Toshiki Kadomatsu

I went to Toshiki Kadomatsu's year-end concert in Tokyo in 2025. It was a stage full of surprises and excitement, perfect for wrapping up the year. Well then. He first appeared in a full pink tracksuit. This was the first surprise due to his unexpectedness and wide range of expressions (lol). During the MC, he said, "I'll talk a bunch at the beginning today and then focus on singing," and there was a pleasant time looking back on the five albums he released in the last five years and the MILAD project. Soon the lights dimmed, and an unfamiliar overture began to play. While anticipation grew as to whether this was part of a new song, it flowed into nostalgic and familiar tunes. Appearing again on the center of the stage was Toshiki Kadomatsu in a suit and sunglasses, completely different from before. This was the second surprise (^ ^)/ The dancers danced to the music, and the audience instantly became heated. The nets installed on both sides to prevent paper airplanes from crashing unexpectedly created a screen-like effect, projecting the shadows of the dancers, and from the second floor, the shadows looked dramatic. A three-sided LED screen was set up on the stage, amplifying the visual splendor with a fusion of video and dance. In an atmosphere reminiscent of a city night, I can give you my love → I can't stop the night → Domino City → Slave of media Old and new works were smoothly connected, and Kadomatsu's singing voice resonated clearly to the second floor. Even the old songs felt like they had gained more depth, with the calmness of an adult and the dynamism of the city coexisting in his current rendition. The powerful rhythm of the drums, the sharp guitar and bass, the colorful chorus, and the dancers' movements came together to create a three-dimensional world of music. After a feeling of being carried away by the lyrics "Let's escape this city," the air suddenly calmed down, and it was time for ballads. I can't ever change your love for me → August Rain → Kabin (Vase) Especially during "Kabin," he talked about how multitrack data of an orchestral arrangement by his late close friend Shingo Kobayashi remained, and about his respect for Miho Nakayama, who passed away suddenly last year. He also touched on Kadomatsu's own view of life and death, and the words "The end is equal, but its form is not equal" remained in my mind. It was a quiet and deeply inviting time into the world of "Kabin," where the actions of the protagonist in the song are controversial. The member introductions that followed in that afterglow were polite and befitting of the end of the year, and the long-standing trust and their high level of skill and flexibility were felt again. Kadomatsu introduced them simply as "talented people," but that word conveyed more than just respect and warmth. In "IZUMO" and "NOA" that followed, the charm of the instrumental parts stood out, and in the next two songs, he performed duets with the two chorus members. The staging, which took advantage of the fact that they were originally excellent vocalists, further broadened the scope of the music. Adding a sense of the season, "Turn on your lights" made me feel the clear light of winter, and the venue, like a sea of blue stars, gradually began to dance. Paradise in your eyes → We're dancers expanded into a world where people never forget their dreams and excitement, even as they get older, and the dancers' youthful movements added visual heat. It was a stage where you could dance, or enjoy the beauty of the dancers on stage. There were more options for how to enjoy it. The medley towards the climax was a danceable composition perfect for closing out the year. Overall, it was a condensed version of the dance elements of MILAD, and a "best of" content that foreshadowed the 45th anniversary performance in June of next year. It was a dense performance packed with the wide and rich activities of the artist Toshiki Kadomatsu in three hours. Perhaps because attention is increasing towards next year, I actually had a hard time getting tickets this time, but this performance was worth far more than the trouble. Music and a stage that deeply shook my heart. It was a night that naturally filled me with gratitude for the wonderful music he delivered again this year, and with anticipation for next year. --- Thank you, Kadomatsu-san, for a fun night that warmed my heart to the fullest.