ITADAKI Main MC PJ Interview
We had our staff member Dagiri interview PJ, who has been participating as the main MC since the very first edition of the outdoor festival ITADAKI, held on June 3 and 4, 2017.
Everyone is a protagonist, so I'm carrying the feelings of those behind-the-scenes power players as well.
Da: This time, we’ll be conducting an interview as an article for Studio Rag Kyoto’s web magazine, “Welcome to Studio Rag.”
Thank you so much for taking the time.
P: Thank you in advance.
First, regarding PJ-san.
You’ve been serving as the MC for ten years—are there any principles you keep in mind or particular things you’re particular about as an MC?
Personally, I felt it was almost too presumptuous for me to take part as an MC—it all began with a sense of feeling humbled and apologetic about it.
There hasn’t been a year where I only did MC and didn’t perform. I mean, I’ve been involved not just as an MC, but also by playing in the reggae segment with my own band, or putting together a special band by inviting artists from Jamaica.
I was playing music, and then it kind of started when someone invited me like, “Why don’t you try MC’ing too?”
After ten years, you build up a kind of immunity, and I’ve developed this really strong personal attachment to the summit. Well, even so, I can’t really pull off any impressive MCing.
Of course, it’s about the music at Itadaki too, but Itadaki is really made up of more than just the artists I like who are performing—there are volunteers, food stalls and shops, and, at its core, a variety of different roles and positions.
Even after ten years, I’m still discovering all sorts of roles down to the smallest corners—like, “Oh, there was a position like this too!”—and having those kinds of realizations.
While feeling that way, I want to convey it to those people as well.
I’m starting to feel like I want to tell the next person that there are people like that too.。
Well, for now, of course, um,I’ve been doing MC work as an extension of being an artist.But somehow, the MC feels like it has a pretty solid place for me too, on about the same level.
I'm participating in that kind of capacity.
I kind of want to introduce the unsung heroes in my own way—like, there’s someone who goes around collecting used oil from everyone, people who donate it, someone who coordinates it all, and then someone who performs using that used oil, and so on.
Everyone is a protagonist, so I'm carrying the feelings of those behind-the-scenes power players as well.。
Do as you like.
Go on stage as the MC with the feeling that we’re all doing this together.
Since I’m in a position where those kinds of opportunities exist, I’m doing my best in my own way as someone who can take them on as a representative—saying what needs to be said, conveying what can be conveyed, and making people feel what should be felt.
Express your feelings as simply as possible, and even if you don’t convey everything in words, carry it into the next note.
Da: Is there anything you find particularly challenging about being an MC, or anything you’ve been struggling with?
If I were to explain it in detail in a short time, there would be no end to it—there really are so many people working behind the scenes.
But, how should I put it… what I find really lovely about Itadaki is that it’s not the kind of event where an MC comes out from the start and there’s always an MC before each band.
Somehow, when it gets like that, it ends up feeling too much like a radio show, and I think it kind of cuts off the band’s flow—the momentum we’ve built.
We were talking—me, the artists, and the staff as well—about how we don’t want to do it that way.
Roughly speaking, in terms of the flow, it’s the very beginning, the middle, and before the candle stage.
And then there are these four key points, like tips, for giving a closing greeting.So it’s like a pipe—you convey your feelings as simply as possible, and even if you can’t fully express them in words, you connect them to the next sound.。
It’s like seeing how much I can pull off that role, and I’m doing it while thinking it through in my own way.
Like, you know, without those MC interludes like at old rock festivals—just, for example, one band finishes, the next band sets up, makes some noise to check levels and rehearse, and then it’s like, ‘Alright, here we go!’
That kind of flow, you know, like the vibe in the air—I really think it’s important.
It's not just filling the gaps with MC; it's more like the lingering resonance from the band's tuning and setup, you know?
While savoring it without breaking that kind of feeling, at the tsubo (acupoint/pressure point)I was hoping I could convey what's important.I'm doing it, you know.
Does that make sense, what I'm saying? (lol)
Da: It's okay, I understand (lol).
It's not just about music—lots of heavy hitters from all kinds of fields are gathering.
Da: I think it really has something like the distinctive features of the summit.
What do you think, in particular, sets it apart from other festivals?
P: Anyway, there are all kinds of other festivals these days, so I can’t make a blanket statement, but among the festivals I’ve taken part in, this one is the most—how should I put it...
An event that’s easy to come to for music lovers, people who don’t know much about music, parents who love music, and even music-loving grandparents.I was thinking it might be something like that.
So, there might be other events like that and maybe I just don’t know about them, but I get the sense that the president and the staff are considerate about that, and that it’s an event designed so that, no matter what genre someone is into or what generation they’re from, they can enjoy it.
Da: That's right.
There’s definitely a certain vibe—or atmosphere—you can really feel.
I think the vibe of the audience changes, too. There are all sorts of people who come, and there are some distinctive events as well. From the perspective of looking out from the stage, do you notice any differences in the audience—like, do the people who come to Itadaki feel somehow different? Is there that kind of difference in atmosphere?
I’m not really sure… but how should I put it… I get the sense that when a certain person plays, a certain crowd forms and those fans gather, and then once that set is over they leave, and the next band’s fans come in. Watching other events, that’s really the impression I get.
That's not quite it.
Of course, even if your reason for coming is to see a particular person, whether you’re watching from afar, watching while eating, watching while chatting with friends, or watching right up front,There are many customers who can enjoy it as a whole.I wonder if that's the case?
After all, it's not just about the sound.
Customers who enjoy the atmosphere created by the people there—and even fans of the vendors themselves—come to this place and have fun, saying it’s a once-a-year shop.
It’s really a place where not only music but all kinds of heavy hitters gather—whether it’s the shops or the food.
Amid all those strong people gathered together, everyone recognizes each other and enjoys themselves—that atmosphere is really nice, I think.
I think its framework is different from that of other events.
What I wish for most is that you come with an open heart, ready to accept everything.
Da: I think there will be cases with new customers, or people who don’t really understand about Itadaki.
For people like that, is there anything here at the summit you’d want them to enjoy, or things that, if they enjoy them, would help them enjoy the summit as a whole?
Hmm, let me see.
I guess I just hope you can enjoy it in the way I mentioned.
It hardly even needs an explanation.
I feel like it’s the kind of event where, if you just show up there, you’ll naturally find yourself opening your heart at the peak—there’s no need to prepare for it in advance.
Da: It feels like as long as you have the will to enjoy yourself, there are plenty of places to have fun everywhere.
P: That's right.
First of all, being outdoors means you're under the open sky, so there's no sense of being cramped—it's different from how it feels when you see them in a club.
So at that point, you still have a range of choices you can make yourself, right?
For example, if you go to a venue that holds around 500 people and there are lots of bands playing, I think it would feel cramped.
Because when people can choose their own spot, distance, and way to have fun within the space, repeating that ten times seems to be building a foundation—more people are starting to say, “That place is nice,” or “Let’s enjoy that spot.”
That's exactly whyIf you come with an open heartI think you’ll naturally be guided to the place or timing that feels right for you—where you can really savor it.
I can’t really explain it well, but...
Anyway, after allWhat I wish for most is that you come with an open heart, ready to accept everything.。
If you come with that mindset, I’m sure you’ll have a great time.
Having participated ten times, that’s how I feel.
I want to put on such an amazing live show that you won't even feel that way.
Da: Then let me ask you a little bit about you as an artist.
This year "DUBSENSEMANIAYou’ll be participating in the event as part of the “resumption,” so to speak. How do you feel about this resumption—what are your thoughts on it?
I agree./Let me see./Right./Well, yes. (Depending on context)
Anyway, I was talking about this at today’s live show, and it feels like we’re making a comeback after 11 years. I can’t believe it’s been that long. This year marks 10 years of Itadaki, so it’s like, wow—we actually went on hiatus a year before Itadaki started.
I don’t feel that way to the point where it makes me wonder where the whole idea of a “peak” even started.
Basically, there’s this thing called Itadaki, and before that there’s the Hamaishi Festival, and I mean including that as well.
To be more specific, before holding that outdoor eventBONBON-BASHEveryone was running a live music venue like that.
So whenever we got to make our major debut, or when we went on tour and came to Shizuoka, we were allowed to do it under the name BONBON-BASH.
Wow, that’s actually where I was raised.
Well, you know, timing and all. If we’d kept going, I’m sure we would’ve been doing it at that kind of venue, and as things progressed—like deciding to quit both BONBON-BASH and that venue and move it outdoors—if we’d kept at it, we probably would’ve been involved from the very first time.
But well, before that, it ended up being put on hold.
So in that sense, this is the first time it's coming out as a 'double single,' but it's not the first time overall.
Before Itadaki began, there were roots—and I believe it's thanks to the efforts and accumulation of BONBON-BASH leading up to this event that we are where we are now.
Not quite like that… you know?
Well, I’ve been taking part as the MC all along, so even though it doesn’t feel like the first time, it’s the first time as “Dabusen,” so it feels really strange.
It feels like it’s not my first time, but this year I’ll be appearing for the first time as “Dubsen,” and I’m all nervous and excited.
Or rather, in our case, it's not that we came back aiming to reach the top.
Before we ever performed at Itadaki, everyone at BONBON-BASH helped grow “Dabusen” and kept sending us love calls like, “Come play Itadaki someday,” but we just couldn’t manage to answer them for a long time.
On our 10th anniversary, each of us finally got off our heavy backsides, and thanks to Mr. Ono hitting this sweet spot, we felt it.Let's go deliver our thanks.Like, “he/she/they said.” (Used to quote or trail off after reporting speech.)
I don't even know if we can keep going together from here.
That aside, this time it’s like we’re getting back together with a “let’s go celebrate” vibe and being allowed to perform.
Anyway, we're simply going to reach the very top, and we're going to perform live for the first time in 11 years.
It’s like you’re making my heart race with excitement.
Surely many of the people who come probably don’t know “Dub Sen,” and since it was the BONBON-BASH folks who invited us, I think it’s going to feel pretty private/insider.
From the audience’s perspective, they don’t know or care about that, so I want to put on such an amazing show that they won’t feel any of it.
Da: So, with this reunion, is there anything about DUBSENSEMANIA you want people to pay attention to—like aspects you’d like them to see, what’s new, or particular points you’d like them to focus on?
Honestly, it's not like we're making and performing brand-new songs or anything, and we don't really have a plan like, 'Hey, this part is new now,' to be honest.
But somehow, songs really are alive, and it's the same even on CDs.
I’m hoping to liven things up nicely.
I’m hoping I can put out positive vibes.
Lastly, may I ask you to share your enthusiasm as an MC, as well as your determination as an artist?
P: Well, yeah./Let me see.
Anyway, if I look back there are all kinds of memories, but going forward I want to do this because I want to seek out and feel a peak—or vibe—that I’ve never experienced before.
Anyway, I'm thinking I'll just have fun by going out to look for it.
I feel that way both when I’m doing MCs and during live shows.
Like I said earlier, I kind of feel like I’m doing MC work as an extension of my artist activities because people ask me to, but over the ten years I’ve been doing it, there’s kind of a standard MC fee that’s formed.
Either is fine.I’m hoping I can put out positive vibes.。
Da: Thank you for talking about various things in such depth.
P: Well, I'm not sure if I'm really answering properly, though.
Da: Not at all, not at all.
I believe I was able to hear many valuable insights.
Thank you very much for taking the time out of your busy schedule.
I’m looking forward to both the MC and the performance on the day.