BROS#84 “Hi, this is Fukuyama” (2009.10) Part 1
The Michishirube Concert Tour; Inasayama; then Ryoma.
Days when the Memories of 2009 were Engraved in my Heart
How are you all doing? Hello, this is Fukuyama.
Now that we’re coming to the end of 2009, I would like to say something to all of you in BROS. Firstly, no! There’s only one thing.
Domo Arigatou! Thank you! Thank you! Thank you!
I asked them specially to enlarge this line. Only in this size, can it reflect the extent of my gratitude. Thank you. I couldn’t help saying it 3 times in a row. The first, is a great big thanks to all of you who came to the national concert tour. The second, is a great great big thanks to all of you who made the single and album No.1 (I’m really very happy~). And the last thanks is for the fans of course, this goes without saying (including everyone in BROS), as well as the Staff and Band who put in the highest skill and the greatest heart, to come up with the most extraordinary performance inside such a tight schedule. And then also, along the path to our “Big Success” this year (please let me blow a bit of my own horn here), “everyone” I have encountered from the time I was born in Nagasaki; who gave birth to Fukuyama Masaharu and brought him up; who supported him to keep moving forward and became his “road sign”, let me offer this huge gigantic thanks.
Really, thank you very much to all of you.
Looking back (at this past year), after we finished the 2008 year-end Winter Daikanshasai, there was about half a year’s time when I was busy recording and promoting the single, and rehearsing for the concerts. Then came the Nippon Budokan Daikanshasai at the end of May and beginning of June, followed closely by the concert tour which started from 20/6 onwards. In between we had to do this and that for the release of the album, upto the closing of the entire concert tour at the end of September. There was also Inasayama with its different rundown; opening ceremony; helicopter ride to the venue, etc. After all this singing, working and flying, I went straight into the filming of “Ryoma den”……
Just by looking at the concerts alone, we had the Budokan; Michishirube tour and Inasayama – 3 different rundowns. Right! Let’s enlarge the words again!
I…. really worked very hard!! (laugh)
Because I did! (laugh) If 2009 is not a “Big Success”, then how else can we describe it?! I shouldn’t say “I had a hard time”, because I am a man. But, let me just tell you this – although it was really tough (there and I said it after all), but it was for this very reason that I had such a solid enriching time, and I was very happy. I believe everyone must have been the same, I got 120% joy out of it. Was I right?
Now that I have tried to list out all the things I did, it’s made me feel a bit lonely again. To all of you looking forward to the concert tour, and to myself for whom the concerts are always such a special time, the fact that we “cannot go on like this forever” does make one feel lonely, because a concert needs all of us to be complete. The members of Team Fukuyama, it goes without saying, as well as everyone who came. Even though I am a man, I guess it’s alright to feel a bit sad about it.
As for this Michishirube concert tour, what did you think of it?
No matter how you look, from last year’s Daikanshasai* to the 360˚ centre stage encircled by the audience in the Budokan, to having audience seats at the back of the stage itself on the national Tour, these are all epoch-making in the set-up. (So let me brag a bit again!)
The big screen at the back of the stage “doesn’t seem to be what I want……”, the moment I had this revelation, another idea was born. Of course, when we project images and LED lighting onto the screens to make the concert visually attractive, this will make the audience happy. But instead of such flashiness, I’d much rather prefer that sense of unity from physically “being together with all of you”. I really wanted that type of stage, especially for these concerts. To do this, the images at the back can appear to flutter about in all ways; and I could move around a bit more, so that everyone has a chance to see more of M☆FUKUYAMA (laugh), it’s something I need to do! But however you look at it, I have this notion not because I am narcissistic myself. Neither am I displaying myself in the same way as the animals in Asahiyama Zoo (旭山動物園). (laugh) What I want to say is, just like the way you would all like to see me closer, I want to look at you from close-up too!
I believe that ‘Close to Fukuyama’ = “Close to Songs” and ‘Close to You all’ = “Close to Smiles”. The significance of the songs I sang from the album “Zankyo” and the re-execution of the old numbers, are to allow you all to experience with your body and soul this thing called “Fukuyama’s Song”. A physical way of touching your feelings, shall I say…..
And so, we took down the big screen at the back. Then built our catwalk, one which could be elevated. Besides the basic set-up, in Inasayama for example, we constructed the Inasayama-only catwalk. I even sang and played the guitar on that catwalk, and then, for the extra shows in the Yoyogi First National Gymnasium (代々木第一体育館) we added the best parts of Inasayama to the basic set-up and built the Yoyogi-only catwalk. Even the Fukuyama catwalk was constantly evolving.
During the tour, we received a lot of feedback on “how close we felt” in the concert. It seems my thoughts were successfully communicated to you all. At the same time, I was a bit worried if the audience sitting directly behind me were able to have a good time as well. But it would be great if you were able to enjoy that fresh view that only these seats could see and if you could feel that unique exhilaration (that can only be found on stage).
“Will the musicians have any difficulty with that?” I’ve heard such queries as well. We’re actually very used to it. Although we haven’t decided to make these seats a fixed setting in the future Fukuyama concerts, if there are no fans behind me in the next show, I might very well be feeling lonely on stage. Maybe I’d have you all encircle me and I’d stay in the centre to sing~~ (laugh).
As for some behind-the-scenes, perhaps you’ve noticed that I usually wear an earphone on one side only. That’s because it’s very difficult to hear your response and my singing otherwise. I’d rely on that earphone on one side to listen and sing to the instruments. But in the Budokan where the centre stage was totally surrounded (by audience), if I didn’t put both sides on, I couldn’t hear the music clearly at all. But then I couldn’t hear your voices, and if I took them off, it’d stop me from singing and playing properly. O.M.G………well, although we’re stuck at this point, we’re in the 21st century now, I believe the advancement of acoustic technology will soon solve problems like that. Let’s hope Japan’s….no, PA development technicians in the world can keep working on it!
~ To Be Continued ~
* The 2008 Daikanshasai was the first time he had SB seating (Stage Back, or was it Sexy Back?) behind the stage.
Translated from the Chinese version Fukuyama Honne (Articles 7179 and 7189) with reference to the original article in BROS issue 84
This English translation was first posted on MashaPlus [dot] Info Forums. (Registration required to enter.)