South London’s verdant Crystal Palace Park recently played host to a landmark cultural event, the inaugural "City Pop Waves" concert, a pivotal component of the expansive "Palace Bowl Presents" open-air festival. Spanning 12 days across July and August, the festival, known for its genre-spanning lineup encompassing rock, soul, gospel, Afrobeats, and electronic music, achieved a significant milestone by introducing the United Kingdom to its first-ever dedicated city pop concert. This historic event brought together three iconic Japanese artists—Masayoshi Takanaka, Junko Yagami, and Himiko Kikuchi—demonstrating the genre’s enduring appeal and its remarkable ability to transcend linguistic and geographical barriers, captivating a diverse, international audience under the summer sun. The concert was not merely a nostalgic trip down memory lane but a vibrant affirmation of city pop’s contemporary relevance and its potential to foster global musical dialogue.
The Genesis of Palace Bowl Presents and City Pop’s Global Ascent
The "Palace Bowl Presents" festival itself is a testament to London’s dynamic music scene, transforming the historic Crystal Palace Bowl into a vibrant hub for diverse musical expressions. The Crystal Palace Bowl, an iconic open-air venue nestled within the park, boasts a rich history of hosting legendary acts, making it an ideal setting for a festival designed to celebrate varied musical traditions. The festival’s commitment to eclecticism laid the perfect groundwork for the inclusion of "City Pop Waves," acknowledging the genre’s growing global footprint.
City pop, a distinctive musical genre that emerged from Japan in the late 1970s and flourished through the 1980s, is characterized by its sophisticated fusion of Western-influenced sounds, including funk, soul, R&B, disco, jazz fusion, and AOR (Adult-Oriented Rock). Lyrically and aesthetically, it often evoked themes of urban sophistication, consumerism, and the optimistic glow of Japan’s economic boom, or "bubble economy." Artists like Tatsuro Yamashita, Mariya Takeuchi, and Haruomi Hosono became synonymous with its smooth production, intricate arrangements, and often melancholic yet upbeat melodies. After a period of relative obscurity outside Japan, city pop experienced an unexpected and dramatic global resurgence in the 2010s. This revival was largely fueled by internet algorithms on platforms like YouTube, which introduced a new generation of listeners worldwide to its unique sound. Coupled with the vinyl resurgence and the rise of vaporwave aesthetics, city pop transformed from a niche Japanese phenomenon into a celebrated international genre, garnering millions of streams and cultivating a fervent global fanbase. The "City Pop Waves" concert in London represented a significant moment in this global journey, moving the genre from digital discovery to a tangible, live experience on an international stage.
Himiko Kikuchi: Kicking Off with a Timeless Groove
The "City Pop Waves" concert commenced with the formidable presence of Himiko Kikuchi, whose performance immediately set a high standard for the evening. Under the bright afternoon sun, Kikuchi, sporting distinctive round-lensed sunglasses, took her place at the Hammond organ, a central instrument in her signature sound. She opened her set with "Ducky Ducky," a track that instantly enveloped Crystal Palace Bowl in a sound as rich and full as a big band, showcasing her mastery of jazz-fusion elements characteristic of early city pop. Her powerful, percussive pounding of the keys resonated through the open-air venue, captivating an eager audience.
Kikuchi engaged the crowd with a warm announcement: "Today we’re playing songs from FLYING BEAGLE," before playfully turning to reveal the album’s memorable beagle artwork printed on the back of her T-shirt. Released in 1977, FLYING BEAGLE is celebrated not for dramatic narratives but for its refined ensemble work, where piano, keyboards, guitar, and horns weave together to create an effortlessly satisfying groove. Witnessing this four-decade-old album come to life in a country so far from its origin, performed to an audience comprising diverse age groups—including twenty-somethings enthusiastically shouting "Fluffy!" and chanting "Himiko! Himiko!"—served as a poignant reminder of music’s inherent power to transcend eras, borders, and generations. The raw energy and clear affection from the crowd underscored city pop’s universal appeal, proving that its intricate melodies and sophisticated arrangements hold a timeless quality that resonates deeply across cultures.
As her set drew to a close, Kikuchi announced, "We’re out of time, so this will be the last number," prompting an immediate and fervent cry of "One more song!" from the enthusiastic crowd. Responding to their call, she delivered an electrifying performance of "Look Your Back!" This track, rich with Rhodes piano and a sweeping, breakneck horn section, conjured the exhilarating feel of a dramatic chase scene. It was a fierce and playful conclusion that encapsulated the boldness and vibrant spirit of Himiko Kikuchi’s musical artistry, leaving the audience energized and primed for the next act.
Junko Yagami: A Voice for Generations and the Planet
Following Kikuchi’s dynamic opening, Junko Yagami graced the stage, her radiant smile and powerful voice immediately connecting with the London audience. "Hello, London!" she exclaimed, her greeting transcending any potential language barrier, reaching fans who had traveled from various corners of the globe. This global reach was vividly demonstrated during her performance of "Tasogare no Bay City," when a fan from the Netherlands, standing next to the reporter, sang along to every Japanese word with remarkable precision. The fan later explained that he had discovered the song approximately six months prior and had dedicated himself to memorizing its lyrics, highlighting the intense dedication and passion city pop inspires in its international fanbase.
Yagami’s set took a profoundly impactful turn with "TERRA – here we will stay," a majestic, sprawling piece running over eleven minutes, which she composed during the pandemic. True to its ambitious title, the song traces the Earth’s narrative from its genesis to its potential future, directly addressing urgent contemporary issues such as global warming and war. Yagami’s declaration, "We say ‘no’ to war," delivered in fluent English, resonated deeply, drawing a wave of resounding applause from the crowd. She further contextualized her message by revealing her recent grandmotherhood, stating, "The earth is screaming because of global warming. I wrote this song for my grandchild’s future," entrusting her hopes for a better world to the captivated audience. Throughout this powerful performance, the stage screen displayed breathtaking images of Earth, accompanied by English translations of "TERRA’s" lyrics, ensuring her message of environmental stewardship and peace profoundly impacted the diverse London crowd.
Though her set list comprised only four songs, Junko Yagami’s performance was far more than a mere rendition of beloved classics. As an artist profoundly engaged with the present, she utilized her powerful platform to speak out on critical world affairs and climate change. Her stage presence, alert to the exigencies of the times yet never sacrificing the sheer energy and musicality that defines city pop, proved definitively that the genre is not solely about nostalgia. Instead, it serves as a potent form of artistic expression, continually unfolding in the present and capable of resonating with universal themes across the globe. Yagami’s performance underscored the genre’s capacity for evolution and its relevance in contemporary discourse, extending its reach beyond mere entertainment to a vehicle for social commentary.
Masayoshi Takanaka: The Legendary Guitarist’s Unforgettable Headlining Act
As the moment approached for headliner Masayoshi Takanaka to take the stage, the anticipation within Crystal Palace Bowl reached a fever pitch. Chants of "TA-KA-NA-KA!" erupted from the crowd, signaling a collective excitement that transcended mere expectation. Takanaka emerged, beaming broadly and waving to the roaring audience, his presence immediately electrifying the atmosphere. The instant he struck the buoyant, unmistakable riff of "BRASILIAN SKIES," the venue erupted into a frenzy, a testament to his iconic status and the track’s enduring popularity.
Takanaka’s performance was a masterful demonstration of his unparalleled artistry, a seamless fusion of breathtaking technical prowess and the vibrant melodies that spring from his guitar. Songs familiar from studio recordings were transformed in the live setting, taking on a more dynamic, communal energy. While his band provided a powerful and meticulously crafted musical foundation, Takanaka himself, with an occasional smile, allowed his guitar to articulate narratives, stretching out solos and expressive phrases that commanded the spotlight. His interaction with the instrument was not just a display of skill but a conversation, drawing the audience into the intricate tapestry of his sound.
When the main set concluded and the band briefly departed the stage, one iconic element remained conspicuously absent, prompting a new wave of anticipation from the audience: the surfboard guitar. As the crowd awaited the encore, insistent chants of "Surfboard!" rolled through the venue, punctuated by rhythmic three-beat claps. True to expectation, as the intro to "JUMPING TAKE OFF" began, Takanaka reappeared, cradling the legendary gleaming red surfboard guitar. The crowd roared in collective delight as he strode from one end of the stage to the other, proudly showcasing the instrument that has become synonymous with his playful yet profound musical identity.
The evening held one more delightful surprise. Takanaka unexpectedly announced, "See you at Wembley next year!" a revelation that sent shockwaves of excitement through the audience, hinting at future grander performances on the international stage. He concluded the show with the final track, "YOU CAN NEVER COME TO THIS PLACE," before expressing his heartfelt gratitude with a simple, "Arigato!" As the entire band took a deep, collective bow, the venue responded with a wave of generous applause and thunderous cheers, marking the end of a truly unforgettable performance.
Running close to two hours, Takanaka’s set transcended a mere run-through of his best-known tracks. It was a comprehensive revelation of his appeal as a guitarist without peer. For all its meticulous construction, the performance was laced with spontaneous and playful touches, injecting a magic that only a live show can deliver. His stage was a unique space where a deeply relaxed atmosphere coexisted with an overwhelming surge of energy, creating grand entertainment that defied the conventions of a typical live concert experience.
Unity, Crossover, and the Future of City Pop
Above all, what rendered "City Pop Waves" so exceptionally special was the profound sense of unity forged between the stage and the rapturous crowd. The music emanating from Takanaka’s guitar, and indeed from all three artists, was received by an audience that engaged with every fiber of their being, creating a symbiotic energy that transcended the traditional performer-spectator dynamic. The roughly two hours of shared musical experience left an indelible impression on London that night, a powerful testament to the universal language of music.
"City Pop Waves" proved to be far more than just an opportunity for Japanese artists to perform abroad; it became a vivid spectacle of Japanese music being shared across formidable borders and generational divides. The event served as irrefutable evidence that city pop is no fleeting fad, but a robust and evolving musical form poised to continue captivating new listeners for many years to come. The diverse demographic of attendees, from seasoned fans who had followed the artists for decades to young enthusiasts discovering the genre through online platforms, underscored its broad and enduring appeal. The enthusiastic chants, the heartfelt sing-alongs, and the palpable joy radiating from the audience affirmed city pop’s place as a global cultural phenomenon.
The success of this pioneering concert at Crystal Palace Park also carries significant implications for the broader landscape of international music. It highlights the power of digital platforms in resurrecting and globalizing niche genres, creating new markets and opportunities for artists who might otherwise remain regionally celebrated. Furthermore, it reinforces Japan’s growing soft power through its cultural exports, demonstrating how music can bridge cultural gaps and foster deeper understanding. The tantalizing hint of Masayoshi Takanaka’s potential performance at Wembley next year suggests that "City Pop Waves" was not an isolated event but perhaps the beginning of a sustained presence for city pop artists on major international stages. As the echoes of the Hammond organ, the soaring vocals, and the distinctive guitar riffs faded from Crystal Palace Park, one thing remained clear: city pop’s wave is still building, and its crest is yet to be fully realized.
This article by Mami Kondo first appeared on Billboard Japan.
