This was a crazy, crazy weekend in Alicante that I planned on the go with my friend C*****. It all started when guitarist Inoran, from Luna Sea, was announced as guest in the local “Manga and Japanese Culture Convention” Salón del Manga y Cultura Japonesa de Alicante. She was on the fence as to whether she wanted to come, but after musician Kenichi Yoshida was also announced, she was sold. I had already bought my tickets and booked a room, but it was fine for two people, so we could bunk together.

I finished work on Friday at around 19:00, made a dash for the local train station and jumped onto a commuting train to Madrid, where I took the long-distance train to Alicante. I arrived at around 22:30. C***** came to pick me up at the station, as she had arrived and already checked in. That was good, because she had time to walk around the area, and that would be handy later on.

Saturday, 8th April 2018

The next morning, we went to the bus station. After attaining victory over the ticketing machine, we found the correct bus. We knew we were at the right platform judging by the amount of cosplayers on the benches. The bus driver refused to sell tickets on board, so he sent everybody to battle the ticket machine. The bus set off late, but we eventually made it to IFA the, convention venue. Once we had a schedule, we started planning around it. At the very least, the Saturday plan was:

• 13:30 – 14:30: Inoran’s presentation (which was supposed to have an autograph session afterwards)
• 19:00 – 20:00: Inoran’s concert (which actually had the autograph session)
• Walk around for a little, and check out the traditional area
• C***** wanted to check out the artists’ alley to find some people she follows online

Inoran (Inoue Kiyonobu [井上 清信]) is one the founders and a guitarists of Luna Sea, one of the big names in the Japanese visual kei scene – now officially turned “alternative rock”. Inoran has also collaborated with different artists in different endeavours such as MAS*S with X Japan’s Hide, Fake? with Oblivion Dust’s Ken Lloyd, among others. Inoran has also established a solid career on his own as a solo artist. Someone (from the producer agency Here comes the Sound) fooled – or bribed with food – him into going to Alicante, Spain. Therefore, we decided to go and see him.

When we entered IFA, we walked around the space to get our bearings. The convention was divided in several areas: the commercial stands, the non-commercial ones (artists’ alley), and a small matsuri [祭り] “festival”, with more traditional decorations and shops. There, we came across artist Mitsuru Nagata, a man who makes the almost impossible way of Japanese calligraphy shōdo [書道] actually look easy. He he also creates sumi-e [水墨画] prints. Sumi-e stands for “ink wash painting”. It is the art of using calligraphy ink in various degrees of dilution with water to produce images. One of the characteristics of sumi-e is that no retouches are allowed, every stroke is definite. It is so difficult that the peak of the art is the ability to create a perfect circle in one precise stroke.

Mitsuru Nagata was born in Kyoto, but he resides in Barcelona these days. He started studying calligraphy when he was six years old and holds a Master Calligraphy degree. He sells his prints online and on different events around Spain, where he travels to promote Japanese culture. His stand at the convention had fantastic paintings.

After about an hour of walking around (probably even less) we decided to join the “queue” to enter the small hall where Inoran’s “presentation” was to take place. We got talking to a bunch of people, including a group of Japanese girls, including one, E**chan, who was studying Spanish! I think I met a Japanese version of myself…

According to the description, the presentation was a short introduction of the artist, an explanation of who he was, a summary of his musical career and some videos, followed by an autograph session, and lasted an hour. In the end, it was ten-minute event. There was a tiny summary of Inoran’s career and basically we just got to see him say “hola”, and we watched the MV of his newest song. There was no real “summary of his career” nor signing.

In general, I have to say that the organisation of the event was horrid. Out of the three scheduled signing sessions, only one took place, with no explanation as of why during the whole convention. The following week, it was mentioned that Inoran had requested two signing sessions to be scrapped. Instead of saying that, the autograph sessions just disappeared from the webpage schedule, so early print-outs had them, others did not. It was a bit chaotic.

After the presentation, around 14:00 we… had no plans until the concert at 19:00, so we decided to just… wait at the stage, and believe me, we were not the first to think about it,.We ended up sharing “first row” with a bunch of other Spanish and Japanese fans. We killed time snacking, we watched the cosplay contest, and got all pumped up for the whole thing. I mean, we could sit on the floor, against the barrier, with access to food and water. Best queueing conditions ever. We witnessed the preparation of the stage, including setting an iPad for Inoran to look at his lyrics, guitar checking and so on.

Inoran is the guitarist of Luna Sea, a musician at his core. Truth be told, he is not the best vocalist in the world. Other members of the group were u:zo on bass, Yukio Murata on second guitar and Ryo Yamagata on drums. The concert was really fun (and it elevated the number of members of Luna Sea I have seen to three out of five). I think it’s great when singers try the local language, or at least mangle it. Inoran did so with a very well-rehearsed “¿lo estáis pasando bien?” (are you having fun?). He also had some English prompts such as “scream” and “jump”, but most of what he said was in Japanese. Understandable Japanese at that.

Setlist:

1. Come away with me
2. Get a feeling
3. Awaking myself
4. 2 Limes
5. Beautiful Now
6. No options
7. D&B
8. One Big Blue
9. Rightway
10. grace & glory
11. Tonight
12. Get Laid

The whole affair was even better than expected. Murata was utterly fun, and even if we had u:zo on the other side of the stage we still got to see a great deal of his. At some point they got the Here comes the Sound (producer) guy up to play some Luna Sea songs. The background noise was so great at that moment that it took me a long while to actually recognise the actual song…

As we had waited at the stage for hours, we had “first row”, against the barrier. A few minutes before the concert, the organisation brought a number of people to sit between the barrier and the stage – volunteers”, “workers” and “VIPs” who did not care at all, to the point that Inoran himself called them out at a point. The official pictures show them playing with their phones and not even looking at the stage. What’s the point of being there if you don’t care? Behind the fans there were the curious onlookers. I do wonder what Inoran found himself thinking about the convention.

The only actual autograph session and M&G happened after the concert. When we formed the queue, we were told (screamed at) that we needed to purchase a postcard for Inoran to sign. This postcard had the cost of 1<e, and it had been printed by the convention from an internet image,it was not even something the artist himself had brought. I told the volunteer that some of us had official material, and he shrugged, saying that only postcards could be signed. I subsequently asked if he could just enquire if Inoran was willing to sign anything else. The volunteer shrugged again with “I don’t speak Japanese” – tough luck, buddy, I do. Badly, but enough to ask for an autograph.

I paid my euro for the postcard and when Inoran reached out for it, I pulled out one of the CDs I had brought, and asked him to sign that instead. There was an uproar from the volunteers, but he had literally zero issues signing my CD. I mean, it was his original material after all (Note to the organisation: you fools, if I pay you the 1€ and don’t use your postcard, you can sell that postcard to someone else who will pay another euro. Seriously). We got selfies (with smile), handshake and signature, so it was all pretty great. At the same time, my friend C***** was recording everything, and Inoran’s staff were laughing in the background. As I was leaving, I asked Inoran to also sign C*****’s CD instead of a postcard too, and he smirked at me. I’m sure that the organisation hated me a lot that evening, as I started a trend.

After the autographs, we left the area and walked towards the Matsuri. We bought some sumi-e art from Mitsuru Nagata, and then headed off to the artists’ alley. C***** bought herself a bunch of things (and some pins for me!). We also saw the Mary Poppins cosplayer who we thought should have won the cosplay contest, and we talked to her for a while, and took some pictures – according to the contest rules, she should have won the price, but the organisation chose something more anime-oriented. Finally, we headed off to take a bus downtown and walked towards the hotel.

As we had had a small on-the-go lunch waiting by the stage, we decided to go for a serious dinner. The fun part was that we ended up finding Taberna El Chapeau, the restaurant where Inoran and the band had been the previous night. To be honest, it was very near our hotel, and we checked the menu for kicks and giggles as we were heading for something fast-food. It turned out the place was not expensive at all, so we decided to eat there! We tried the palm-honey eggplant, a mixture of fried seafoods, a mini-burger, and a very sinful brownie for dessert – the lemon sherbet was on the house.

Sunday, 9th April 2018

Our must-do schedule for the day included:

• 12:00 – 13:00: Kenichi Yoshida’s concert (unclear if there would be any signing afterwards. Spoiler: there was.)
• 13:30 – 14:30: Q&A with Inoran (which was supposed to have a signing session afterwards)

Sunday morning started pretty much the same as Saturday’s had. We took the bus to the convention centre IFA, and walked around. We got to meet with Mitsuru Nagata, and we asked him to take a picture with us in front of his works. Aside from super-talented, he was extremely nice. He was very surprised when he found out that we did not work in the convention and we were so interested in his art – he seemed flattered / embarrassed. Nagata invited us to attend his sumi-e demonstration, but unfortunately it was at the same time as Kenichi Yoshida’s concert. When we told him that, he said that we absolutely had to go and see Yoshida, as the musician is not around as often.

Thus, we went to queue to enter the hall. We actually arranged to queue twice in one go, since Kenichi Yoshida’s concert happened in the same hall as the Q&A with Inoran. We had made some nice acquaintances at the Inoran queue the day before, and they agreed to “save our spots” for Inoran while we went to Yoshida’s concert, as long as we stepped out and took back the place (and did not stay in the hall). We thought it was fair. Besides, the convention rules said that the hall had to empty between acts to prevent people from just hogging the seats, or saving them for friends.

When doors opened for Kenichi Yoshida’s concert, it was clear though, that those rules did not apply to “friends with the organisers”, who could just step out and then jump back, dodging the queue as they had technically “vacated the hall”. When called out, they were indignant. One of them had been asked to translate last minute, so he and all his pals, of course, had immediate priority.

Furthermore, after queueing for couple of hours in order to get a good spot in first or second row, we were not allowed to sit down in the middle (again, saved for VIPs), and sent to the corner just behind cameras and tripods, joy. Thus, we migrated to third row to be in the middle. Fortunately, most press was restricted and we did not have to “enjoy” extra cameras rather than the ones used for the official recording. Before the concert started, we were told that there would be a signing session afterwards, Yoshida would be signing postcards – just like Inoran the evening before – but that there were only twenty of them. We were very annoyed at that because, yet again, C***** and I had brought our own original material.

Kenichi Yoshida had been brought to Spain in a joint project by the Japanese Consulate in Barcelona, the Music museum and the Japan Foundation for a concert and a few activities in Barcelona. Alicante was a welcome bonus. He came along with percussionist Yuki Tsuchida, leader of the band Cross Groove Premium.

Kenichi Yoshida is a skilful tsugaru shamisen interpreter, who debuted in 1999 along his older brother as Yoshida Kyodai (Yoshida Brothers). The shamisen [三味線] is a traditional three-string guitar like instrument from Japan, based on a previous Chinese one. It is played with a pick. The tsugaru shamisen is a particular variant of the regular shamisen, larger and with thicker strings, which is plucked as well as hit with the pick.

The concert was spectacular, as much as the one I had watched in Madrid in 2016. Between songs, Yoshida explained a little bit about himself, his instrument, and some of its history. He gave a few notions about how the shamisen appeared in Japan, evolving from a traditional Chinese instrument that entered the country through Okinawa and it gained popularity as it was moved up north. It changed through time and one of the variants that appeared was the tsugaru shamisen.

At the end of the concert, as C***** and I thought the postcards would not be enough, we decided to try our luck asking Yoshida directly if he would sign our CDs. And thus, instead of going into “Battle Royale” for the postcards we… took after him. As Yoshida was climbing up the stairs along the drummer and the manager, I caught up with him. I… very respectfully… tried to tell him in Japanese that there were too few postcards and that my friend and I had brought the original CDs, and if he would mind signing those for us. Thinking back,maybe we could have just stood in line without the postcards, but I was not sure they would even allow us to queue.

To my eternal surprise, Yoshida smiled and said yes. The manager ushered me up to the second floor as C***** went to hold the place in the queue, and I got the CDs signed, along with a complimentary sticker. Shaking like a leaf, I went back to the queue. In the end, it turned out that there were enough postcards for all the fans, so we tried again! Yoshida was nice enough to take a picture with us and sign postcards again.

Then we went to the hall again to see Inoran’s last appearance, the Q&A session, which did not have a signing either. The event was carried out in Spanish, English, and Japanese. After watching the MV, the questions came. They focused on Inoran’s thought on Spain, and whether he knew about how popular he is in Spain. Some fans and “press” asked interesting questions about his career, experience and collaborations with different artists and bands – Hide, Tsuchiya Anna, Luna Sea, Fake? and so on. He was asked how to become “big in Japan” particularly as a musician, and he said “working hard”. And then I lost it when he called us fans “young”. That almost made me roll on the floor laughing.

After the Q&A, Inoran left, and C***** and I headed back towards Alicante. In the bus, I exchanged information with E**chan to stay in contact. C***** and I picked our things up from the hotel and walked to the train station, where he had a super-late lunch.

We had a shared train-ride to Madrid, and we spent most of it in the cafeteria, chatting up. We also got to see a pretty rainbow as it rained on the way. After we made it to Madrid, we separated for the last leg of our journeys, happy to have met up once more for yet another fun adventure.