大阪と横浜の会話スタイル
Welcome to Kevin's English Room Podcast.
Yeah, sorry about the billboard show.
Okay, yeah.
Yeah, you asked me the...
So we lost the one episode.
Yes.
Yeah, so I guess during that episode that we lost,
you asked me the vibe was the same in Yokohama and Osaka.
Yeah.
And I replied, yeah, pretty much the same high energy.
It's true.
But I thought like people in Osaka would go more like punchy
and like coming into the conversation.
That's what I thought.
What do you mean?
Like when I talk, people in Osaka would like 突っ込む to me.
The crowds?
Yeah, that's what I thought.
Did they?
But actually not.
Okay.
And people in Yokohama did it a little more than that.
They talk to me.
They 突っ込む to me.
Okay, all right.
So that was the opposite of what I expected.
Oh, so you expected the Osaka to be more like, I guess, engaging.
Yeah, yeah, yeah.
But it was the other way around.
Yeah.
So that was when...
That's interesting.
Yeah, I thought Osaka's were more like...
I mean, yeah, I get that too.
They have more like the nori vibe.
Yeah, yeah, yeah, yeah.
But they were like pretty much quite very...
Like, how should I say?
Like really polite.
Sit still and keep calm and...
Yeah, I thought they were kind of, you know, coming into the show.
But they were really polite and nothing like rude things at all.
Okay.
Yeah, that was one new discovery to me.
Yeah, okay.
Yeah, yeah, yeah.
So just that just came in my mind.
Yeah.
But I mean, I guess...
But in general though, you lived in Kansai.
And you felt the difference in the vibe with the people, right?
Yes, yes.
They're more like open for the conversation.
Yeah.
More...
突っ込む and, you know, those interactions.
Yeah.
That's what I expected, but actually not.
But it was not.
Yeah.
They were very respectful.
Both fine to me, but yeah.
Strange.
Yeah.
Strange.
Yeah, yeah, yeah.
Maybe so...
People in Yokohama, all the concerts you go to, they're very quiet when it comes to concerts.
Yeah, I was like, yeah, could be.
Maybe that's the thing.
Yeah, maybe.
Could be.
This is a concert.
This is a concert.
It's not a casual conversation.
Maybe, maybe.
Yeah.
Yeah.
What would you...
Would you enjoy having people talking to you from the audience?
Is that a thing that you'd accept?
So it's difficult.
Yeah, yeah.
I love enjoying those interactions between me and people.
観客とのインタラクションの重要性
Yeah.
Including like sing-alongs.
Okay.
Or like clapping together.
Yes.
Or whatever.
During the talk sections, MC, I sometimes ask some questions to them and they shout things.
Okay.
I love that.
Okay.
I really love that.
Okay.
But, you know, it's really difficult to, you know...
So you're talking about if someone goes across the line.
Yeah.
For example, it's obvious, but I'm, for example, singing water repellent, hikigatari.
And just before the last line, I make a little silence.
Yeah.
And then goes to the last part, right?
Yes.
And then during that silence, somebody says like,
That's obviously, oh, please, not now.
Yeah.
The silence is what's important.
Yeah.
So...
If they can sort of understand the atmosphere.
Yeah.
Yeah.
And read the room.
Yeah.
Then you're welcome to have people shout.
I'm too open for those, but...
Yeah.
If they can sort of understand what's important.
Yeah.
Yeah.
Exactly.
Yeah.
But it's, you know, difficult.
Right?
It's that.
Yeah.
Yeah.
Do they, like, what actually happened?
Did people say something to you?
Like, let's say there's some people when you first, like, for example, let's say you got on stage.
Okay.
And you're like,
Did people say that to you?
Or...
Yeah.
Yeah.
Like, what?
What did they say?
I don't know.
For example, like, I dyed my hair before the show, right?
Oh, right.
And the first moment I get on the stage of Yokohama, they were like,
Or like, things like that.
Oh, okay.
Those things like that.
Wow, okay.
I would, as it was, like, the very beginning of the show, I went, like, people,
that's like my first opening of the show.
So I did some kind of interactions, but I didn't talk.
I see.
That wasn't my plan.
So I did a little, like, bows and things like that.
I see.
Get into the song.
And then starting MCs.
And then, yes, I talked about that.
And a little, yeah.
Oh, okay.
Yeah.
Okay.
But I'm, I think I'm rather open for those conversations.
If I compare to, like, many other artists and then, you know.
I see, I see.
Yeah, yeah, yeah.
But you don't want to go so far to the point where you start opening up the risk of, like,
people disturbing your performances.
Yeah, yeah, yeah, you know.
It's a fine line.
Yeah, yeah.
It's difficult.
Right, right, right, right.
From your end, I'm sure.
But the people were really, really polite and respect for the stage every night.
So.
Yeah.
I didn't have that experience before.
Like, I was, like, completely, oh, not now, kind of.
Yeah.
I've never had that experience.
But, you know.
I see.
It's difficult.
I see.
I think.
I see.
Yeah, yeah, yeah, yeah.
グローバルな展望
What do you think about going global outside of Japan?
Is that a thing in your mind?
Well, yeah.
Ultimately, do you want to go?
Why not?
Yeah, yeah, yeah, yeah.
So, you know.
Yeah.
So do you ever think about making a song everything in English or?
True.
Okay.
So that's a difficult topic.
So, for example, let's say, I don't know, let's say,
Okay.
Popped in.
Globally.
Globally.
Sure.
Why she was popped was, like, she looked really Japanese, right?
Okay.
And the lyrics was in Japanese.
Sure.
And that's why it was catchy for them.
Okay.
You know, if I sing in English, write everything in English and make four English songs and go
to the USA, for example, and sing to them, it's like just like other usual artists, right?
True.
You'd sort of lose your characteristic of Japan.
Yeah.
So it's a difficult point that should I put my Japanese-ness and do that?
Or should I fully go and compete with Bruno Mars?
Oh, I see.
Oh, that's actually kind of difficult.
True.
Yeah, yeah, yeah, yeah, yeah, yeah.
So that's one big topic.
It's a big topic.
It is a big topic.
Yeah, yeah, yeah, yeah.
It's true.
Yeah.
What I see often in K-pop is they don't go full on in English,
but the titles are all English.
They never release Korean titled songs.
They never do that.
I see.
I see.
Probably because people can't search that online.
True.
But the lyrics are almost always they have Korean in it.
It's half mixed.
Yeah, it's half mixed.
Mostly Korean.
Okay, okay.
Yeah.
Well, it's true.
It makes it special for English speakers or like, you know, Japanese speakers.
Yeah.
So it's, yeah.
But I guess, for example, like Fujii Kaze, he doesn't release any song.
He has a lot of Japanese title songs, but he's very global, right?
True, true, true.
But I guess, yeah.
Yeah.
So, yeah.
It's kind of difficult.
Yeah, yeah, yeah, yeah, yeah.
日本アイデンティティの重要性
Should I go like, you know, be known as Japanese singer or just be known as good R&B singer?
Yeah.
It's, you know, you know.
I see, I see.
Interesting.
Yeah, it's interesting.
It's interesting.
And I still don't have figured out the answer, but.
Okay, yeah.
Yeah.
But I was born and raised in Japan and I'm Japanese.
I speak Japanese.
So that's one.
I cannot throw that away in any ways.
Right.
Even if you fully market yourself globally, you probably won't.
You probably still have the Japanese in you, right?
Yeah, yeah, yeah.
So I keep that and want to kind of use that kind of Dutch tradition backbone, you know.
Right, right, right, right.
Interesting.
Yeah.
So that's a really important topic.
Yes, yes, yes.
I see.
Yeah.
All right.
Thanks for listening, guys.
Thanks, dude.
Bye.
