- While many festivals come and go, Japan's biggest outdoor festival, Fuji Rock, celebrated its 20th year in 2016. Held in a ski resort, the three-day extravaganza features more than 200 acts performing to around 120,000 people, with everything from rock, techno and world music represented. This year's edition began beneath cloudy skies that quickly turned to relentless rain, reminding everyone that partying in the mountains can mean unpredictable weather. I headed to the covered Red Marquee stage and was treated to a welcoming croon by Gallant. Hearts were melting as he expressed his appreciation for Japan in surprisingly sharp Japanese, while delivering a dazzling falsetto.
Fuji Rock's core demographic is older than most festivals, which is testament to the loyalty of its fanbase. Most people tend to grow out of events of this size by a certain age, but Fuji Rockers, as they're affectionately known, return religiously year-on-year. Even if starting a family means people stay away for an edition or two, they usually reappear, kids in tow. In a country like Japan, whose music industry remains largely insular, Fuji Rock is a rare space where people of all ages, races and musical tastes can gather together.
The pouring rain didn't let up on the second day, though no one seemed bothered. The Avalanches came out with a live band, hyping up the crowd with the odd classic by The Clash or The Beatles. Watching hundreds of colorful raincoats jump up and down to the group's own "Since I Left You" was a surreal experience. Over at the White Stage, Death Grips brought the house down with their apocalyptic clash of distorted notes, thundering drums and aggressive rapping, inciting riotous mosh pits and crowd-surfing. They're known for these incredibly energetic sets, but witnessing the mayhem first-hand was something else.
I can't talk about wild, unpredictable sets without mentioning Aphex Twin. When Richard D. James played the inaugural edition of Fuji Rock in 1997, he left a lasting impression by performing from a dog kennel. Because of the rain, I was worried his dark, unsettling music might drive people away, but instead James led with some bass-heavy breakbeats. From there he settled into a techno groove, turning the grassy field into a sweaty night club, complete with lasers and strobes. Images referencing Japanese politics and entertainment kept the crowd mesmerized. Just as I thought I'd figured out where the set was going, he flipped the script and ended with unrelenting attacks of brutal noise.
Given that this was their first appearance in Japan since the reunion, LCD Soundsystem were on many's must-see list. Fittingly, the first track was "Us V Them," which begins with the lyric "The time has come." Touching upon their entire discography, they performed a magnificent show full of passionate vocals and enticing grooves, ending on a high note with "All My Friends." The main stage shut for the night straight after, though the party was still going strong at Red Marquee, where A Guy Called Gerald was serving up old-school techno to a lively floor. Before it was time for Nina Kraviz, I decided to sneak out to Pyramid Garden, an area next to the campsite that became a chill-out space after dark. I sipped coffee by a fire, letting Silent Poets' dubby beats heal my tired body. Back at Red Marquee, Nina Kraviz heated the floor with trippy techno. Despite the short slot, she avoided crowd-pleasers, building a patient groove via functional beats and acid basslines.
The rain wasn't as harsh on the final day. After catching bits of Real Estate and Lukas Graham, I hopped on the Dragondola, Japan's longest chairlift. Drifting over clear rivers and emerald green lakes, it was a bit like an amusement ride. When I got to the top of the mountain, I followed the sound of the kick drums and found an energetic crowd stomping to the rhythms of Force Of Nature. The vibe at the Day Dreaming stage was like being at a rave.
After Lorde's impressive set, Björk closed the Green Stage. Though it was her third time at the festival, she hasn't toured the world since she started working with the likes of Arca, so fans flocked to catch a glimpse of her. She walked onstage wearing an outrageous outfit, singing the first notes of "Stonemilker." Her presence was captivating. Even on the big stage, her shows never lose their artistic edge. Her divine voice, draped in orchestral strings, reverberated through the mountains. For the encore, she sang "Hyperballad" while fireworks lit up the sky behind her, a theatric finale to another excellent Fuji Rock.
I can't talk about wild, unpredictable sets without mentioning Aphex Twin. When Richard D. James played the inaugural edition of Fuji Rock in 1997, he left a lasting impression by performing from a dog kennel. Because of the rain, I was worried his dark, unsettling music might drive people away, but instead James led with some bass-heavy breakbeats. From there he settled into a techno groove, turning the grassy field into a sweaty night club, complete with lasers and strobes. Images referencing Japanese politics and entertainment kept the crowd mesmerized. Just as I thought I'd figured out where the set was going, he flipped the script and ended with unrelenting attacks of brutal noise. Given that this was their first appearance in Japan since the reunion, LCD Soundsystem were on many's must-see list. Fittingly, the first track was "Us V Them," which begins with the lyric "The time has come." Touching upon their entire discography, they performed a magnificent show full of passionate vocals and enticing grooves, ending on a high note with "All My Friends." The main stage shut for the night straight after, though the party was still going strong at Red Marquee, where A Guy Called Gerald was serving up old-school techno to a lively floor. Before it was time for Nina Kraviz, I decided to sneak out to Pyramid Garden, an area next to the campsite that became a chill-out space after dark. I sipped coffee by a fire, letting Silent Poets' dubby beats heal my tired body. Back at Red Marquee, Nina Kraviz heated the floor with trippy techno. Despite the short slot, she avoided crowd-pleasers, building a patient groove via functional beats and acid basslines.
The rain wasn't as harsh on the final day. After catching bits of Real Estate and Lukas Graham, I hopped on the Dragondola, Japan's longest chairlift. Drifting over clear rivers and emerald green lakes, it was a bit like an amusement ride. When I got to the top of the mountain, I followed the sound of the kick drums and found an energetic crowd stomping to the rhythms of Force Of Nature. The vibe at the Day Dreaming stage was like being at a rave. After Lorde's impressive set, Björk closed the Green Stage. Though it was her third time at the festival, she hasn't toured the world since she started working with the likes of Arca, so fans flocked to catch a glimpse of her. She walked onstage wearing an outrageous outfit, singing the first notes of "Stonemilker." Her presence was captivating. Even on the big stage, her shows never lose their artistic edge. Her divine voice, draped in orchestral strings, reverberated through the mountains. For the encore, she sang "Hyperballad" while fireworks lit up the sky behind her, a theatric finale to another excellent Fuji Rock.
