The Japan Culture and Entertainment Industry Promotion Association (CEIPA) held its very first stateside music event, matsuri’25, in Los Angeles this past weekend. Aiming to bridge the East and West, the mini festival celebrated J-pop by featuring artists, Ado, ATARASHII GAKKO!, and YOASOBI. A portion of ticket sales were also donated to support fire relief and recovery efforts for the recent Los Angeles wildfires.
At a press conference prior to the festival, Yoshiko Tsuwaki, the Executive Director of JETRO and Special Advisor of Ministry of Economy, Trade and Industry of Japan, shared, “We want to build a deeper connection between USA fans and Japanese music, hence we created this event.” Taro Kumabe, the Vice Chairman at IMCJ and Director of FMPJ, also revealed that this will be the first of a multi-step project to help Japanese artists reach overseas audiences: “Matsuri means festival in Japanese. This matsuri’25 is part of a music wave project, where we will develop next generation artists and expand our reach globally.”
With three big J-pop acts slated to perform at the event, it was no surprise that LA’s Peacock Theater was filled to the brim with Japanese pop music and anime fans alike. Dressed for the occasion, many fans wore merchandise from the artists’ recent U.S. tours or newly purchased matsuri’25 goods. Most fans also carried two lightsticks each, which is common at Japanese idol shows, so they could hold one in each hand to match the performance’s colors.
When it came time for the performances, each artist performed a 45-minute set of about 10 songs. The three artists on the lineup performed completely separately, and they did not have any special collaboration stages or a final bow altogether. Although neither was advertised, some fans had remained hopeful for a small interaction. Unfortunately, rather than a festival with artists interacting onstage with one another, matsuri’25 was more like three individual concerts happening at the same place, back-to-back-to-back.
YOASOBI took the stage first, performing hit songs such as “Haven’t,” “Seventeen,” “UNDEAD,” and, of course, “Idol.” Their set was paired with unique graphics and effects on screen, including a realistic monster seemingly ripping through the screen, as well as lasers coordinated with the group’s energetic music. Their music ranged from slower, jazzier songs to dance party tracks, and it helped warm the audience up for the specific uniqueness of the next two artists. Although Ayase remained stationary at his keyboard, only jumping around within his confined area, Ikura made great use of the large stage, performing to fans in all spots. The blending of the group’s EDM music and live band added more textures to the live performance.
Next up was ATARASHII GAKKO!, a group known for their comedic yet synchronized dance moves and their old school hip hop-inspired music. The group gave fans the up-close-and-personal experience, when they began their set by walking through the venue aisles while holding their group slogan flags. The quartet performed songs such as “OTONABLUE,” “Toryanse,” “Fly High,” and “Tokyo Calling.” During “Arigato,” the group brought out mic stands shaped like brooms, earning laughter and cheers from the audience. During a few other tracks, Rin and Suzuka continued to walk through the aisles to greet fans. The group ended their set with a new song “One Heart,” leaving the crowd in high spirits.
When the clock struck 9:50pm, the final act of the night arrived—Ado. The transition time between ATARASHII GAKKO! and the singer was just a bit longer, as stage techs had to prepare the famed “Ado Box” and the live band’s instruments. For those unaware, Ado is a J-pop singer, who performs without showing her face. When attending live shows, she performs in the “Ado Box,” a brightly lit cube through which fans can only see her silhouette.
For her set, Ado performed some of her most popular songs, such as “Show,” “New Genesis,” and “Usseewa.” Each song featured different graphics on the screens and new hues of lighting, though her full set focused primarily on darker reds and blues. Her set featured more rock-heavy tracks, many of which were raucous and loud, and featured a lot of screaming, which delighted her fans, but it definitely surprised those in attendance who were more familiar with YOASOBI and ATARASHII GAKKO! “Tot Musica” in particular earned thunderous cheers from fans, and it was paired with an eerie graphic of skeletal hands. Ado’s set wrapped up with “Odo,” and shortly after her exit from the stage, the house lights turned back on to signify the event’s end. Without a “thank you” message on screen or over the speakers, many fans continued to loiter in the theater in hopes of an encore or a more cohesive ending until venue staff began urging everyone to make their way outside.
Although each artist on the lineup performed wonderfully, the event itself felt disjointed. matsuri’25 missed the mark when it came to being a music festival that embodies togetherness. As all three acts have toured the U.S. recently, it felt like there was a missed opportunity to see these artists united onstage together. Despite that, the energetic performances and passionate fans made the event worth attending. For its first ever event, matsuri’25 was a fantastic music experience to enjoy some of the biggest acts in J-pop today.
