebration ended with a bang, this year's celebration ended on a calm note.
With LUNA SEA's continuing evolution...
With this new stage of Inoran's individual development...
One can only speculate as to what next year holds for everyone.
The world awaits that next phase!
- Maria (Charo) Tolentino, My JHOUSE ROCKS LIVE EVENTS
- Official photos were provided for this report.
INORAN TOUR 2015 - BEAUTIFUL NOW - TOUR FINAL
+B-DAY LIVE CODE929/2015
09/29/2015 EX Theater Roppongi
Set List:
SE
01. Beautiful Now
02. might never see, might never reach
03. Rightaway
04. smoke
05. Awaking in myself
06. 2Lime s
07. no options
08. Fading Memory
09. Sakura
10. Hold on
11. HOME
12. Drum and Bass solos
13. Lullaby of Winds
14. ピンク スパイダー
15. Nasty
16. grace and glory
17. Get Laid
18. All We Are
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