Reflecting on the "SakamotoRyuichi Lab at KUA"

Hello!
September has arrived and the air has cooled down, though there are still some hot days. I hope everyone is doing well.

On September 2nd, the Kyoto University of the Arts "SakamotoRyuichi Lab at KUA" project held a presentation at "VS.," a venue located in Umekita Park North Park, Osaka Prefecture.

Five of us from TYO—Mana Ichikawa, Sae Watanabe, Keita Mizoi, Takumi Abe, and Kaho Matsuzaki—performed alongside Marihiko Hara and Shuta Hasunuma during the event.

I’d like to write a report that includes the events of the day before, too!

On the morning of September 1st, I boarded an 8:50 AM train bound for Tokyo.
We gathered at Tokyo Station, met up on the platform, and boarded the Shinkansen together for Shin-Osaka.
It was a long journey; we spent a total of about five hours on the train.

We traveled from Shin-Osaka Station to Osaka Station and had a meal in the late afternoon that served as both lunch and dinner.
Instead of takoyaki, we had chicken nanban.
Even though we were in Osaka, we didn't eat anything typically "Osaka-style."
But it was delicious nonetheless.

We had some time to spare and wanted to practice, so we headed to a nearby karaoke place.
I never imagined I’d go to karaoke all the way in Osaka... nor did I expect to bring my instrument to karaoke outside of a practical exam setting, so I was really excited.
After thoroughly enjoying some juice and soft-serve ice cream, we headed to the venue.

The day before the performance, we were able to view the exhibition, including the main attraction: "RYUICHI SAKAMOTO & TIN DRUM + KAGAMI."

It uses special glasses that make it look as though Maestro Sakamoto is performing right in front of you; it was a truly surreal experience.
Here are three of us looking happy while wearing the glasses.

The setlist featured many of the Maestro's signature and famous songs, including several that we had performed with TYO.

At first, I listened from the front, but I suddenly felt like watching from the same angle I used to view him during the Tohoku Youth Orchestra performances, so I moved to a different spot. Standing there and looking at the director, I felt nostalgic, as if I had been transported back to my days as an elementary school student.
It really reminded me just how imposing and impressive the director’s presence was.

I want to tell Director Sakamoto that the ten-year-old me has now turned twenty.

In addition to "+KAGAMI," there were other exhibits.
I headed over to a spot featuring an open-reel tape player that was playing the director's music. Apparently, it was a very expensive piece of equipment that produced incredible sound. I listened to it for a while and was moved by how it captured even the finest details of the audio.

Here are some people striking "V" and "S" poses at the "VS." exhibit.

Afterward, I met with Marihiko Hara and Shuta Hasunuma for the rehearsal the day before the performance.

There were so many machines and instruments I had never seen before; it was fascinating. Knowing I would be performing with them made me feel a mix of nervousness and anticipation about how it would all turn out.

We performed the songs "kizuna world," "Aqua," and "Taiyo to Kodomotachi" (The Sun and the Children).

The rehearsal wrapped up successfully, and we all returned to our hotel.
The hotel was incredibly luxurious, and I felt a pang of regret knowing I’d only be staying for one night.
Breakfast was lavish, too, featuring all sorts of dishes I’d never seen before.

The three of us girls bought "Uncle Rikuro" cheesecakes in the morning and headed to practice, feeling excited and happy.
Just as the rumors said, the cake was incredibly fluffy and delicious.

We arrived safely at the venue and waited in the green room, but I managed to drop my return ticket at the rehearsal site; thankfully, a staff member found it for me.
I’m so sorry for the trouble.
I really need to get my act together.

There were two performances in total.

For the first song, "Taiyo to Kodomotachi," we had already recorded it and understood the piece well; Mr. Hara even complimented us, saying, "As expected of the original performers."

"Aqua" was performed as a string quartet featuring only TYO members; it was the piece I was most anxious about, as practice hadn't gone very smoothly. We struggled to lock in the tempo and keep the ensemble together, and we had a hard time getting the harmonies to sound just right. However, for the actual performance, I gave it my all to play well and make up for having missed out on tickets earlier.

The final song was "kizuna world."
Hara-san and Hasunuma-san joined in, and we all performed together.
At first, I was nervous about the unusual lineup and sound, but Hasunuma-san played something different each time we rehearsed the song, and I was so captivated that I almost forgot to play my own part.

The performances—which I had thought would be long—flew by in a flash, and before we knew it, it was time to catch the Shinkansen.

I wanted to enjoy Osaka and "+KAGAMI" even more—I even thought about staying another night!—but I had commitments the next day, so that wasn't possible.

We all picked out our favorite *ekiben* (station bento boxes) at the shop. I chose one that heats up when you pull a string; it tasted incredibly delicious, just like a freshly made meal.

We each bought souvenirs at the station and boarded the train just in time. Although it was a long journey home in the Shinkansen seat, I spent most of the time asleep, so it felt like we arrived surprisingly quickly.

I am so grateful to have had so many precious experiences and to be able to continue enjoying music.
In Osaka, I was once again struck by the amazing talent, brilliance, and greatness of Director Sakamoto.

It was a truly fun two days.
Thank you very much.

I didn't get much of a chance to sightsee in Osaka this time, so I’d love to visit again on my own someday...!
I want to eat takoyaki, too...!

This report was written by violinist Mana Ichikawa.