The Songs Of Tokyo Festival, an annual special program brought to you by NHK World, serves as a vibrant extension of their acclaimed Songs of Tokyo TV series. This unique festival is dedicated to showcasing the diverse and dynamic world of Japanese music to a global audience, complete with English translations and insights into fan reactions from around the globe. Following its highly anticipated “ON AIR” broadcast, the 2020 festival is now available for free on-demand viewing online here. Don’t miss the chance to experience this musical journey, but be sure to catch it before the Video on Demand expires on January 31, 2021.
While the Songs of Tokyo initiative, including this spectacular festival, has been a fixture for several years, it’s always a captivating experience to witness artists, whom some fans might travel all the way to Japan to see perform live, brought directly to international screens. NHK World is often accessible as a community channel in many Western metropolitan areas or included as a complimentary offering within global television packages from cable providers. The clarity of the broadcast, presented in 1080 resolution, is a significant step up from the often-compromised quality of live web streams. While web streams serve their purpose, they sometimes struggle to capture the intricate visuals of live performances, especially those as visually rich as the Songs of Tokyo Festival. Even the Video On Demand version, while superior to the live stream, retains a slightly softer visual quality, still offering a substantial improvement over the real-time stream.
For the 2020 edition of the Songs of Tokyo Festival, adapting to the global circumstances, the traditional live audience was replaced with a creative solution. Large screens were set up within the NHK Hall venue, displaying a multitude of faces via Zoom-style connections. These virtual attendees effectively became the stand-in for the typical studio audience, contributing to the lively atmosphere of the event.
After multiple viewings of this captivating 25-minute TV segment, it’s time to delve into a closer look at what made the Songs of Tokyo Festival 2020 so special. One of the first things that stands out is the high production value of the visuals, reminiscent of the renowned Mai-Note productions. Fans familiar with IM@S (Idolmaster) live performances will recognize this quality, but the festival seemed to elevate it even further, utilizing a massive semi-circular LCD wall as the stage backdrop.
The festival also marked a significant moment with the presentation of the IDOLM@STER 15th Anniversary song, a performance that overcame the challenges of the year. This was the first time this special song was showcased to a wide audience. Notably, it’s a song designed for widespread participation, not limited to the original cast, emphasizing inclusivity within the franchise. “Nandodemo Waraou” further holds historical significance as the first IM@S group song to unite SideM with the other branches, creating a unique collaboration between male and female idols within the franchise.
The hour-long Songs of Tokyo program featured an impressive lineup including Nana Mizuki, BanG Dream (Popipa, Roselia, RAS), and IDOLM@STER. The fact that approximately 22 out of the 48 minutes were dedicated to IDOLM@STER is a testament to their prominence and performance. True to the style of JUNGO, the IDOLM@STER segment was densely packed with intricate details and moments worth exploring. Let’s unpack some of these highlights.
Image from Songs of Tokyo Festival 2020 Part 2 NHK World broadcast, showing idol group performance with dynamic stage visuals
Song Choices and Their Significance: The IDOLM@STER medley included “Beyond The Dream,” “Spread the Wings,” “Thank You,” “STAR,” and “Jibun Rest@rt,” culminating in the 15th-anniversary song. This selection felt carefully curated, almost like deciphering a symbolic message through music.
- “Beyond The Dream” – The inclusion of SideM itself embodies this title, representing the breaking of boundaries and expansion of the IDOLM@STER universe.
- “Spread the Wings” – Reflects the journey of Shiny Colors, still a relatively newer brand within the franchise, striving to establish itself. The “Rona” (COVID-19 pandemic) significantly impacted their momentum, making this song particularly resonant.
- “Thank You” – Performed in Glorious Trinity outfits, this choice seemed geared towards an international audience. It mirrored a performance given to domestic fans a year prior, suggesting a thoughtful selection appropriate for the Time, Place, and Occasion (TPO). While “Welcome!!” might have also been fitting, “Thank You” resonated deeply with the core IDOLM@STER fandom.
- “STAR!!” – The selection of this song, representing Cinderella Girls, the most widely recognized branch, likely aimed for broader appeal. As the opening theme of the anime, which achieved global distribution, it offered instant recognition for many viewers.
- “Jibun REST@RT” – While perhaps less immediately obvious, its inclusion is equally meaningful. It’s an uplifting anthem, ideal for a powerful, big-band-style finish, similar to how “World is All One” was utilized at Bannam Fes the previous year. Seeing performers like Pyon and Damayu dance to this song evoked a strong emotional response. Lyrically, it’s about encouragement and restarting, aligning with the spirit of overcoming challenges. Its presence also hinted at the future of All Stars with the upcoming Starlit Season game.
Dance Chain: A Treat for Concertgoers: The dance chain segment was a special nod to dedicated IM@S concert attendees. It’s the kind of detail fans deeply appreciate, creating a sense of connection and shared experience. Seeing FRAME perform “Spread The Wings” with a move that could be considered “girly” was both amusing and impressive, showcasing their versatility. For long-time fans, it echoed the subunit dance chains from Million 4th live, fostering a sense of nostalgia. The subtle humor of Cinderella Girls initially not joining the chain, only to participate in the “Jiburi dance” at the end, added a playful touch.
The Virtual Audience: Connecting Fans Globally: For the 2020 festival, Songs of Tokyo ingeniously incorporated a virtual audience. Screens in NHK Hall displayed 30 simultaneous Zoom sessions, featuring 30 lucky fans selected from a Reddit survey. In the televised cut, only one fan’s comment was highlighted, identifiable by their use of glowsticks. This individual’s Twitter presence further connected the virtual audience to the broader fan community.
2020 Context: Anniversary and Adaptation: 2020 was undeniably a “special” year, marked by widespread cancellations of live events. For large, multi-group projects like BanG Dream and IDOLM@STER, resuming activities posed significant logistical hurdles. Despite these challenges, 2020 marked the 15th anniversary of the IDOLM@STER franchise, with grand plans for an all-production tour that unfortunately couldn’t materialize. The longing for the all-encompassing energy witnessed at the 10th-anniversary live was palpable. Opportunities for such cross-brand collaborations had been limited since, primarily seen at Million Live events and a glimpse at Bannam Fest the year before.
This situation particularly impacted Shiny Colors, a brand still in its formative years, actively building its identity and fanbase. The pandemic forced a pause on this crucial growth phase. The momentum built by Shiny Colors, especially with the introduction of Straylight and the anticipation for Noctchill, was abruptly halted on the event front. This context explains why Shiny Colors prioritized a full-scale online concert, even when Million Live did not, highlighting their urgent need to maintain engagement and visibility. Conversely, 2020 was also envisioned as a significant year for Million Stars, with the 7th live planned as a grand outdoor spectacle, complete with fireworks and a light show, intended to build excitement for the 2021 TV anime release. These plans, too, faced setbacks, marking another hurdle for Million Live to overcome.
Intriguing Little Details: The performance was filled with subtle yet impactful details:
- Camera Work and Performer Interactions: The camera’s deliberate panning shots focusing on upper body expressions felt like “memory bombs” for fans, capturing nuanced reactions. Performers like Hego and Kidochan excelled at this, while Nanamin and Mikku demonstrated natural charisma, with Mikku’s radiant smile standing out.
- Symmetrical Framing: During “Jiburi” and “Nandodemo,” shots framed Eriko in the center, with Nanamin and Mikku visible in the background due to the symmetrical stage arrangement, creating visually pleasing compositions without distracting focus shifts.
- Playful Camera Moments: The shot during “Star!!” that started on Nanamin’s shoes and panned upwards during the “10cm pin heels” lyric was a delightful, playful touch.
- Performer Reactions to Camera Time: Observing how different performers engaged with the camera was a highlight. Hitomin, for instance, humorously missed the cue in one instance but nailed it the second time. The group shots involving Cinderella Girls and Million Live members were particularly dynamic, largely due to Nanamin and MatsuEri’s ability to maintain character, differentiating this performance from typical J-music acts on NHK.
- Overdrive Background Visuals: The dynamic background visuals, while visually rich, unfortunately contributed to compression artifacts in the lower bitrate stream. The 5-color “sentai” (superhero team) theme was prominent, with Pink/red representing All Stars, Blue for Cinderella Girls, Yellow/Gold for Million Live, Light Blue (water color?) for Shiny Colors, and Green for SideM. The association of blue with Cinderella Girls was a curious choice.
- Logo and Color Coordination: The positioning and colors of logos in the background visuals were thoughtfully aligned with the dance formations, adding a layer of visual harmony. This detail, while perhaps not as striking as Yukina and Aina Aiba’s synchronized hand movements during Roselia’s set, was a welcome bonus.
- Fair Facetime for Idols: Aside from a “Where’s Waldo” moment in the final group shot, each idol received ample screen time throughout the performance. While it’s uncertain if Cinderella Girls members all had individual close-ups in the brief segment, the intention to showcase everyone was clear.
- Eriko’s Powerful Gaze: Eriko’s backward glance at the end of “Nandodemo Waraou” carried significant emotional weight, echoing the impact of Haruka’s line about connecting with fans worldwide.
- English Messaging: The opening English line, “We can be whatever want,” aimed at the international audience, was a notable choice. IDOLM@STER marketing further emphasized this sentiment with “We all smile,” reinforcing the message of inclusivity and aspiration.
“Nandodemo Waraou”: A Heartfelt Anniversary Anthem: This performance marked the first live rendition of “Nandodemo Waraou.” Initially, the song hadn’t fully resonated, but seeing it performed live within the context of the festival transformed its impact. It underscored the longing to experience IM@S performances in person. The preceding tear-jerking montage during the 15th-anniversary stream, followed by sales of multiple copies of the song, created a slightly conflicting feeling of emotional connection intertwined with commercialism. However, the live performance at Songs of Tokyo Festival transcended this, proving to be even more emotionally resonant than the anniversary video itself. Therefore, watching the VOD is highly recommended over simply watching the music video linked below.
Footnote: Songs of Tokyo began in 2017 as a special music program, evolving into a regular monthly NHK World program in 2019. The Songs of Tokyo Festival, positioned as a more significant event, occurred twice in 2018, once in 2019, and likely once in 2020, with the 2019 and 2020 editions branded by year, suggesting an annual occurrence. NHK World is one of NHK’s numerous channels, easily researchable via online search engines.
