Takayuki Tazawa 40th anniversary one-man live “39→40“ 2Days
Day 2 at Roppongi Morph　2018/11/23

※日本語あり(英語の下にあります)

It isn’t too much to say Takayuki Tazawa is one of the talented singers in the Visual kei scene.
With his renowned high-toned voice, many who are familiar with Visual kei may know him as the vocalist of Waive and presently Rayflower. Most of us would imagine Visual kei as a genre with flamboyant makeup and costumes but we also know that it’s not just about the glitz and glam outside, but it’s also the music and the world that it creates is as diverse as what we see.
Though Tazawa is part of the Visual kei scene, with his first band Waive being categorized as “Soft visual”* within the same generation of bands such as MUCC, and Psycho le Cému, there may not be much to say Visual-wise. However, the things he acquired in approximately two decades in his career in the Visual kei scene definitely lives in him and, as for his solo career which started 8 years ago, created a new category for him as a solo vocalist.
On November 23rd, Tazawa held a solo one-man at Roppongi Morph. For Tazawa, Roppongi Morph is the first place he held his first solo live 8 years ago. Since it was a memorable place for him, the set list this day did not include the songs from his recent release, “Soen Nostalgia”.
It was also a special day for Tazawa as it was his 40th birthday, and was also a day to look back at his solo career with the array of his early songs.
In the dim blue light, Tazawa and his fellow pianist Yuta Yamamoto, appeared on stage and took their positions. As Tazawa waved his hand in the air for a cue to start, the stage instantly became tainted with crimson, and the profound sound of the piano resounded through the venue for the start of the first song, “Shakunetsu no tsuki, hakanaki wo tou”. From the haunting profoundness of the piano, gradually Tazawa’s vibrant vocal dove in, creating a breathtaking start for the live.

The next song “Aijyoron”, one of Tazawa’s early songs that can only be heard at lives, had an impressive moment when Yamamoto’s piano solo came up. Tazawa gave an ear to ear smile as he savored the groove, taking in the rhythms of the playful piano with his body. It seemed to create a warm atmosphere in the venue as well. Though, it wasn’t just the playful moment that was impressive, as the song was gradually released with vigor at the end, the song certainly was memorable for its savory groove and a striking vigor.
After the first two songs, Tazawa gave an opening emcee where he introduced himself with an easygoing Kansai accent as the venue lit up. One of the charms of Tazawa is his emcees at lives are as enjoyable as his songs. Very talkative and entertaining, he seems more like a comedian when he talks but, when he sings, he creates a different atmosphere in the venue, drawing the audience into his world. As it was his first day of being 40 years old, he called this day “Tazawa New Year”, making it officially a new year for himself. After he introduced his fellow pianist whom had been his solo partner for the majority of his solo career, he talked about why he chose the rather small Roppongi Morph for his last one-man of 2018. Tazawa had done a one-man at Roppongi Morph 8 years ago in December and although at that time it was band-style, he said that it was the first official solo one-man of his solo career.
The live resumed with a gentle yet somewhat melancholic “True colors” and along with it, “Shingetsu no kokoro” drew out the recollection of past feelings which turned the venue into a tranquil atmosphere. Though that was momentary, as the following song, “Gensou no Justice,” drew out the wild side of Tazawa as the song and his gestures created a different atmosphere in the venue.
As Tazawa resumed with his second emcee, he announced that since he had not done a cover song in his solo lives, he might take on the challenge of a cover song-only one-man next year, and from the way he spoke, the challenge may be in progress and fans cheered and applause with joy with the news.
From the cover song talk, Tazawa selected two songs from the stock of cover songs at the site, and sang first part of two songs, “Marunouchi Sadistic” (Ringo Shina) and “Kisei” (Akina Nakamori). Although both were done on the spot, Tazawa sang the songs magnificently as if they were his songs. Right after, he presented a full version of “Manatsu no yoru no yume” (Yumi Matsutoya) which he had done the day before, which made anticipation high for the future activities of Tazawa.
Before Tazawa resumed with the live, he briefly talked about his songs. “When a song is performed at a live, this is when the song is not only my song but it becomes a song for everybody. Every time a song is performed live, unlike when listening to a CD, the song evolves with messages that I want to bring out. This is my wish. Every time a song is performed, it becomes living proof of something and I believe it is something that should be passed down to the next generation.” For Tazawa, it seems his songs are milestones that bring color to his life.
With the feeling of the emcee lingering, warm, orange lights showered the stage as Yamamoto’s tranquil piano enveloped the venue and “Michishirube” was performed. Then when the orange lights dimmed as if it had become dusk before turning dark like the night sky, “Yoru ni negaeba” was the next song of the set. After the song was played, Tazawa shared that this song was created when he thought about times where he had felt insecure with loneliness but it is something we all have to overcome ourselves. He wanted a song to encourage people who felt the same way, and to have this song be there with them.
To live a fulfilling life with no regrets. Everything we do piles up to become a life to create the future. Tazawa mentioned that everything we do has a meaning, both sweet and bitter, in life, with the next song, “Ikitekoso”, seemed to emphasize his words. Following were “Tampopo~Kaze ni mae~” and “Seseraki”, that are always paired up at one-man lives. The piano and gestures of blowing the dandelion seeds (Tampopo) at the end of “Tampopo~Kaze ni mae~” became twinkling stars when Yamamoto’s piano drew the scenery at the start of “Seseraki”. The scenery definitely created a romantic atmosphere for the songs and the fusion of the visual and music effects can only be expressed and savored at lives.
Before the last song of the day, unleashing a satisfied smile, Tazawa once again mentioned the significance of performing live. “There is no meaning in playing a song with only the two of us (pointing at Yamamoto). The song becomes complete for the first time when the song reaches you all, and a live is a place where we can share the songs. As long as I am healthy and able to sing, I want to continue to create a haven for fans to come back to.” After his last emcee, Tazawa closed the curtains for his one-man with the serene and strong, “Kimi no sobade”.
Tazawa successfully kickstarted his new year on the stage of Roppongi Morph where he had officially started his solo career 8 years ago. It is no surprise the live was sold out as the concert was something worth seeing and listening to live. Also, the live left an impression of Takayuki Tazawa as a person who has always performed facing forward with sincerity and being true to himself. That is why the words and music he draws out reaches people’s hearts. In this music scene where the visual takes the main stage, it may not be too much to say that Tazawa’s songs are in fact his visual as his expressiveness draws out his world to the stage.
For Tazawa, a new year has already begun and from the emcee, it seems it will become a busy year for him and his fans!

＊Soft visual: One of the Vkei genre where the bands are reserved in terms of make-up and fashion. Representative band in this genre would be GLAY, SOPHIA, and Janne Da Arc.

＜SET LIST＞
灼熱の月、儚キヲ訊ウ　（Shakunetsu no tsuki, Hakanaki wo tou)
愛情論 (Aijyoron)
True colors
新月の心 (Shingetsu no kokoro)
幻想のジャスティス (Gensou no Justice)
丸ノ内サディスティック 椎名林檎 (Marunouchi Sadistic)
帰省 中森明菜 (Kisei)
真夏の夜の夢 松任谷由実(Manatsu no yoru no yume)
道標 (Michishirube)
夜に願えば (Yoru ni negaeba)
生きてこそ (Ikitekoso)
蒲公英～風に舞え～( Tanpopo ~Kaze ni mae~)
セセラキ (Seseraki)
キミのそばで (Kimi no sobade)

Photo Credit: Ayumi Kobayashi
Text and Translation: M.Kawaguchi (VG)

（日本語）

２０１８年１１月２３日、満月の夜・六本木。
自身の初ソロワンマンライブを行った六本木Morphにて田澤孝介は再びワンマンライブを開催した。
田澤といえば、現在Rayflower、数年ぶりに復活したWaive、数多くのプロジェクトに参加と、活動は多岐にわたり、何よりも圧倒的な歌唱力と存在感を醸すボーカリストとしてビジュアル系シーンに今もその名を刻んでいる。ソロ活動を始めて８年と、自身の音楽キャリアの長さと比べると年数的には短いものの、それでもその８年で積み重ねてきたソロ活動は「田澤孝介」という人物がバンドのボーカリストではなく、いちソロシンガーとしての個性を開花させ、新たな魅力を生み出したのだ。今回田澤は、前夜の初台DOORSワンマンと併せ、2日間にかけてソロライブを行った。両日多くのファンが詰めかけ、２日目の本公演に至っては、満員御礼となった。自身の誕生日であるこの日を皮切りに新たな一年に向けて一度振り返り、この８年の軌跡を辿るものとなった。
前日の初台DOORSでは、今年リリースしたミニアルバム「想奏ノスタルジア」を含めたものであったが、この日については、六本木Morphという場所もあってか、初期のものを中心としたセットリストとなっていた。田澤孝介40歳の幕開けを飾ったのは、「灼熱の月、儚キヲ訊ウ」だった。
仄暗い青を浴びたステージに田澤と長年の相棒であるピアニスト山本裕太がそれぞれのポジションについた。田澤の手が合図を仰ぐと、いつの間にか深紅のライトに包まれたステージに息をのむような重厚なピアノの音が始まりを奏でていた。その流れは重々しさからやがて、田澤の唄の力強さが織り交ざり、初めからなんとも圧倒されるステージだった。そこから、今では残念ながら廃盤となってしまった「愛情論」では、どこか遊びのある山本のピアノソロのグルーヴを楽しみながらにこやかにのる田澤の姿が印象的で、一方、締めにかかる音の解放が延びやか、且つ劇的で、温度差の饗宴と言っていいほどである。
２曲終わり、しばし田澤のMCが始まった。「どうも～！ようこそ～！！」と、喋ると空気は一変し、のりの良い関西のお兄ちゃん節でフロアを盛り上げ、会場は和気あいあいとした雰囲気となった。４０歳の１日目という事で、自ら「田澤、４０歳元旦」と語った田澤は、山本裕太を紹介してから、今回六本木Morphを選んだ背景を語っており、初ソロワンマンを飾ったのはこの箱で、その時バンド形態であったものの、ここから田澤のソロ活動が本格的に始まった場所だそうだ。
ライブが再開すると、優しく紡ぎだすピアノとどこか寂し気に感じる言葉が織り成す「True colors」と追憶の想いがあふれ出すような「新月の心」が続いた後、次の「幻想のジャスティス」では、田澤の歌とジェスチャーから感じさせる雄々しさがまた前の２曲とは違う光を放った。
再びMCに入ると、今までソロでは披露したことのない、カバーをワンマンでやっていきたいと、もしかしたら来年そんなカバー曲オンリーのワンマンライブが観られるのでは？という期待を膨らませるトークがあり、フロアから歓喜に満ちた声援が沸き起こった。
そんなカバー曲の話題から、カバー曲のレパートリーの中からのセレクトをその場で行い、「丸の内サディスティック」（椎名林檎）と「帰省」（中森明菜）といった女性シンガーのカバーをそれぞれ１番のみだが歌い上げた。1番のみにも関わらず、聴きごたえのある、田澤らしいカバーを聴かせてくれた。続いて、前日も歌った情熱的な「真夏の夜の夢」（松任谷由実）が披露され、カバー曲のみのワンマンに更に期待が膨らむ。
一度ライブで放った歌は、フロアに放った瞬間から自分だけのものではなく、みんなのもの。そして、CDだけでは味わえないものがそこにあり、演奏する度にメッセージが膨らんで、伝えたい「願い」に変わり、その度に生きた証として刻まれて行く。それは時代が巡っても大事な事で、後の世代に残したいものと語った田澤にとって「歌」とは人生を彩る「道標」なのだろう。
ここから、MCの余韻を残し、温かいオレンジのライトの下、山本の穏やかなピアノが会場を包むと「道標」が演奏され、やがて日が落ちるように会場が夜空を描いた時、「夜に願えば」が静かにその顔を覗かせた。独りきりで寂しいと思う夜は誰しもあるが、独りを乗り越えないといけない時もある。「夜に願えば」はそんな時に寄り添ってくれるようにと思いながらできた曲と、この曲の誕生秘話が演奏後に語られた。
悔いのない人生を送る。その場その場で物事は終わりではなく、それらが積み上がってこそ輝く未来があると語った田澤。次の「生きてこそ」を歌った今の田澤にとって、それこそ今が輝くのであり、どんな物事において、酸いも甘いも人生の糧となる。そんな真っ直ぐなまなざしを感じさせる強さが歌に込められているようだった。田澤にとって続いた「蒲公英～風に舞え～」から「セセラキ」は揺るぎない曲順だそうで、田澤のジェスチャーと山本のピアノで表現された風に舞う蒲公英の綿毛が、次の「セセラキ」では山本のピアノによりキラキラと星に変わるというステージ上の表現がまた曲達に浪漫を感じさせ、ライブだからこそ体現でき、味わえる醍醐味なのではないだろうか。
緊張がほぐれたかのように、くだけた笑顔を見せる田澤。最後の曲を前に、改めてライブを行う意味について語られた。「二人きりで演奏しても意味がない。みんなに聴いてもらって初めて曲が「完成」する瞬間で、それを共有できるのがライブという空間。」そう語る田澤は、歌えて、元気な限りはここに立ち続け、いつでもみんなが戻ってこられるような場所でありたいと最後に残し、優しく、芯のある「キミのそばで」でライブを締めくくった。
「田澤孝介４０歳元旦」、２０１０年１２月に初めてソロワンマンを行った六本木Morphで再び８年という歳月を経て同じステージに立ち、新たな一年に向けてスタートを切った。
田澤孝介が今も昔も変わらず己に対し真摯に向き合いながらライブに挑んでいる。だからこそ、彼の語る言葉、紡ぎだす音楽に矛盾はなく多くの心に響く。そんな印象を受けた本公演。カバーもそうだが、その他もチャレンジしたいとMCで語っていた田澤。そんな田澤の今後の活躍も是非注目したい。

＜SET LIST＞
灼熱の月、儚キヲ訊ウ　（Shakunetsu no tsuki, Hakanaki wo tou)
愛情論 (Aijyoron)
True colors
新月の心 (Shingetsu no kokoro)
幻想のジャスティス (Gensou no Justice)
丸ノ内サディスティック 椎名林檎 (Marunouchi Sadistic)
帰省 中森明菜 (Kisei)
真夏の夜の夢 松任谷由実(Manatsu no yoru no yume)
道標 (Michishirube)
夜に願えば (Yoru ni negaeba)
生きてこそ (Ikitekoso)
蒲公英～風に舞え～( Tanpopo ~Kaze ni mae~)
セセラキ (Seseraki)
キミのそばで (Kimi no sobade)

<Schedule>
Ballad Box Tour 2019
Feb 3(sun) Yokohama O-SITE
Feb 15(fri) Hatsudai DOORS
Feb 20(wed) CLUB 3STAR IMAIKE
Feb 21(thu) UMEDA Zeela
Mini album “Soen Nostalgia” now on sale at Vkei shops and HMV.

About Takayuki Tazawa
Presently the vocalist of Rayflower. Takayuki Tazawa is one of the renowned vocalists in the Visual kei scene with his charismatic high tone voice. He is also known as the vocalist of Waive which reunited in 2018 at the 3man event MUD FRIENDS starring the same generation bands MUCC, and Psycho le Cému. He is also active as a solo artist and had just released mini album “Soen Nostalgia” this year. Aside from his solo and band, he also actively appears in sessions and events. A multi-talented artist, he writes all his lyrics/songs for his solo and is able to play numerous instruments.

Takayuki Tazawa Official Web Site
http://www.takayuki-tazawa.com/