BUCK-TICK’s Only In-Person Concert in 2021 at Nippon Budokan
『魅世物小屋が暮れてから』Official Report

SPICE
January 2022

Text=Yuka Okubo
Photos=Seitaro Tanaka

 

On Wednesday, 29 December 2021, BUCK-TICK held their concert Misemono-goya ga Kurete Kara ~SHOW AFTER DARK~ in Nippon Budokan. BUCK-TICK’s performances at Nippon Budokan started in 2000 with TOUR ONE LIFE, ONE DEATH, and since then, the only time they performed elsewhere was in 2019 when they moved their venue to Yoyogi First Gymnasium because of refurbishment works at Nippon Budokan. In light of the spread of COVID-19 in 2020, they also made their one and only in-person concert that year a Nippon Budokan show. And this year, their national tour which was supposed to commence in October had to be cancelled due to Imai Hisashi’s injury, making this show the one and only in-person concert for them this year too.

The concert Blu-ray & DVD release of the concert they performed last year at Nippon Budokan on 29th December, ABRACADABRA THE DAY IN QUESTION 2020 went on sale on the same day as 2021’s performance and along with it was the announcement of their upcoming first release for 2022, the concert Blu-ray & DVD release of Misemono-goya ga Kurete Kara ~SHOW AFTER DARK~ on Monday, 7th March. Adding on, they announced their activities planned for 2022 after the concert ended with a fan club-exclusive concert in July, the Yagami Toll ~60th Birthday Live~ on 19th August, the 35th Anniversary Special Live on 23rd and 24th September, a national tour which begins in October, and finally, their annual concert at Nippon Budokan on 29 December.

They also further announced that in spring of 2023, a new album is going to be released. With a teaser website set up for their 35th anniversary too, expectations are high for BUCK-TICK’s activities in 2022.

Below is the official report from 29 December 2021’s Misemono-goya ga Kurete Kara ~SHOW AFTER DARK~ in Nippon Budokan.

 

 

Come, come on over and have a looksee”¹

The curtains were raised on BUCK-TICK’s Misemono-goya ga Kurete Kara ~SHOW AFTER DARK~ in Nippon Budokan with that beckoning call on 29 December 2021 in Nippon Budokan, Tokyo.

A buzzer signalling the start of the show resounded around the hall and as the instrumental piece played, a video leading us to the back of a circus tent played on the gauze screen which hung at the front of the stage. This is the same introduction from their Streaming Live Misemono-goya ga Kurete Kara ~SHOW AFTER DARK which happened last July. 

Just as the show title suggests, today’s concert is billed as a two-part show that would follow in the footsteps of the Streaming Live and up until the end of the introduction, I’m sure everyone, myself included, was expecting to see the same bewitching, alluring, and salacious worldview we witnessed in the real world. There was no time to waste. 

BUCK-TICK is holding this 29th December concert for the 21st year in a row, but it was only around a month and a half ago when they announced that it will be happening. Having had to cancel their national tour because of Imai Hisashi’s (guitarist) leg injury, they had been debating whether or not to do this until the very last minute. If they decided not to go ahead with this concert, it would mean that they’d have had zero in-person concerts in 2021. That would be a first for them since their debut. Even in the COVID-19-dominated year of 2020, they had just one in-person concert on 29th December. Their strong desire to see [their fans] altered the course of their decision of whether or not to hold the concert. It’s easy for us to imagine that  preparations kicked off at a rapid pace once the decision was made.

When that same introduction as the Streaming Live ended, the band could just barely be seen behind the title logo, inducing a huge round of applause. Then came the booming of the timpani sounding high. With a “Come, come on over and have a look-see”¹, DIABOLO marked the start of the show.

Lively circus visuals coloured the gauze screen with images of trapeze artists flying through the air and bears on bicycles, and behind it, the band played on, swaying their bodies, relaxed. Entertaining the audience with a silk hat in hand, Sakurai Atsushi (vocalist) wandered the stage, going from right to left and back. When he theatrically sang, “Adieu, goodbye”², the screen fell away and the band was unveiled. I could feel the spike of excitement in the hall at that moment under my skin. The audience can’t be vocal with their support this year too, so they responded with a loud and extended applause. We could see Imai lying on a chaise lounge kicking his legs up in the air. And on his feet, he clearly wore high-heeled boots.

“Welcome, it’s great to see you. Please enjoy yourselves.”

Following this short greeting, they kept the excitement going by treating the audience to Muma -The Nightmare. All at once, we were transported into the underworld.

In hindsight, this was impulsive. If they kept with the format they had in the Streaming Live, which had an acoustic set for the first act, then it’d be a little more reassuring that Imai’s still-healing leg wouldn’t be overstretched, and at the same time, we’d still be able to enjoy a similar worldview that of July’s. But hasn’t BUCK-TICK always been one to entertain us with possibilities and potentials far beyond what we imagined?

In reality, the expressions of the audience who have raised their two hands to the provoking Muma -The Nightmare with its high tension song and ensemble, was filled with ecstasy. Imai strut around the stage with his cane as he played his guitar. When I laid eyes on him, I had probably already fallen truly and deeply into the dream bestowed upon me by the incubi³.

Following DIABOLO and Muma -The Nightmare, there wasn’t a single title track that was performed in the first act, but it was a lineup of highly intoxicating songs that immerse you in their world when you listen to them. It felt as if each song took us on a trip to a foreign land.

Led in by the jingle of Sakurai’s ghungroo⁴ was Rakuen, then torches were lit aflame during Shanikusai -Carnival-. Just those lights alone made for a mesmerising performance. Imai played a tune from Erik Satie’s Gnossiennes in a short interlude that led into Lullaby-Ⅲ, where Higuchi Yutaka (bassist) played a jitterbug rhythm on his upright bass and Sakurai played the role of the foxy madame of a bar as he swayed with his rouged lips and black feather boa. 

Claps sounded to the beat of Hoshino Hidehiko’s (guitarist) Spanish guitar in Zekkai, and in Living on the Net -Acoustic Ver.-, two acoustic guitars strummed at a 16-beat rhythm reminiscent to that of Kecak⁵. Yagami Toll (drummer) drummed a tight beat as they brought us into a neo-futuristic world in Hikari no Teikoku, and then took us on a jaunt through outer space in Eureka. Then came the final song for the first act, Boukyaku. The emotionally rich soundscape and song drew us into a realm of nothingness. Sakurai’s haunting humming to the outro of the song made it linger all the more.

The second act opened with BABEL. With up-tempo tunes from recent years like Kemonotachi no Yoru and Datenshi YOW-ROW Ver., along with acoustic arrangements of certain numbers, 8 out of the 11 songs performed were singles.

Compared to the first act which was dominated by songs that sang of scenes, the songs in the second act painted emotions. Sakurai and Imai’s duet in Villain depicted outright hatred. The nihilism lying hidden beneath the negotiation took centerstage in Maimu Mime where Sakurai performed both the man and woman roles with differences in his vocal tone and gestures. MOONLIGHT ESCAPE was sung with flowing and elegant vocals released from stress. And in this act, they performed an absolute gem of their arrangements, Keijijou Ryuusei -Acoustic Ver.-. Between the interlude into the next song, Imai’s plucking of the Kagome Kagome⁶ melody was exploding with lyricism. Sakurai’s voice was also even more vulnerably beautiful than usual. 

Bringing us nostalgia by the buckets was JUST ONE MORE KISS Ver.2021. I believe there’s probably a good number of people who remembered the thrill of hearing the whispers of “I want you, I love you.” and “I‘ll kiss you.” added arbitrarily at the end. It was refreshing to hear the jazzy acoustic arrangement of Uta Ver.2021, and Sakurai sounding lascivious as he exposed his thighs during the performance of ICONOCLASM Ver.2021 arranged to a shuffle beat. Basking in the afterglow of that, the booms of a timpani sounded once again, signalling the end of the show as it woke us up from this long dream we’ve had.

The last number of the second act was Alice in Wonder Underground. The light-hearted number brought us back to reality and yet, the intro of that same thundering timpani brought back the memory of DIABOLO, the first song in the first act and Imai singing the line “Come, come on over and have a look-see”, leaving us stuck with the strange feeling of having wandered into a parallel world where the show was just beginning now.

Although there was a 15-minute ventilation break for infection control between the first and second acts, the esoteric worldview that we were constantly immersed in from start to end left me in awe.

In the encore, they performed their latest single, Go-Go B-T TRAIN and its B-side, Koi live for the very first time. A requiem for dearly departed loved ones, the performance of Koi saw Sakurai dressed in a long, red satin kimono as his ephemeral yet beautiful and strong voice sang in the graceful ensemble woven from the silence.

Following that, they dove into Go-Go B-T TRAIN with Sakurai beating on his red tambourine. Higuchi’s bold bass sounds and strong presence, Yagami’s heavy and tight drumming keeping the foundations strong, the heavy riffs born of Imai and Hide’s two guitars, and Sakurai’s steady voice all came together to sprint forth powerfully as one. 

In light of the cancellation of their autumn tour also named Go-Go B-T TRAIN, Sakurai said, “At last, we’ve boarded the B-T TRAIN. Here and now, I’d like for us to forget about what’s happened this year and look forward to doing lots of concerts next year.” 

During the members’ introductions, Imai said, “Thank you for waiting. It’s not the first time that I’ve somehow gotten myself into situations like this so, I hope for your continuous support.” He then stuck his middle finger up before turning it into a peace sign, tickling the audience. 

And closing off was the upbeat Dokudanjou Beauty -R.I.P.-. In the brightened hall with the lights turned on, the band and the audience celebrated the grand finale face to face with the strongest sense of togetherness they’ve felt on this day.

BUCK-TICK will celebrate their 35th anniversary in 2022. In July, they will hold a fan club & mobile website members-only concert. Yagami Toll ~60th Birthday Live~ will be held on Friday, 19th August. Their 35th Anniversary Project will commence in September. An Anniversary Special Live YOKOHAMA ARENA is planned for 23rd and 24th September, Friday and Saturday respectively. They will  go on a national tour in October. A concert will be held on Thursday, 29th December at Nippon Budokan. And finally, a new album will be released in spring of 2023. The band’s upcoming activities were announced one after another after the show, further exciting the audience.

Each member’s thoughts towards their 35th anniversary were actually already printed on posters by to the escalator at the Kudanshita underground station, the station closest to Nippon Budokan. The common message put forth by them was, “Let’s go  Let’s head into the future⁷.” These words were the same words from Sakurai’s powerful statement during the MC right before New World, the last song they played at 29 December 2020’s Nippon Budokan concert. 

The B-T TRAIN has just started running again to cut through this infinite darkness and head into the future. I hope that you won’t miss out and will have fun on this train ride through a year to remember.

 

 

SETLIST
Misemono-goyaga Kurete Kara 〜SHOW AFTER DARK〜 in Nippon Budokan
2021.12.29 Nippon Budokan

Act I  SE [Instrumental]

  1. DIABOLO
  2. 夢魔 -The Nightmare [Muma -The Nightmare]
  3. 楽園 [Rakuen]
  4. 謝肉祭 -カ-ニバル- [Shanikusai -Carnival-]
  5. Lullaby-III
  6. 絶界 [Zekkai]
  7. Living on the Net -Acoustic Ver.-
  8. 光の帝国 [Hikari no Teikoku]
  9. ユリイカ [Eureka]
  10. 10. 忘却 [Boukyaku]

Act II

  1. BABEL
  2. 獣たちの夜 [Kemonotachi no Yoru]
  3. 堕天使 YOW-ROW Ver. [Datenshi YOW-ROW Ver.]
  4. Villain 
  5. 舞夢マイム [Maimu Mime]
  6. MOONLIGHT ESCAPE  
  7. 形而上 流星 -Acoustic Ver.- [Keijijou Ryuusei -Acoustic Ver.-]
  8. JUST ONE MORE KISS Ver.2021
  9. 唄 Ver.2021 [Uta Ver.2021]
  10. ICONOCLASM Ver.2021
  11. Alice in Wonder Underground

ENCORE

  1. 恋 [Koi]
  2. Go-Go B-T TRAIN
  3. 独壇場Beauty -R.I.P.- [Dokudanjou Beauty -R.I.P.-]

 

 

【35th Anniversary Teaser Website】
https://www.jvcmusic.co.jp/linguasounda/b-t35th/

 

 

 

Notes:

¹ First line of Diabolo

² Line from Diabolo: 御機嫌よう さようなら (Gokigenyou  Sayounara)

³ 夢魔. Apart from being the word for “nightmare”, it’s also what an incubus or succubus is called in Japanese. Quite literally, it’s meant to be a demon that appears in/through a dream, or torments you in your dream.

⁴ It’s supposed to be a musical anklet of many small metallic bells strung together. It’s usually tied to the feet of classical Indian dancers but in the show, Sakurai holds it in his hand.

⁵ Kecak is a form of Balinese Hindu dance and music drama that was developed in the 1930s in Bali, Indonesia. Since its creation, it has been performed primarily by men, with the first women’s kecak group having started in 2006.

⁶ Kagome Kagome is a Japanese children’s game and the song associated with it. In this game, one player is chosen as the Oni and sits blindfolded. The other children join hands and walk in circles around the Oni while chanting the song for the game. When the song stops, the Oni tries to name the person standing directly behind them. Here’s a… not creepy version of it: https://www.youtube.com/watch?v=j4vPvzX9PMM

⁷ The line “行こう 未来へと、行こう。” [Ikou  Mirai e to, ikou] that is found above the words NEW WORLD for YOU. See all the “posters” here: https://www.jvcmusic.co.jp/linguasounda/b-t35th/

 

 

Translation: Yoshiyuki
Scans: SPICE

 

 

27 November 1991  Shibuya CLUB QUATTRO
Live Report

Fool’s Mate
February 1992

Text=Iwamoto Miki (岩本美紀)
Photos=Ikeda MIchihiro (池田倫弘)

 

Thrown back in time in one night’s dream

It was a truly abrupt move by them. Just when we thought that they would go off to work on their own projects after their tour ended, they suddenly announced that they would be performing at live houses. Scheduled were performances at Tokyo, Osaka, and Nagoya’s QUATTROs for one night each. Since it’s been a while since their last performance in a live house, this has gotten us wondering what it’s going to be like. Hearts pounding with anticipation, a crowd gathered at the venue.

 

 

Wednesday, November 27. BUCK-TICK performed at Shibuya QUATTRO. How many years has it been since they last stood on the stage of a live house? Naturally, tickets were extremely difficult to get. Whether they were the lucky fans who cleared the tough obstacle of a lottery, or fans who unfortunately didn’t get a ticket, there is no doubt that people of all walks of life and with all sorts of emotions were gathered here.

Entering the venue was the familiar sight of a horizontal black curtain hanging over the stage, something that you’d often see back when they used to run the live circuit. The white “BUCK-TICK” text against a black background brings back a wave of nostalgia. Compared to large venues, this small set in a cosy space offers an intimate view no matter where you stand. Waiting for the show to begin, a man’s cheer of “Atsushiー!” came from somewhere in the audience, leading to the crowd’s ‘whoo’s and laughter and applause filling the venue. The fans’ desire to see the band as soon as possible was manifesting in a number of different ways.

Then, the lights went out. To the backdrop of Theme of B-T and the club illuminated in red light, the band appears. Last to come on stage was Sakurai holding a cigarette by the corner of his lips. The light at the end of that cigarette looked even redder than usual on the darkened stage. Then, a spotlight shines on Sakurai. He’s wearing brown sunglasses!

The opening song was Taiyou ni Korosareta.

Only in a live house will we get to see U-ta and Yagami positioned a little lower instead of being on their usual platforms. With Sakurai’s forceful gesture, the sunglasses flew. Imai and Yagami were dressed in red while Sakurai, Hide, and U-ta were dressed in black; outfits which created a simple and unusually unified image.

In the second song, TO-SEARCH, Imai went from the left side of the stage to the right, lining up with U-ta while Hide moved to the left. This feeling that they were all focused on the same thing was not something that could have been felt if this was a bigger stage, and it’s probably another one of those things you can only see in a live house setting.

“Now, then, playtime ends here!” Following Sakurai’s words, Aku no Hana begins. There was even a fleeting moment when Sakurai joined Imai under his spotlight and hugged. The mood of the audience shifted along with the songs; they sang along when the band continued into HURRY UP MODE, the club sang in symphony, but when they went on to perform MY FUNNY VALENTINE, the audience listened quietly. Then came the second MC.

“It’s been a while. It’s been a while since everyone’s this excited.”

In response, the audience replied with the words, “We aーre.”

“Well, then, please fall deeply and descend on behalf of the tens of thousands who didn’t get selected.”

Blue and yellow lights set the mood to the song that started, VICTIMS OF LOVE. During the interlude, Sakurai sucked on another cigarette as he drew close to Hide’s face, then, changing spots, he plastered himself to Imai. Sakurai displayed his emotional expressions with subtle hand gestures like running his fingers through his hair. With his blond hair, Imai looked like a foreigner too. Then came a rare number; MISTY ZONE. Fans jumped up and down to this lively, bouncy song, and clapped in time during ICONOCLASM. They were, in short, beyond fired up.

At the third MC, Sakurai appeared to respond to the calls of the grooving audience with,

“Seems like I don’t have to talk today.”

“Keep it coming.”

It was a comfortable, friendly vibe. As if we were having a casual conversation.

“And now, for the first time,” JUPITER began with an air of melancholy and the atmosphere in that space turned hushed as people quietly listened on. When the song ended, Sakurai gently clasped his hands to his chest and they proceeded into Sakura. Two heart-aching songs, back to back.

From LOVE ME, they continued on into Speed and the audience was once again fired back up. Then, as if seeing the audience through to the climax of it all, the members left the stage. The applause for an encore echoed endlessly……

“I aren’t even tired at all.” Those were the words that Yagami said into the center mic when he came back out for the encore. A searchlight was hoisted up, shining down at the audience who laughed at this unexpected MC. The song which started was HYPER LOVE. it was then followed by an extremely nostalgic song; PLASTIC SYNDROME. When the song was over, Sakurai closed with a deep bow.

In the second encore, they played IN HEAVEN, and the very last song which capped it all off was MOON LIGHT.

Somehow, it felt as if the members of BUCK-TICK and everyone in the audience slipped back in time together to the wonderful memories of “those days” that have been etched into their hearts. Those were a warm and pleasant few hours that allowed us to experience the impossible; to relive precious memories that we don’t ever want to forget. A dream within a dream…… And now, this one night’s dream has probably also turned into new memories that are now carved into the hearts and minds of everyone who was there.

 

Setlist
Shibuya CLUB QUATTRO  1991.11.27

—Theme of B-T—

  1. Taiyou ni Korosareta…
  2. TO-SEARCH
  3. HURRY-UP MODE

—MC—

  1. Aku no Hana
  2. M.A.D
  3. MY FUNNY VALENTINE
  4. Angelfish

—MC—

  1. VICTIMS OF LOVE
  2. MISTY-ZONE
  3. ICONOCLASM
  4. PHYSICAL NEUROSE

—MC—

  1. JUPITER
  2. Sakura
  3. LOVE ME
  4. Speed

—ENCORE—

E1. HYPER LOVE
E2. PLASTIC SYNDROME TEPE Ⅱ

E3. …IN HEAVEN 
E4. MOON LIGHT

 

 

 

 

 

Translation: Yoshiyuki
Scans: Morgianasama on LiveJournal

 

 

Somewhere Nowhere 1995 Live Report

Pati-Pati Rock ‘n’ Roll
July 1995

Photography by Inoue Seiichi
Text by Oshibe Keiko

 

At long last, “Six/Niɴe” begins!!
Breaking report!! 2 Days’ Concert at Budokan

The curtains have finally been raised on BUCK-TICK’s tour, Somewhere Nowhere 1995 with their 2 days of opening concerts at Budokan on May 16th and 17th. Their sound becomes ever more experimental with each new release. But even as their staging becomes less appealing to the general masses, the band’s collective power remains unparalleled. Now, we’ll tell you all about what the concert was like, ahead of everyone else in this ultra breaking report that made our printing company cry.

 

 

Their continual search for sonic innovation while maintaining a pop presence is even more poignant

BUCK-TICK’s long-awaited album, Six/Niɴe was released on May 15th. They kicked off their tour, “Somewhere Nowhere 1995” with 2 days of opening concerts at Budokan on May 16th and 17th.

This tour will go on for a period of approximately 2 months, ending with their final 2 days at Osaka Koseinenkin Hall¹ on August 2nd. As this magazine will go on sale when the tour is still in its first leg, I will do my best to refrain from spoiling the setlist in this report.

Two days before the start of the tour, the band played at Shinjuku LIQUIDROOM².

Compared to an auditorium, the ambience of a live house makes it easier to bring out a sense of euphoria and a particular communal sense of unity. And I frankly think that more often than not, the closer you are [to the performers], the more tangibly thoughts and feelings can be conveyed.

However, after watching these two shows, I realised that in the case of BUCK-TICK, it was easier for them to get their message across when there’s a certain amount of distance between them and the audience.

Because their show isn’t the type where the energy gets amplified by getting the audience involved. Instead, I feel that it draws you in with a deliberately constructed overall mood on top of an increasingly unique ambience in terms of sound. Coming too close will contrarily make it difficult for them to convey this ambience, as if in a bid to create some kind of distance.

For example, in a live house, Sakurai’s lines in Somewhere Nowhere or even his screams sound like a script from an avant-garde play with a rawness that left me at a loss as to how to react, but in Budokan, it came across with a poignant effect instead.

If musicians innovated without losing their inquisitive spirit with each new work they put out, just like BUCK-TICK, then oftentimes, the range of audiences they can reach narrows. That is to say in other words, the factors of the greatest common denominator, or their mass appeal, diminishes.

But BUCK-TICK’s audience have always been flexible in accepting whatever they release. I think that is in part a result of giving typically-passive audiences a sense of autonomy through the process of them evolving their sound all while compellingly drawing in listeners. Because of that, even songs like Uta can be classified as pop as long as it is being performed by BUCK-TICK.

Personally, it’s BUCK-TICK’s band power of randomly shifting values that intrigues me.

This new album appears to be an attempt to rebuild using new elements after demolishing a certain level of mastery they had attained in their last. It is exceptionally proper of them as artists to disregard the pursuit of any sort of “likeness” or anything like that amidst the pre-established harmony. This stance along with their consistent ability to draw in an audience makes for a simply gratifying tale.

But how does the audience view this present album? While there is an increased sense of “better conveyed from a distance” in their pursuit of innovation, I also got the feeling that there was diminished connectedness with the audience. Watching the arena from the second floor, I could see that although the audience understood the band’s stance, they yearned for moments when they could somehow connect with the men on stage somewhere.

Like the tune hummed after the Uta’s break, or Sakurai’s short emcee. In those moments when it felt like there was some way to connect with the stage, the audience felt as if they were groping around trying to find it.

The main set comprised only songs from the new album, arranged such that it would bring the singular flow to a close at the end.

Caught up in such a flow, I think the audience felt that it was easiest to eke out those “moments” during the song from Kurutta Taiyou, which the band played in the encore. But that connection was severed all too soon the moment the song ended and the auditorium light up. While there might be those who simply enjoy this set up or who get some sort of masochistic pleasure from this, I’m sure there are also those who were left feeling like there’s unfinished business.

However, this concert was held the day following the release of the album which also means that not everyone was familiar with the music yet.

Taking that into consideration, at this point in time, it is still a mystery as to whether the uncertainty exhibited by the audience was because of that, or due to the confusion around the band’s direction in the new album.

It will be interesting to see what the mood in the various tour venues will be like as [the audience] soaks in the album.

At the same time, it is as Yagami Toll said during his interview for the new album; the band’s principal stance is to disregard their audience and do whatever they want.

How “pop” of an existence will this piquantly self-seeking band who hurtles headlong into going their own way continue to be for their audience from now on? Will their sound evolve as they figure out how to keep up their centripetal force so strong that it transforms their worth?  Looking at the way they’re going recently, I personally feel that there’s a lot we can expect from them in this respect.

 

 

 

Notes:

¹ Now known as Orix Theater.

² First opened in July 1994 before shutting in January 2004. Later that year in July, they moved to Shibuya and reopened.

 

 

 

Translation: Yoshiyuki
Scans: Endless Dei (@DeiEndless on Twitter)

 

Related articles:

[Jun 1995] Pati-Pati Rock ‘n’ Roll: Six/Niɴe Feature — Double-Edged BUCK-TICK

[Jul 1995]  Pati-Pati Rock ‘n’ Roll: Outpouring from the heart — Part 2 of Sakurai Atsushi’s interview in the Six/Niɴe Feature

 

[Live Report] 魅世物小屋が暮れてから〜SHOW AFTER DARK〜

Pia
18 July 2021

Text = Okubo Yuka
Photos = Tanaka Seitaro, Watanabe Reina

 

 

This Depraved Dream World BUCK-TICK Invited Us Into

At 21:00 on July 17 was when BUCK-TICK began their streamed concert Misemono-goya ga Kurete Kara 〜SHOW AFTER DARK〜. This is its official report.

This show is BUCK-TICK’s first concert in 2021 and their second concert stream without an in-person audience. At last September’s ABRACADABRA LIVE ON THE NET, they performed the songs from their latest album ABRACADABRA according to the CD track order on the day of the album’s release. It was a straightforward livestream that delivered the band’s zeal but this time around, as the title suggests, a conceptual set that brought their audience into a salaciously beautiful world of mellifluous intoxication unfolded.

9 p.m. is usually the time we expect for a usual concert to end. In this day and age where we joke about “shady dealings” and the sort which comes alive after 8 p.m., there lies a tent that quietly puts on a light. It is time for BUCK-TICK’s streamed concert Misemono-goya ga Kurete Kara 〜SHOW AFTER DARK〜 to commence.

Enticed by an introduction that invokes a sense of guilty pleasure, we dive in deep, going through the curtains and continuing until a circular stage lit up by strings of electric lights appears before our eyes. Dressed in outfits oozing with personality, the band looked like a troupe belonging to this “Circus of Oddities”. Giving the audience no time to mentally prepare themselves, they immediately began their song. It was a familiar melody but with a completely different groove. This new sensation brings about the awareness that we have stepped into a whole other world.

Today’s show was split into two parts; the first being an acoustic set, and the second, the band set. In the first half, the acoustic set not only consisted of already existing acoustic songs, but also songs which have been specially given newly arranged acoustic versions just for this show.

Highlights among those are Uta which had transformed from garage rock to swing, and JUST ONE MORE KISS which had turned into a refreshing mid-tempo song. The simplicity of this ensemble elevated the songs, making them stand out even more and letting them convey each of their individual “fragrances” through the screen.

In addition, the cabaret box seats set up by the stage, the flames surrounding the stage, the lighting, the camerawork and all that were unlike what you would see in large productions on a big stage. All these minute staging details were what vividly reflected the storytelling of this particular stage.

The band set in the second part was their conventional concert setup, but even here, they’ve added songs with new arrangements that continue to surprise. They’ve said from the very beginning that the setlist for this show was specially selected to match the atmosphere of this stage which looks like a “Circus of Oddities”. And it feels especially so in this second half with a setlist steeped deeply in a world of depravity and fantasy.

In our daily lives where all kinds of exhausting news keep flying at us, this moment alone allows us to forget that reality. It’s like they’re granting us a dazzling, or perhaps a soothing dream to dream. I believe that this is precisely the true value of entertainment.

Their persistence with the concept of putting on a performance of mesmerising songs without speaking even once so as to not dispel this dream for the audience truly left an impression. Yet in spite of this, the message that the band wanted to convey through all of this was clearly told through the show.

Throughout both the first and second parts, Sakurai Atsushi (vocals) crossed his index and middle fingers time and again, displaying the hand sign for “Good Luck”. For those who will be enjoying the archive, do certainly pay attention and look out for this.

It had been showtime that will make us want to keep coming back for more even after the curtains have been drawn. The archive period for this stream will end on Friday, 23 July at 23:59. There is no doubt that you will most certainly get to meet a whole new BUCK-TICK in this show.

Yesterday, after the stream concluded, BUCK-TICK announced that they will be releasing a new single titled Go-Go B-T TRAIN on Wednesday, 22 September. They also announced that they will be going on a national tour starting Monday, 3 October along with the tour schedule.

I suppose the audience who have been immersed in the afterglow of this “Circus of Oddities” must have also been talking about the title of the single which appears to hold the destructive power to break down the image of BUCK-TICK that we’ve held thus far. Next year, in 2022, BUCK-TICK will be celebrating the 35th anniversary of their career since their major debut and yet they are still on the attack. It is truly admirable. Let our hearts swell with the anticipation of looking forward to what kind of new world will be the next one that BUCK-TICK shows us.

 

 

 

 

 

 

Translation: Yoshiyuki
Source: Pia

[Live Report] The Day In Question 2020

Pia
31 December 2020

Text = Okubo Yuka
Photos = Seitaro Tanaka

 

 

The parade of hope starts again with BUCK-TICK at Nippon Budokan
“Let’s go! Into the future”

【LIVE REPORT】
BUCK-TICK〈ABRACADABRA THE DAY IN QUESTION 2020〉
2020.12.29 at Nippon Budokan

 

 

 

BUCK-TICK conducted their annual December 29 performance at Nippon Budokan, Tokyo. Because they shifted venues to Yoyogi National Stadium First Gymnasium in 2019 in light of renovation works, this was their first performance in Nippon Budokan in 2 years. This is also the 21st time in a row that they have performed on this particular date. Nippon Budokan is most certainly the most fitting venue for this “annual” event to keep going.

This show was entitled “ABRACADABRA THE DAY IN QUESTION 2020”; a sign that this was to be a one-night-only special event where fans can enjoy both the world view of ABRACADABRA, their latest album which was released in September, and the special feeling that the annual year-end THE DAY IN QUESTION brings.

“Let’s go! Into the future. Let’s go!” Sakurai Atsushi’s (vocals) powerful declarations came after he sang the second song of the second encore, LOVE PARADE which was reminiscent of the closing of a show, and right before their last number, New World.

After BUCK-TICK released their album, ABRACADABRA, they were supposed to go on a national tour, but after taking the COVID-19 crisis into consideration, they held the film concert tour “TOUR2020 ABRACADABRA ON SCREEN” and added more dates to their original tour schedule. This tour was an experiment like no other. Although it is a film concert, the same sound systems and lighting as an actual live show were used to create a sense of realism for the audience. That along with the spirited performance by the band and an audience who kept up the applause as if it was an actual concert fulfilled the holy trinity that makes a live show, but despite it all, there was, inevitably, a loneliness that couldn’t be dispelled.

Following in the footsteps of “ABRACADABRA ON SCREEN”, this Nippon Budokan performance was to be the last in-audience show of the year 2020 with thorough COVID-19 prevention measures taken including the introduction of a face recognition system for entry, temperature checks, disinfection, and limiting the audience to about 5,000 people; half of the usual capacity. The event was also streamed live on the internet, responding to the wishes of fans around the world who could not make it to the venue.

This performance is the culmination of the band’s activities with the album, ABRACADABRA in 2020 which kicked off with their online no-audience live broadcast performance “ABRACADABRA ON THE NET”. I had thought that this show is the one that would be where the parade ends, but that thought was kicked to the curb by Sakurai’s earlier words. The band was welcoming everyone to this Budokan show, saying, “The parade goes on. Come, let’s go!” And at the same time, they pointed to the future which lay just beyond our outstretched hands. After the performance ended, the band announced a national tour for  fall of 2021 plus the next December 29 show at Nippon Budokan. In a world that has yet to see light, they have once again brought us shining hope.

Peace signs held up, voiceless excitement turning to conveyed zeal

A little past the scheduled start time, a clip of the world of ABRACADABRA’s album jacket played, with a blue butterfly fluttering above crystals and diamonds, on the screen in front of the stage to a new arrangement of the SE, THEME OF B-T. When the tour title turned to dust and scattered away, Tsuki no Sabaku began. Visuals of a desert unfolded in front of the band, linking their performance with the oriental music. The clear tones which rang out with Sakurai’s occasional ringing of the tingsha bells felt as if they cleansed the air of the venue.

When the screen fell away to reveal the band members during the intro of the next song, Que Sera Sera Elegy, I could feel the excitement in the hall rise two to three times higher. The band truly was standing before our eyes. The voiceless excitement turned into an zeal which we managed to communicate to the band. Kemonotachi no Yoru YOW-ROW ver. was truly thrilling with an edgy, cutting beat and the union of Sakurai’s singing with Imai Hisashi’s (guitar) playing. And on the imposing beat set by Higuchi Yutaka (bass) and Yagami Toll (drums) in SOPHIA DREAM rode Sakurai and Imai’s free-floating twin vocals, leading the audience into a psychedelic world.

As if acting out the worlds of each song, the singing Sakurai’s performances were brilliant. The sight of him lying down on the floor lit in red during URAHARA-JUKU was breathtakingly beautiful, while the way he folded his arms, as if cradling a child while he swayed to the chilling intro plucked by Hoshino Hidehiko (guitar) was filled with compassion. Right after applying red lipstick himself, he began to sing Maimu Mime, dividing his performance between the man and woman characters with facial expressions and deliberate hand gestures in the backdrop of a drinking district scattered with titles of BUCK-TICK’s old songs on the signboards.

During the techno number, Villain performed with the twin vocals of Sakurai and Imai, the audience’s clapping became part of the rhythm, creating a sense of unity. The four-on-the-floor dance tune Datenshi YOW-ROW ver. evolved into an even more solid performance and turned Budokan into a dance hall, pumping up the intensity with Dance Tengoku which followed.

Imai’s solo performance of gentle harmonies led into MOONLIGHT ESCAPE. Sakurai’s unconstrained vocals sounded almost like a prayer. Then, they continued into the lively 8-beat song, Eureka. The audience held up peace signs together with Imai and Hoshino whenever they did it. This was the one scene that I wanted to see the most on the ABRACADABRA album tour. Sakurai walked from the right side of the stage to the left, watching this scene before him. And to culminate it all, Boukyaku. This ensemble of equal parts painful sorrow and kindly warmth along with the emotionally charged singing permeated deeply into my heart. Leaving these emotions lingering deep in the audience, the main set came to an end.

The most impressive thing in this show’s live re-enactment of a setlist which was pretty much the same as that of “ABRACADABRA ON SCREEN” was loud, thunderous round of endless applause which started up everytime a song ended. This was the audience conveying their feelings to the band in this situation where voices could not be used.

The reason why there were uncharacteristically long breaks between songs must be because the band members wanted to take in those feelings with their whole being. This reciprocal interaction between the performers and the audience is something that we only feel more acutely after having experienced no-audience live shows. A live show is built up on the enthusiasm and passion from these two sides. I believe the audience’s zeal must have been well conveyed to the band. Whenever a song ended, Sakurai would say, “Thank you.”

Sharing the desire to protect others, a space filled with kindness

After 15 minutes of intermission, the “THE DAY IN QUESTION” part of the show title begins. Welcomed by the impatiently-waiting applause that had started up 5 minutes before intermission ended, the band arrived on stage. It was at this moment that we found out that the words on the back of Yagami’s jacket said, “FUCK OFF!! COVID-19”.

During the future-illuminating FUTURE SONG-Mirai ga Tooru- and Luna Park, and even the mid-tempo Sekai wa Yami de Michiteiru sung against a starry sky, the band brought power and healing to the hearts that have become a little exhausted by the unstable situation. During ROMANCE, we were intoxicated by Sakurai’s dramatic performance from the start when he lit up the candles of a candelabra, to the end when he pierced his chest with his stick.

And before their next song, LOVE ME, this was what he said:
“The next song is about how you’ll be able to cherish the people you love when you cherish yourself. I would like to dedicate this to the medical professionals.”

The sight of the members putting their utmost respect into the song and music along with the audience waving their arms from side to side as best they could for those who couldn’t make it to the brightly lit hall is seared into my memory. Come to think of it, during the typically bustling pre-show wait and even enroute from the nearest train station to Budokan, the attendees observed good manners; they were quiet. Everyone shared the notion of thinking for and protecting others. This was a space that was filled with such kindness.

The second encore started on a high note with Alice in Wonder Underground. Receiving the neverending applause after LOVE PARADE, Sakurai spoke words of gratitude for the staff who helped to make this show a success and to the fans, he also thanked them saying, “Thank you for all your applause today. Your hands must be sore, aren’t they?”

There was also a moment when he eased the atmosphere in the hall by mumbling to himself, “I guess it must be boring to hear me talk only about serious matters. Shall I tell a dirty joke……”

“May the next year be a good one. I wish you all happiness,” he said with a deep bow, as if in prayer. Afterwhich, he said, “And now, let’s go! Into the future. Let’s go!”, leading into the last number, New World. “Cut through this infinite darkness and head into the future.” The powerful message that is embedded in this song turned into a light of hope and rained down on the audience.

Thank you for tonight
It was an unforgettable night
May the new year bring
much happiness to everyone
I hope you have a Happy New Year With love
BUCK-TICK

It is said that since ancient times, firecrackers (爆竹 / bakuchiku), which are read the same way as BUCK-TICK (バクチク / bakuchiku), were set off to dispel plagues and evil spirits while ushering in good luck. ABRACADABRA, which BUCK-TICK played with great pomp and splendor at the end of the year to close of 2020 is a spell to ward off the plague. Therefore, we can say that BUCK-TICK’s existence is as good as hope itself.

When they announced that they would be holding a tour in autumn of 2021 along with a Nippon Budokan performance at the end of the show, the audience broke into another huge round applause. BUCK-TICK’s parade has started off once again from here as we head into 2021. I can’t help but hope for a future where we can all shout “PEACE” together in high spirits.

 

 

 

 

Setlist
1. 月の砂漠 (Tsuki no Sabaku)
2. ケセラセラ エレジー (Que Sera Sera Elegy)
3. 獣たちの夜 YOW-ROW ver. (Kemonotachi no Yoru)
4. SOPHIA DREAM
5. URAHARA-JUKU
6. 凍える (Kogoeru)
7. 舞夢マイム (Maimu Mime)
8. Villain
9. 堕天使 YOW-ROW ver. (Datenshi)
10. ダンス天国 (Dance Tengoku)
11. MOONLIGHT ESCAPE
12. ユリイカ (Eureka)
13. 忘却 (Boukyaku)

Encore
1. FUTURE SONG – 未来が通る – (FUTURE SONG -Mirai ga Tooru-)
2. Luna Park
3. 世界は闇で満ちている (Sekai wa Yami de Michiteiru)
4. ROMANCE
5. LOVE ME

1. Alice in Wonder Underground
2. LOVE PARADE
3. New World

 

 

 

Translation: Yoshiyuki
Source: Pia

[Live Report] The Day In Question 2019

Ongaku to Hito
31 December 2019

Text = Kanemitsu Hirofumi
Photos = Tanaka Seitaro (★), Tatewaki Taku (▲), Watanabe Reina (■) (Tanaka Seitaro Photo Office)

 

 

Even though the dream will end sometime, it is for certain that here, they have friends and everyone who loves them.

【Live Report translation】
BUCK-TICK THE DAY IN QUESTION 2019
29 December 2019 at Yoyogi National Stadium First Gymnasium

 

 

「No matter how lovely my dreams    When I wake up, I’m always alone*」

The lyrics of their last song, LOVE ME, resonated in my heart. This was a song that they have always sung, but for some reason, on this day, it was especially significant.

This year, BUCK-TICK’s THE DAY IN QUESTION 2019 was held as a tour, making stops in Takasaki, Osaka, Nagoya, before playing the final show here in Tokyo. For almost 20 years, they have been performing in Tokyo on 29 December at the Nippon Budokan every year, but this year, the Budokan was undergoing refurbishments and could not be used, so their venue was shifted to Yoyogi National Stadium First Gymnasium.

I remember this same day last year. After they postponed a few (4) performances when Sakurai Atsushi fell ill, the place where he made his comeback was the Nippon Budokan. It has been one year since that day when, in an instant, we realised that nothing lasts forever and were made to feel that we should treasure our present moments more than ever.

This year, aside from performing the rescheduled concerts for the postponed lives, Locus Solus no Kemonotachi at Makuhari Messe, and after that, this tour, the rest of their time was spent in production. The number of lives they performed was few. Because of that, it felt as if there was an especially strong desire for the band.

The setlist remained more or less the same for all 4 venues. With a keen awareness, they opened with Muma 〜The Nightmare, and until the last song of their first encore, Mudai, the performance felt like a quixotic circus of darkness. It was as if we had been dragged into someone’s nightmare. As a spirit dressed in burial garb, the Fool follows. Until the very end, this worldview held fast.

Until the end of the first encore, the songs they played were mostly from their days following the move to BMG Funhouse (now known as Ariola Japan) with the exception of Uta, SILENT NIGHT, and Speed. Considering the fact that a snowy performance created a flow which led from Snow White to SILENT NIGHT, it was, in essence, two songs.

This is because the members acknowledge the worldview that BUCK-TICK possesses, and I believe that it was during the time of their move when they dared recognise it and let it take shape. As a result, the songs that were selected is close to the tone of their world and in line with for THE DAY IN QUESTION’s concept of “performing nostalgic songs which won’t be played during a regular tour”.

The only change for the main set was that the first day’s New World had been switched for Dokudanjou Beauty-R.I.P.-. On the other hand, with the second encore, they switched around between a total of six songs including the four listed below and two others; MISS TAKE -boku wa miss take- and GLAMOROUS.

Within such a set, they performed their new song Datenshi in the encore. This song, which started with a glam rock-like guitar which sounds like something you would’ve heard somewhere before, feels like a rock-and-roll song with a simple beat, but something about it leaves behind a strange sense of discomfort. Imai talks about it in the headline feature interview of the next issue of Ongaku to Hito, but perhaps that comes from the composition of the song.

We were once again surprised by the avant-garde ideas of the inscrutable Imai, but no matter what song it is, (it works because) once these five play together, they possess an implicit value that makes anything become BUCK-TICK’s. And because of this, Imai is allowed to write unabashedly strange, “anything goes” type of songs. And this trust didn’t come about just because they have been playing together for 30 years or have been friends since their high school days, but it is something that exists because the five of them have been working hard and thinking about the band every day.

Many call this band a miracle, but that is not what they are. These five have been working hard every day to make sure that this band continues to thrive. This tough band vibe that can be felt from the stage is the gift that comes from their ongoing devotion to betterment.

 

The main set of this show followed the setlist of “ABRACADABRA ON SCREEN”. With the exception of Luna Park, which was performed in the encore rather than the main set, the song order did not change and their outfits were the exact same too. This is the ABRACADABRA album tour part of today’s show and it let the audience feel their will to make the show feel as if it was their usual tour final. Doing nothing special and going about with things as per normal might just be the biggest show of rebellion in these present times. And that attitude was what accompanied the thoughts of the fans who attended “ABRACADABRA ON SCREEN” which ran 26 shows in 23 locations all over Japan.

「We’ll meet again, for sure」

After Sakurai said those words, he sang LOVE ME. When it was first written 30 years ago, they may have woven the words and melody without thinking too much into it, but the footprints that they have left behind through this time has turned those words into something heartfelt. And they knew that although a person is always alone, that’s not the case in a band. Even though everyone is on their own, even though the dream will end sometime, it is for certain that here, they have friends and also, everyone who loves them.

In the summer of 2020, they will release an album and after that, they will go on a national tour. Furthermore, they have also announced THE DAY IN QUESTION on 29 December to be held at the Nippon Budokan. Such promises made ahead of time become hopes for the future. It was a great concert.

 

 

 

 

【SET LIST】

01 Muma -The Nightmare
02 Uta
03 Kemonotachi no Yoru
04 Jonathan Jet-Coaster
05 Hamushi no You ni
06 Zekkai
07 Cyborg Dolly: Sora-Mimi: PHANTOM
08 PINOA ICCHIO -Odoru Atomu-
09 Gekka Reijin
10 Snow white
11 SILENT NIGHT
12 Alice in Wonder Underground
13 Speed
14 Dokudanjou Beauty -R.I.P.-
15 FLAME

ENCORE 01
01 Datenshi
02 RONDO
03 Mudai

ENCORE 02
01 Coyote
02 Dress
03 Aku no Hana
04 LOVE ME

 

* All song title and lyric translations come from This is NOT Greatest Site.

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

[Live Report] The Day In Question 2020

Ongaku to Hito
31 December 2020

Text = Kanemitsu Hirofumi
Photos = Tanaka Seitaro (★), Watanabe Reina (▲) (Tanaka Seitaro Photo Office)

 

 

BUCK-TICK’s annual December 29 live show at Nippon Budokan.
This day’s promise is the light of hope

【LIVE REPORT】
BUCK-TICK〈ABRACADABRA THE DAY IN QUESTION 2020〉
2020.12.29 at Nippon Budokan

 

 

 

Making a promise.
That is to believe in that promise, and fulfill it. That is what gives us the light of hope.

For BUCK-TICK, this is the 21st time they’re playing a show on December 29. The venue for last year’s show had been moved to Yoyogi National Stadium First Gymnasium because of refurbishment, but ever since 2000, they have always held a show at Nippon Budokan on this very date. Under normal circumstances, they would have traveled around the country, going on tour for their latest album ABRACADABRA which was released in September, and would likely make this annual show the final date of that tour.

However, because of the spread of COVID-19 infections, they turned that into a film concert and called the tour “TOUR2020 ABRACADABRA ON SCREEN”. The announcement that they would be holding this particular December 29 show only came out one month prior too. It was apparent that they had been negotiating and planning for measures to the very last minute, and eventually, it was decided that the event was to be held with an audience after reducing the seating to half the usual capacity and including various preventive measures.

Looking at the seating arrangement in the arena and the stands, seating had been considerably reduced and it was clear that they had put social distancing into consideration. Also, they would normally have many close friends and acquaintances in attendance on this day, but there were no guests invited at all. I could feel that they wanted to increase the fans’ chances as much as possible to give them an opportunity to watch the show.

The main set of this show followed the setlist of “ABRACADABRA ON SCREEN”. With the exception of Luna Park, which was performed in the encore rather than the main set, the song order did not change and their outfits were the exact same too. This is the ABRACADABRA album tour part of today’s show and it let the audience feel their will to make the show feel as if it was their usual tour final. Doing nothing special and going about with things as per normal might just be the biggest show of rebellion in these present times. And that attitude was what accompanied the thoughts of the fans who attended “ABRACADABRA ON SCREEN” which ran 26 shows in 23 locations all over Japan.

Release an album, tour a lot, feel the fans’ reactions, and build up the worldview while heading towards the final show; that’s the band’s usual style but now, live shows can’t even be held in their usual formats. Majority of them are one-night-only, special shows in light of the COVID-19 crisis. It felt to me that this show was an attempt by them to go back to normal life where tours are a regular occurrence.

Ironically, the show’s title was the incantation of ABRACADABRA. In the unrest caused by COVID-19, they’re holding a concert with the audience at less than half capacity but even that is in danger of becoming an impossible situation in these circumstances. Is it okay to hold a concert? Is it alright to go and watch the show? While this conflict goes on somewhere in both the performers and the audience’s hearts, that show title and the way they handled the show had the power to dispel that unease. In this situation where the audience are not allowed to raise their voices, the endless applause from the audience between songs were a manifestation of their feelings.

Also, upon performing ABRACADABRA before an audience, the true essence of this album became apparent. Without any strict theme, a sound unbound by anything rang free. The “deviant vibe” which Imai expressed was a daring digression from sort of format which aimed for something alternative. But no matter how avant garde it gets, Sakurai’s vocals and his worldview inevitably bring in a touch of humanity. His awareness for not only the in-person audience but also those invisible ones beyond the cameras only enhances his expressiveness.

That is why Eureka, the one song on the album which Imai wrote to relieve himself of the frustration with this COVID-19 crisis had an overwhelming destructive power on this day. Everyone’s desire to repaint this dark, depressing atmosphere with hope became one. The audience swayed with “PEACE!” signs. I am sure that this sight must have been one that he had been visualising and longing for since the recording of this song. Smiles were everywhere. This band understands well that nothing comes of anger or hatred or despair alone.

And the last song of their main set, Boukyaku. It is never peaceful, because there will always be this sort of ineradicable feeling somewhere in us. That is also something that exists, for sure. The fact that they sing about this makes their music real. Nothing in this word is perfect; everything has its own cracks and distortions. And it is from there that light shines through. That’s why we love and cherish them.

A number of songs in the encore had been changed in comparison to “ABRACADABRA ON SCREEN”. Most of them were songs which appear to spread hope and shine a light on the future. Between those songs, Sakurai said this:

“The next song is about how you’ll be able to cherish the people you love when you cherish yourself.  I would like to dedicate it to the medical professionals.”

Those words included a message addressing the delicate situation surrounding infection cases. However, at the same time, there is also a sense of realisation coming from him, who had been in denial of hurting himself, of all people. And the song which they performed was LOVE ME. Last year, there was the joy of being able to perform as a band and the feeling of being loved in performing this song. While this year, they’re singing about how everything, including in this global situation we’re in, can only be solved by how we think about things in the end.

“And now, let’s go! Into the future!”

Right after Sakurai’s signal, we were led into their last song for the night, New World. We will cut through this infinite darkness. The light that can be seen ahead is hope. Embracing it, we will live on.

After the members have left the stage, they announced on the screens that there will be a national tour in autumn of 2021, and that on December 29, on this same date, there will be a show at Nippon Budokan. In all honesty, we have no idea what the virus situation will be like, how the audience capacities will be set, whether we can hear the cheers of the crowds, or whether things will be good enough for a live show to be held in teh first place. There is no doubt that it is all still an unknown. However, this promise gives us hope, and allows us look forward in life. And most importantly, it becomes a promise that has been and will continue to be kept between them and us over 20 years.
This show was one that was filled with such hope and love. And everyone of us is hoping very much that we will be able to meet here again next year, in 2021.

Thank you for tonight
It was an unforgettable night
May the new year bring
much happiness to everyone
I hope you have a Happy New Year With love
BUCK-TICK

 

 

【SET LIST】
SE
01 月の砂漠 (Tsuki no Sabaku)
02 ケセラセラ エレジー (Que Sera Sera Elegy)
03 獣たちの夜 YOW-ROW ver (Kemonotachi no Yoru)
04 SOPHIA DREAM
05 URAHARA-JUKU
06 凍える (Kogoeru)
07 舞夢マイム(Maimu Mime)
08 Villain
09 堕天使 YOW-ROW ver. (Datenshi)
10 ダンス天国 (Dance Tengoku)
11 MOONLIGHT ESCAPE
12 ユリイカ (Eureka)
13 忘却 (Boukyaku)

ENCORE
01 FUTURE SONG – 未来が通る – (FUTURE SONG – Mirai ga Tooru –)
02 Luna Park
03 世界は闇で満ちている (Sekai wa Yami de Michiteiru)
04 ROMANCE
05 LOVE ME

ENCORE 2
01 Alice in Wonder Underground
02 LOVE PARADE
03 New World