The Power to Believe You Are the Protagonist

It's not just that it's something that seems like it should have existed but hasn't; fundamentally, a band is a complete system with a main vocalist, a guitarist, a bassist, and a drummer. I think it's usually quite difficult to realize a show where you break that down and dismantle it like this. Could it be that I've invented something new again? (Thinking that is free, after all.)

Being in the same band, Kakinuma is not just a guitarist; he has a natural singing voice as a vocalist, and combined with his guitar skills, he is a person equipped with enough combat power to more than survive the rough seas of the music world.
He is the essential core part that BIGMAMA has been loved for for a long time, and between us, if you compare just the singing and guitar skills, I think he is someone who could stand at the front as the main act even more than I can.

However, perhaps it was his bad luck, but in a high school classroom, in class 2-"K", sitting at desks 5 and 6 next to each other on the attendance list, when "K""K"AKINUMA and "K""K"ANAI met, their fates began to twist significantly.
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It's a funny story now, but shortly after the band BIGMAMA debuted in 2006, the guitarist who was mainly the frontman left. It was unprecedented. If I were the person in charge at the label, it would be a case that would give me a serious stomachache. So, when wondering what to do, with the single-minded desire to continue the band, Kanai, who had been the bass vocalist until then, went to buy a guitar and started as a guitar vocalist from practically a beginner level, and the story began to run again (and bassist Yasui joined).

It was the middle of job hunting in our third year of university, and while looking at friends in suits, in the crowded train, I brought a brand new, shiny black hard case for a large guitar back to my parents' house in an unaccustomed manner, saying I would practice guitar from tomorrow and make a living as a professional musician—that is not the behavior of a sane person. If I were a parent, it would be a case that would give me an incredibly severe stomachache (for the second time).

However, there is something hard to explain, something that burns like magma, deep in my heart, both now and in the past. Ideas that bubble up like a spring, an oil field, or a hot spring—that this kind of song, this kind of lyric, this kind of melody, this kind of expression would be wonderful (this is the only thing that has rarely dried up). Singing that myself was a very natural flow.
Without thinking too deeply, BIGMAMA continued its career with Kanai as the main vocalist (whether that decision was correct at the time, for better or worse, only God knows).

Looking back, if there was one thing I was ahead of him in, it was the power to believe. Thepower to believe you are the protagonist, I think. You could say that I had a personality that made the Earth revolve around me just a little bit more than he did.

In music, and for band members, ability is of course 10,000% important. But that is just the unshakable foundation; I also think that without 'protagonist power,' the power to believe you are someone special, you can't really reach the act of shamelessly releasing works and standing in front of people to express yourself.

From there, there was desperate study that leads to now, but because of that origin of BIGMAMA, when you continue to work for a long time with such a talented person while being in the same band, a mysterious habit is born in Kanai's songwriting and composing.
What kind of habit is that? It's the habit of letting Kakinuma sing the theme, the most favorite point, in a scene where you feel a good response and have made a good song—the 'this is the moment!' scene.

That was already from the third album since our debut

I am writing lyrics that play on the red string of fate and the "KITE" of a kite, but
what is especially a must-listen is the vocal assignment in the second chorus.

I am nothing more than a fan of his singing voice myself, or one could say that my habit of slacking off—wanting to just listen from the sidelines because that's the best part—has accidentally come out. That habit is still ongoing and currently in progress.

Then, the new member, Bucket-kun, joined, and because he was a creative bucket who kept churning out songs, it greatly stimulated us existing members. There have been many songs brought in by Kakinuma until now, but this Art | ESORA song by Kakinuma was also used in a commercial, and lately, it has become a song entrusted with very important moments during our live performances.

We both had invitations and plans for solo activities this year, so we thought, why not? If we were going to invite each other, now is the time. I felt like the time had come. Like, we have our own stages, and then we do a session at the end. On April 26th, please enjoy the collaboration with Hanayashiki Amusement Park and the streets of Asakusa, and on your way back, please stop by the live house. I hope we can liven up this two-man band show and carry that great energy over to Mother's Day.

■ FC Ticket Advance (March 16 (Sun) 10:00 - March 23 (Sun) 23:59)
Official Fan Club "Mother Complex"

■ General Sale (eplus): April 5 (Sat) 10:00 -

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A collaboration with Asakusa Hanayashiki, the oldest amusement park in Japan! Please check this out too.

And all roads lead to Mother's Day, MOTHERLAND.

[Regular] All-standing (with entry reference number) 5,500 yen (tax included) *Drink fee required separately
[Student] All-standing (with entry reference number) 3,300 yen (tax included) *Drink fee required separately
*Student tickets require presentation of ID upon entry

Ticket Pia
🎫 Pre-reserve advance reception started!
https://w.pia.jp/t/bigmama-t/
Until 3/17 (Mon) 23:59

Everyone, please make sure to gather for this day only.
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