４月１８日 - 松阪 Matsusaka
"Mieken!? Nande!?"
That was the reaction we got without fail, when we told people we were going to Matsusaka. While it certainly seems like a nice town it doesn't cter much to tourists. It definitely feels like we might be the only foreigners in town. Still, while the people did pause to stare at us as we walked the fourty five minutes to the venue from our hotel, we got a lot of smiles and people waving to us from their cars and bikes. Matsusaka seems like a really friendly town, which I wasn't expecting. When we stopped for directions in Japanese at a service station they were very kind and told the crazy gaijin how to get there. Considering that my last trip was full of less than pleasant stares it was nice to see a more friendly side to the country.
Matsusaka M'AXA is a very small venue, capacity being maybe three hundred at best, and that's being generous. TRHe place is actually a bar and grill kind of place as well as a livehouse, and it shows. Three hundred people would pack the place like sardines. As it was there were only about a hundred and seventy of us so there was lots of room. The crowd was subdued for the most part, more so than usually I have been told. Still it was an audience full of kids who have never seen MIyavi's live, and I think that was really neat.
Still the difference between Japan and the rest of the world was glaring. Miyavi was easily within reach of the audience for most of the show, the stage being maybe a foot from the front row. When Miyavi came to lean out over us and everyone reached out to him our hands would rest on his guitar or his arm or his leg. No one grabbed for him, no one held on too long. Grab his fingers, let them go. THe audience members who didn't know all the action picked them up really quick so we could all participate.
Miyavi on stage out here was different than in Texas. He is more relaxed, more comfortable. And while he still uses maybe too much English, he really comfortably interacts with his audience almost individually. In America I think that is impossible because the kids over there want it so much, and here it's not like that. These kids don't need to be recognized. They want to see their Guitar-Samurai and meet the other fans, they don't need to be made to feel special. Because of that I think they are special. They get a different, more personal Miyavi than we do back in North America. He makes jokes at the expense of not only his band, but his fans as well. After all, if we can't screw with each other, who can we screw with? We're a family, right?
The setlist was a mix of the familiar songs like Shouri no V-rock and Coin Lockers Baby and the new songs like Survive and Superhero. I feel like I've been waiting forever to hear Superhero live. When it started I got pretty teary-eyed because it brings back a lot of feelings from the time it came out. A lot of stuff has happened to us since then.
Any and all concerns I had about his voice are completely gone; it's strong and beautiful and maybe better than before. He's in top performance condition and it's really beautiful to watch.
Demachi.
When I tell people that I'm not here going to shows just to see Miyavi they get a really confused look on their faces. At the same time, I undersand that it doesn't make sense in America to see an artist because you want to meet their other fans. IN Japan this is the only way these kids get to meet fans in their area; the internet networking over here isn't as intricate as back home.
After the show we headed outside to get some air and for Maura to grab a smoke. It's hard for me to make conversation because of my broken Japanese, but broken is better than none and I'm getting better at listening again. Being with kids who are able to speak both languages is really helpful though.
The demachi area was designated by some portable plastic rails; these were easily knocked over and when that happened accientally we laughed and picked them back up again. There is no "but I want to be the closest" feeling with these kids; they're here to have fun and they hang out after the show to exchange email addresses and chat more than to say good bye to Miyavi. It was pretty cold, so we were all huddling together and sharing warmth while we talked and laughed. When Miyavi got on the bus we all waved at each other. "Otsukare", Good work today. "Arigatou", thank you. "Mata Ashita," We'll see you tomorrow.
As we all went our separate ways we hugged, said goodbye, and still wanted to hang out. So we piled six people into Yumi's litte four-seater and went to a family restaurant. We ate and talked and laughed and just shared some really good company. We were tired but happy to be together.
In all honesty that was the best part of the show, and the reason that I came here. The stuff that happens after the show.
It was really fun, and I can't wait for the show in Nagoya.
Even though my throat is a little hoarse and my neck is stiff from headbanging.
Afternoon:
Well we WERE going to take the train...but Yumi is coming to Nagoya too, so we got a ride.
And we didn't realize until we were way the hell outside of Nagoya that doors were at four thirty. Whoops. Well it's only twenty to four and we're almost back. Good job guys!
That was the reaction we got without fail, when we told people we were going to Matsusaka. While it certainly seems like a nice town it doesn't cter much to tourists. It definitely feels like we might be the only foreigners in town. Still, while the people did pause to stare at us as we walked the fourty five minutes to the venue from our hotel, we got a lot of smiles and people waving to us from their cars and bikes. Matsusaka seems like a really friendly town, which I wasn't expecting. When we stopped for directions in Japanese at a service station they were very kind and told the crazy gaijin how to get there. Considering that my last trip was full of less than pleasant stares it was nice to see a more friendly side to the country.
Matsusaka M'AXA is a very small venue, capacity being maybe three hundred at best, and that's being generous. TRHe place is actually a bar and grill kind of place as well as a livehouse, and it shows. Three hundred people would pack the place like sardines. As it was there were only about a hundred and seventy of us so there was lots of room. The crowd was subdued for the most part, more so than usually I have been told. Still it was an audience full of kids who have never seen MIyavi's live, and I think that was really neat.
Still the difference between Japan and the rest of the world was glaring. Miyavi was easily within reach of the audience for most of the show, the stage being maybe a foot from the front row. When Miyavi came to lean out over us and everyone reached out to him our hands would rest on his guitar or his arm or his leg. No one grabbed for him, no one held on too long. Grab his fingers, let them go. THe audience members who didn't know all the action picked them up really quick so we could all participate.
Miyavi on stage out here was different than in Texas. He is more relaxed, more comfortable. And while he still uses maybe too much English, he really comfortably interacts with his audience almost individually. In America I think that is impossible because the kids over there want it so much, and here it's not like that. These kids don't need to be recognized. They want to see their Guitar-Samurai and meet the other fans, they don't need to be made to feel special. Because of that I think they are special. They get a different, more personal Miyavi than we do back in North America. He makes jokes at the expense of not only his band, but his fans as well. After all, if we can't screw with each other, who can we screw with? We're a family, right?
The setlist was a mix of the familiar songs like Shouri no V-rock and Coin Lockers Baby and the new songs like Survive and Superhero. I feel like I've been waiting forever to hear Superhero live. When it started I got pretty teary-eyed because it brings back a lot of feelings from the time it came out. A lot of stuff has happened to us since then.
Any and all concerns I had about his voice are completely gone; it's strong and beautiful and maybe better than before. He's in top performance condition and it's really beautiful to watch.
Demachi.
When I tell people that I'm not here going to shows just to see Miyavi they get a really confused look on their faces. At the same time, I undersand that it doesn't make sense in America to see an artist because you want to meet their other fans. IN Japan this is the only way these kids get to meet fans in their area; the internet networking over here isn't as intricate as back home.
After the show we headed outside to get some air and for Maura to grab a smoke. It's hard for me to make conversation because of my broken Japanese, but broken is better than none and I'm getting better at listening again. Being with kids who are able to speak both languages is really helpful though.
The demachi area was designated by some portable plastic rails; these were easily knocked over and when that happened accientally we laughed and picked them back up again. There is no "but I want to be the closest" feeling with these kids; they're here to have fun and they hang out after the show to exchange email addresses and chat more than to say good bye to Miyavi. It was pretty cold, so we were all huddling together and sharing warmth while we talked and laughed. When Miyavi got on the bus we all waved at each other. "Otsukare", Good work today. "Arigatou", thank you. "Mata Ashita," We'll see you tomorrow.
As we all went our separate ways we hugged, said goodbye, and still wanted to hang out. So we piled six people into Yumi's litte four-seater and went to a family restaurant. We ate and talked and laughed and just shared some really good company. We were tired but happy to be together.
In all honesty that was the best part of the show, and the reason that I came here. The stuff that happens after the show.
It was really fun, and I can't wait for the show in Nagoya.
Even though my throat is a little hoarse and my neck is stiff from headbanging.
Afternoon:
Well we WERE going to take the train...but Yumi is coming to Nagoya too, so we got a ride.
And we didn't realize until we were way the hell outside of Nagoya that doors were at four thirty. Whoops. Well it's only twenty to four and we're almost back. Good job guys!