FUJI ROCK FESTIVAL’26 took place over three days, July 24, 25, and 26, at Naeba Ski Resort in Yuzawa, Niigata Prefecture. On the third day, July 26, “忌野清志郎 PEACE SONGS” appeared at GYPSY AVALON. The members were Nagie Lane—mikako (vocals, acoustic guitar), mayu (vocals, harp), and baratti (vocals, bass)—alongside 片平里菜 (vocals, acoustic guitar) and 暴動クラブ—釘屋玄 (vocals, acoustic guitar), マツシマライズ (acoustic guitar), and 鈴木壱歩 (drums, percussion). Guest vocalists were 藤原さくら and ROY (THE BAWDIES). 忌野清志郎’s name was also credited in the official profile.
Bandleader baratti explained the unit’s concept in an MC during the set: “Since taking on this project, I’ve heard more stories about 清志郎 than ever before from all sorts of people. I started to think that he was a person just like us, worrying and thinking every day, and turning those thoughts into lyrics in his own words. We want to keep singing the songs that carry his precious words.” He continued: “He wrote songs in incredibly simple words saying that if we just did this one thing, the world would be at peace. We want to deliver those songs in an incredibly simple form, too.”
At showtime, the members of 暴動クラブ, 片平里菜, and Nagie Lane took the stage to 忌野清志郎’s “田舎へ行こう ～Going Up The Country,” also Fuji Rock’s official theme song. Their opening number was “アイ・シャル・ビー・リリースト,” from RCサクセション’s 1988 album “コブラの悩み.” The original “I Shall Be Released” was by ボブ・ディラン in 1967. baratti played ukulele bass, mayu played tambourine, and mikako played acoustic guitar. With Nagie Lane’s harmonies joining in, the entire stage’s playing and singing seemed to dissolve into the sky. Supported by that performance and holding an acoustic guitar herself, Fukushima-born 片平里菜 sang “日はまた昇るだろう 東北の街にも” in a clear, resolute voice. This year marks fifteen years since the Great East Japan Earthquake and nuclear disaster. Even at the relaxed tempo, the lyrics carried powerful feelings.
The second song, “LONG TIME AGO,” from ザ・タイマーズ’ 1989 album “THE TIMERS,” is anti-nuclear rock ’n’ roll that addresses the atomic bomb directly. Hiroshima-born 釘屋玄 took the lead vocal, while mayu’s harp playing grew instinctively impassioned.
An acoustic guitar phrase was then picked out, leading straight into “デイ・ドリーム・ビリーバー,” ザ・タイマーズ’ first single from 1989. The original was by モンキーズ in 1967, but Japanese audiences are more familiar with タイマーズ’ Japanese-language cover. When Nagie Lane encouraged the audience to join the chorus, their voices formed an especially large circle, spreading throughout the venue together with the harmonies of mayu, mikako, and baratti.
Next came “激しい雨,” from 忌野清志郎’s 2006 album “夢助,” with 片平里菜 singing the first verse and mayu the second. The song’s raw, stinging pain connected with our own emotions as people living in the real world.
The members of Nagie Lane, 片平里菜, and 暴動クラブ put down their instruments and stood in a single line. Following the MC quoted above, they all kept time with their fingers and sang the soul ballad “世界中の人に自慢したいよ,” a 1996 single by 忌野清志郎, a cappella. Naturally, Nagie Lane led the whole performance. I have heard countless rock-band covers of 忌野清志郎’s songs, but this was my first time hearing one a cappella. It showed Nagie Lane at their very best.
For the next song, “JUMP,” a 2004 single by 忌野清志郎, the members picked up their instruments again, unleashing rock ’n’ roll through voices, acoustic guitars, and harmonies. In a world filled with sad news and sad lies, I was reminded of how much light and courage a song written in simple words can bring.
Guest vocalists ROY (THE BAWDIES) and 藤原さくら then came onstage to loud cheers. “There are so many of 清志郎’s messages in this place. If we love one another, we don’t need anything else. We don’t need weapons,” said 片平里菜. With the announcement, “We’ll all sing an important song together to finish,” they performed “イマジン,” from RCサクセション’s 1988 album “COVERS.” The original was by ジョン・レノン in 1971. The much-discussed performance of “イマジン” by ダイヤモンド☆ユカイ and 片平里菜 at “朝霧JAM 2025” apparently helped inspire this selection. Nagie Lane, 片平里菜, 暴動クラブ, and all the guests sang together, moving between 忌野清志郎’s freely translated version and ジョン・レノン’s original. “イマジン” was passed from ジョン・レノン to 忌野清志郎 and now to this unit. The time felt truly irreplaceable. After the set, RCサクセション’s “あふれる熱い涙” played as the background music.
baratti reportedly arranged all the songs for this performance. There was a striking affinity between 忌野清志郎’s numbers and the varied harmonies, along with a fresh sound unlike rock-band covers. Though their usual forms of activity differ—a vocal group, a singer-songwriter, and a rock ’n’ roll band—this unit came together around 忌野清志郎’s songs, and I savored the new life they breathed into them. Many stages at this year’s Fuji Rock delivered strong messages, including Massive Attack’s, and “忌野清志郎 PEACE SONGS” did too. Its stage may have been small, but it held a message and musical power every bit as great as the Green Stage’s.
