Alternative jazz visual kei ensemble Fukuro made their UK debut on July 15th at The Underworld, London’s proving ground for Japanese artists, as part of their first European tour, ROAD TO EUROPE. Over the years, the venue has hosted the likes of JILUKA, ASP, THE BAWDIES, Polysics, and many more, becoming a launchpad for acts making their first move into the UK live circuit. This time, it was Fukuro’s turn.
Formed in 2021 by ex-DADAROMA frontman Yoshiatsu, Fukuro set themselves apart with an unconventional lineup of vocals, piano, bass, and drums. Rooted in jazz and rock, their sound spans moody ballads, retro jazz-pop, and cabaret stylings. Their first full-length album ‘Minority/Minority’, released in 2023, pulled those threads into a cohesive statement of intent, laying the groundwork for their international push.
Inside, the merch queue wrapped around the room, while other fans scrambled to get the perfect view, tactically avoiding the much hated pillars in the middle of the floor. Fans began to screech long before the band even arrived on stage, signalling their excitement.
Tonight, there was no pre-show playlist blaring out the speakers. Instead, the band’s gloomy instrumental ‘Yako’ quietly wafted through the air, gently coming and going, feeling like we were about to see some kind of spooky theatre show.
Screams rose to deafening levels the moment the band arrived on stage. The instrumentalists, dressed sharply in black suits and ties, began to play before a buzzer rang, and a voice welcomed us “Good evening beautiful people”. Vocalist Yoshiatsu then entered, outfitted in a monochrome polka-dot shirt and waistcoat, with teardrop makeup evoking the image of Pierrot the clown.
The band launched into the first song of the night ‘Albus no tabi’. It builds slowly, with downtrodden lyrics and sound, but the moment the drums and bass broke, the room erupted. Daisuke’s gentle piano cut through, complementing Yoshiatsu’s vocal melody. Unprompted, the audience clapped along in the chorus, giving the bittersweet track a strangely positive feel. Yoshiatsu’s stage presence was already off the charts, little flourishes of his hands and undeniable charisma keeping eyes fixed on him.
Seamlessly, the band transitioned into atmospheric jazz romp ‘Neko’, with pianist Daisuke making cat hands, smiling wide. Lotto exuded effortless cool as he played the drums, an upbeat rhythm dancing through the air. Yoshiatsu stared and pointed towards fans with a teasing glint in his eye, then slowly ran his tongue across his teeth. He shouted, rubbed himself with deliberate flair, and the front row visibly melted.
Transitioning into the dark, eerie ‘Tanteki koufuku-ron’, it opens with an unnerving plucked string sound, ominous high-pitched synthesiser, and low creeping bass, Yoshiatsu’s almost rapped lyrics floating above. The crowd responded with a unified chant of “hey!” in the chorus, arms bouncing at Yoshiatsu’s command, and singing along with the repeated line “Dare ga jama shiteru nda”.
And next,‘Seppun’ (‘Kiss’) from 2022’s ‘Adult Children’. It’s a smooth, cool jazz love song, the recorded version feeling gentle and filled with warmth, but the performance tonight was a little faster, amplifying the groove. Yoshiatsu got everyone to swing their arms in the air during the chorus as the entire room sang along with every word. During the short solo segment of the song, he introduced the band members before their respective parts, giving everyone a moment of their own.
Brothers Yutara and Daisuke perform side by side, providing the bass and piano that shape Fukuro’s rhythm and jazz sound.
It was evident by this point that the band were having a ton of fun on stage, and the room felt warm and intimate, courtesy in part of the “zero distance” venue. A brief MC from Yoshiatsu followed, before the mysterious and enticing ‘ROAD TO THE FUTURE’. The crowd yelled out the line “Welcome to the future!”, Yoshiatsu then reeling up his middle finger to many screeches and some returned middle fingers. More frantic arm swaying ensued in the chorus, while during the tap segments Yoshiatsu danced along to the beat, footwork perfectly matching.
They slowed the tempo back down with ‘Cadenza’, a heartfelt ballad about the confusion of love, from 2021 EP ‘Fukuro no mori’. The fans continued to sing along, many belting the lyrics like their lives depended on it. Next, ‘Gekkou’. Just the opening notes from Yoshiatsu were enough to incite piercing cries from across the venue. His strong, clear voice sounded better live than recorded. As Yutara’s bass kicked in, the volume rose again. The sad sounding chorus ended with Yoshiatsu leaning on the mic stand, eyes rolling into the back of his head, his mouth agape. Ending with an elongated high note, the song faded out.
Upping the energy again, Lotto rapidly pounded away on the drums. Daisuke moved to the front of the stage and pulled out a pair of bubble guns from behind his back, filling the air with thousands of bubbles. Yoshiatsu appeared with a smile plastered across his face, filming the scene on his phone. He struck his palms together, then cupped his ears, prompting chants along with the beat. Then, yelling the title and letting out a shriek, ‘Bakemono no watashiniwa’ began.
Yoshiatsu leans into his Joker persona as Lotto holds steady behind the kit.
A circus-like track with a frenetic feel, this song really encapsulates Fukuro’s vibe. Here, Yoshiatsu leaned into his clownish Joker persona, like some kind of ringmaster or freak show leader. During the verse he languidly hung his arms about his body before gently holding a fan’s hand, then coming alive for the chorus. Daisuke and Yutara danced behind their instruments, Lotto smiling out at the audience. The song ended with discordant sound, and Yoshiatsu screaming out “London! London!”, the crowd’s response growing louder with every repetition, the noise rising and eventually becoming its own entity.
A longer MC followed, each member taking a turn. Yoshiatsu checked around the room to make sure everyone was okay, before the band’s pianist and composer Daisuke began. He noted that when writing, the melody and how it will reach people is the most important, and also about how it will match the charm of Yoshiatsu’s singing, referring to him as an amazing actor on stage and a genius. Then Daisuke introduced Yutara, the band’s bassist and his older brother, describing him as very kind and always supportive.
Next, Daisuke introduced Lotto, simply explaining that he drinks a lot. He wrapped up by saying “That is the Fukuro I love. Please love us forever! I also love you all!”. From here it was Yutara’s turn to speak, but not before the audience began chanting his name. He declared his love for rock, punk, and this town, as well as the fans. He added that he wants Fukuro to keep growing and making music, finishing with “you guys ROCK! Thank you!”.
Lotto spoke next, explaining he was so happy to come to England, the home of “super rockstars” like Sid Vicious, noting that he hopes Fukuro will become superstars in the near future. He said that the band want to create a happy future with everyone, and that life is wonderful. He thanked the audience and waved, allowing Yoshiatsu to speak once more.
Yoshiatsu said, “Okay beautiful people!”, drawing shrieks from the audience, before explaining he can’t speak English. Spurred on by the support, he simply said, “I’m very happy”, sparking a surge of cheers.
‘Dorobo no march’, also from 2022’s ‘Dramaturgie’, followed. Yoshiatsu provocatively sucked on his middle finger during the chorus, sending the room into a frenzy. During the lull, he removed his black ribbon necktie and handed it to a lucky fan in the front row.
Yoshiatsu introduced the next song, noting it’s “very very crazy”. It was time for their latest single ‘MOM!’, a rework of the track originally from 2023 album ‘Minority/Minority’. Everyone sang along loudly as Yoshiatsu illuminated his face with a torch, sweeping its beam over the sea of faces before him. Fans waved Fukuro lollipop lightsticks in the air, and Yoshiatsu shouted “MOTTO!”, encouraging louder chants of “Mama mama!”. The song itself, a cry for help, rallied the crowd to yell at their loudest as Yoshiatsu brought out his phone again to film everyone singing along. The lights dimmed, the song ended, and he dropped the torch, plunging the room into a moment of darkness.
‘Glass no kutsu’ followed, with Yoshiatsu calling for everyone to jump during the chorus, the beat of which inviting some towel spinning and arm flailing. Then came the final song of the main set, ‘Lalala’. Torch in hand again, Yoshiatsu shone it into the crowd and said “Are you ready?”, then asked to hear everyone’s voices. Everyone again sang their hearts out. Ending with a “Thank you! I love you!”, the band left the stage to a wave of cheers.
It wasn’t long until the encore, a mix of “Fukuro” chants, “one more song”, and “アンコール” chants flooding the venue. Lotto arrived on stage first, calling for everyone to “clap your hands please!” as he drummed, the fans obliging, and chanting his name. Yutara and Daisuke followed, bubble guns in hand, striking a pose back to back at the front of the stage, showering the room in bubbles once more. And finally, Yoshiatsu reappeared.
‘BitterChoco’ kicked off the encore, the crowd clapping along with its gently bitter verse before the fast-paced chorus broke out. More fanservice from Yoshiatsu followed, crotch grabs and piercing eye contact included.
Yutara’s deep strumming bass led into the penultimate track for the night, ‘Hero Gokko’. A “hey” chant broke out, the room still buzzing this late into the set. Yoshiatsu leaned on a fan’s head, much to their delight, then later held out the mic to different sections of the venue, maintaining a passionate, wild eye contact. Toward the end, he punched the mic into his chest, both the band and the audience full of fervour.
Here, Yoshiatsu spoke briefly again, introducing the final song and thanking us for tonight. Gasps rippled through the room as the traditional signed flag was held aloft by the front row. The entire venue fell into a hush, with Yoshiatsu standing still, calmly staring ahead, eyes misted over.
The final showing was a huge shift in tone, with the tender, quiet ballad ‘Itsuka wa shindeshimasu bokurawa’ (‘We, Who Will Be Dead Someday’). The track felt sombre yet beautiful and loving, an embrace of life and death. The fans clapped slowly throughout, some swaying, some with tears in their eyes. It was an unexpectedly beautiful, heartful ending.
An attendee next to me had mentioned she didn’t know the band, the genre, or the language, but she felt the emotion of the song, proving that music and emotion can transcend language barriers.
Yoshiatsu told us, “I love you, London”, then thanked us as the band made their way offstage. The lights came up, while ‘MOM!’ played across the speakers. They re-emerged to take the obligatory crowd photo, Yoshiatsu asking everyone to come closer. He high-fived as many fans he could, while the other members said their goodbyes. Lotto stayed behind, singing along to the track until the very end.
I didn’t quite know what to expect from this show, and I was blown away. Yoshiatsu’s voice was crystal clear and unwavering the whole night, while the instrumentalists, Daisuke, Yutara, and Lotto, hit every note, every beat with precision. The band interacted with fans throughout the night, plus Yoshiatsu occasionally checked on those stuck behind the infamous pillars to make sure they were okay.
The audience skewed young, and while some weren’t quite attuned to concert etiquette, the pre-tour guidance clearly helped. Phones stayed down for most of the show, the crowd simply absorbed in the moment. There were bursts of enthusiastic shrieking throughout, prompting the band to gently hush the room a few times, but you can’t fault their excitement.
In light of Yoshiatsu’s very candid Instagram post explaining that they were worried about the tour and had planned for low ticket sales, it was great to see the amazing turnout in London, and across the whole European tour.
In London, a day earlier, Yoshiatsu got a new tattoo; the nautical star, a symbol of guidance that has become synonymous with punk. He noted that it’s on the hand that holds the mic, always visible to him. It’s a constant reminder of this landmark tour as well as the spirit of punk. The tattoo could be seen worn proudly during the show, with every little hand motion leading his eyes out to the ecstatic crowd before him.
I have a feeling that Fukuro will return to Europe someday, their own brand of jazz visual kei mixing things up in a sea of metal acts, and I can’t wait.
Photos by Charles Shepherd
Fukuro – ROAD TO EUROPE TOUR 2025 – 15/07/25 – London Setlist
- Yako (pre-show)
- Albus no tabi
- Neko
- Tanteki Kofukuron
- Seppun
- ROAD TO THE FUTURE
- Candeza
- Gekkou
- Bakemono no watashiniwa
- Dorobo no march
- MOM!
- Glass no kutsu
- Lalala
Encore - BitterChoco
- Hero gokko
- Itsuka wa shindeshimasu bokurawa
Fukuro (梟)
Minority/Minority
Release Date: 23/10/2023
Label: TOMARIGI RECORD
Stream: Spotify | Apple Music
