Earlier this month, AiNA THE END, ex-BiSH member turned solo artist, set out on her Japan tour, ‘Grow the Sunset’ – her first since the disbandment of BiSH last June and following the success of her Tokyo headline performance in January.
Themed around personal growth and self-discovery, the 3-date tour was a chance for fans to see AiNA showcase her impressive dynamic vocal range, and massive catalogue of multi-genre releases. We headed to her hometown show, at Osaka’s Zepp Namba, unsure of how the night would unfold.
This performance marked several firsts for me- it was my first time in Osaka, my first time at a pop concert in Japan, and my first exposure to more than a couple of singles from AiNA. Pop isn’t a genre I typically reach for, however, there was just something about her that piqued my interest, and I had to see the show for myself.
The first thing that caught my eye was the singular wooden swing frame in the centre of the stage, in front of a large semi-circular screen acting as the titular sunset. Maybe a nod to the theme of growing up, or maybe just a fun set-piece for AiNA to play with over the course of the night.
Despite AiNA’s roots as an alternative idol, the crowd was distinctly varied- yes there were still the more typical idol fans with their chants and wotagei, but there were many fashionable young women and girls, and couples with their children in attendance too. As soon as AiNA graced the stage to a unanimous roar from the crowd, everyone in the venue was transfixed upon her.
Opening with the saccharine sweet ‘Happy Birthday’, AiNA got the crowd frantically waving their arms in time with her, while her backup dancers and band amplified AiNA’s presence. Moving swiftly into the wild and jazzy ‘ZOKINGDOG’, the track gave another chance for her to encourage the audience to join in with the dance moves.
Several tracks in, we were treated to hearing new single ‘Frail’ before its official release, a 90s styled sensual pop banger, and the theme for new movie ‘The Strange House’. I was already impressed by AiNA at this point, and we still had a whole show ahead of us.
RELATED: AiNA THE END RELEASES NEW SINGLE ‘FRAIL’, UNVEILS BUDOKAN SHOW
Blasting through track after track, dominating the stage (and our ears) with her incredible voice, AiNA still had time to let the band and her backup dancers have their time in the spotlight. AiNA’s right-hand woman for the night, Yukannu-san, backing vocalist and dancer, emerged as an unexpected highlight. Their dynamic resembled that of a manzai comedy duo, engaging in banter and antics on stage, adding a humorous edge to the set.
Other notable tracks from the evening included Mondo Grosso collaboration ‘False Sympathy’, R&B tinged rock pop track ‘Sail’, the unhinged, distorted and noisy ‘Dare Dare Dare’, and hard hitting The Witch from Mercury ballad ‘Red:birthmark’, all played one after the other.
AiNA then donned a guitar for the beautiful, slow building, emotional ‘Pechika no Yoru’, ushering the crowd into an absolute silence, even more focused on her than before, the cracks in her voice feeling as though she was truly baring her soul to us.
From here we had another two slower emotional tracks with ‘Seiteki Jouya’, and the hugely successful ROTH BART BARON collaboration track ‘BLUE SOULS’ (the best thing Pocari Sweat ever did for music), followed by a gentle change in tone with the almost city pop-esque ‘Him and my Bookshelf’ (Kare to Watashi no Hondana), before heading into the catchy and upbeat ‘STEP by STEP’ (which has now been in my head since).
Before wrapping up, AiNA performed the gently uplifting pop ballad ‘Takaramono’, with the lyrics appearing on the screen behind her to really drive home the song’s meaning.
Thankfully, this wasn’t it, and with rapturous calls for an encore, AiNA graced the stage yet again, this time introducing her little sister as the sole dancer for the track ‘Suika’. Her sister provided a beautiful interpretive dance, while AiNA stood simply in the middle of the stage, looking so very tiny now, singing her heart out.
Finally, we reached the last song- ‘Saboten Girl’, an upbeat jazzy pop jive that gave the audience one last chance to dance, wrapping the night up in a big, warm, fuzzy bow.
Throughout the night AiNA stopped to give MCs to the crowd, some motivational, some grateful, and some funny, which were met with laughter, and even some tears. She also gave her dancers and band multiple chances to be recognised, introducing each member twice over through the show, and thanking them all for their hard work.
By the end, I found myself a big fan of AiNA THE END, impressed by her voice, her presence, her versatility, and her connection with the crowd and those around her. Her charm, seemingly limitless energy, and free-spirited nature is a breath of fresh air- she’s an artist who knows when to not take herself too seriously (emphasised by making Ultraman Beam gestures during one of the songs), but can still invigorate and pull on your heart strings at a moment’s notice.
Her journey from one of Japan’s biggest alt-idol units to solo-artist has been an exciting one, and having just announced her first one-man Nippon Budokan show, she doesn’t look to be slowing down any time soon, and I’m glad. If you get the chance to see AiNA perform live, I implore you to take that opportunity and enjoy it to the fullest.
Photos Sotobayashi Kenta
AiNA THE END
Frail
Release Date: 15/03/2024
Label: avex
Stream: Links