#121 Sakurazaka 5th Anniversary Live Report Part 1: Performance Edition — Performances That Keep Reaching New Heights

This is a live report for the 5th YEAR ANNIVERSARY LIVE.
I attended both days.
I will look back on the songs one by one, but for the first day I was in seat C8, and on the second day I was in the 303 zone on the third floor. It was a position slightly above and to the side of the backstage.
I will mainly look back on the experience of the first day, while also incorporating my experience from the second day.

Shadow narration (Day 1: Morita, Tamura, Fujiyoshi. Day 2: Matsuda, Yamazaki)

Well, when it was about 10 minutes past the scheduled time,
I was just guessing the shadow narrators with my fellow fans.

The shadow narrators for the first day (Morita, Tamura, Fujiyoshi) were the three second-generation members who have experience as centers.
At first, I was surprised that it was just the three of them! However, it makes perfect sense that these three, who have supported the group since its inception, would represent the group for the shadow narration.

The sound of the venue shouting "Haaai!" sounded like a rumbling of the earth, and it raised my expectations for how incredible the energy would be once it turned into cheering.

Perhaps because the venue is so huge, the time lag in sound depending on the seat position was quite significant, but I suppose that couldn't be helped.

For the second day, since Yamazaki-san had accepted the position of vice-captain the previous day, I and my fellow fans predicted it would likely be the Matsuda and Yamazaki duo. We talked about whether another person might join them like on the first day, and if so, maybe Moriya-san or Ozono-san? But it ended up being the captain and vice-captain duo.

Then, the usual music played until the Overture, and the venue became one with clapping.
Cheers erupted again at the "Are you ready?" call.

M00. Overture

Karin Fujiyoshi's figure appeared on the monitor.
She started walking with a slightly pained expression before showing a small smile, and the Overture began to play.

The chorus of 70,000 people was a spectacular sight.
The first date displayed was 2020.10.14.
This was the day of Keyakizaka's last live concert and the day of Sakurazaka's debut live concert.

In other words, it was the day Sakurazaka was newly born. Then, they started running through a tunnel, and the members followed. There were second-generation, third-generation, and fourth-generation members, all running together as companions. First, the Backs members were introduced, and then footage from past MVs began to play. It was emotional. I could feel the accumulation of the era.

And then the date 2022.11.08.

This day was the day of Yuuka Sugai's graduation and the day the baton was passed to Captain Matsuda. In a way, it might have been positioned as the day of Sakurazaka's new departure. Then, the title track members were introduced, and they all ran together with smiles. Before running, Yamazaki-san shouted something as if to psych herself up, saying "Yossha!" It was so like her, and it made me smile a little too.

Then, everyone's smiles were shown, and finally, Fujiyoshi-san walked toward the light at the end of the tunnel.

The screen changed to Karin Fujiyoshi's back.
The perspective shifted to this moment, this time, at the National Stadium. Climbing the stairs from behind the stage, ahead lay the National Stadium filled with us Buddies and the blue sky. So this is the view from the members' perspective.

They must have seen many sights in arenas and domes, but I imagine this view was particularly special.

And then, costumes in Sakura pink pants styles (though some members wore skirts) decorated with flowers here and there. Costumes with flowers blooming on Sakura pink is such a great metaphor, isn't it? Karin Fujiyoshi, wearing that costume, stood on the stage in front of me. On the first day, she looked a bit nervous. On the second day, she had a more relaxed expression, moving her face left and right as if she were carefully looking at the entire venue and the expressions of the Buddies.

Other members appeared beside her and lined up in a single row. Each of their expressions looked dignified, overflowing with resolve and confidence.

On the first day, Matono-san and Tamura-san from the front row, and Morita-san, Yamazaki-san, Asai-san, and Yamakawa-san from the second row—six people in total—were shown in individual shots.

However, on the second day, every single member's expression was shown. And during that time, the applause from the venue never ceased.

At the beginning of the video, it said 'Team SAKURASAKA presents'.
I think their expressions were filled with confidence and determination, as if they were about to deliver a culmination of their work as Team Sakurazaka. I also felt that they placed great importance and meaning on standing on the stage together as a whole group from the start. It was a moment that felt like they were standing there as the 32 members of today, along with the thoughts and feelings of all those who have graduated.

I wonder if this was the original production, or if management changed it at the last minute to show that everyone stood there together—if so, that is a huge 'Good Job'.

M01. The growing up train

Then the intro started playing, and members other than the singers moved to the back.
On tours, the latest song is often performed as the last song, and since the image of the entire venue filled with white penlights in the music video was so impressive, I had imagined this song taking place after sunset. However, in hindsight, I realized this was the optimal choice for the first song.

Under the blue sky before sunset, this song with its refreshing melody fits perfectly.
With Fujiyoshi-san as the center for this performance, isn't it a song that flows beautifully from the entrance?

Fujiyoshi-san herself mentioned on the radio that she wanted us to sing the initial 'Oh~' together, and that this song is completed when we sing it while thinking about Sakurazaka's past.

So, I did exactly that! Or rather, I wanted to!
I sang while thinking about the scenes from Sakurazaka's debut period, the Omotenashi-kai I followed in real life, and the 3rd tour concerts. Personally, I thought I would hear more voices from the entire venue, but the voices felt quieter than I expected. Perhaps the word 'oh' is a bit difficult to vocalize.

And in the subsequent songs, I did call out during the repeated parts (like 'Boku wa omou~'), but the venue as a whole didn't really call out there either. I'm not strongly pushing for calls, but I like calls that build the atmosphere of the venue or respect and don't break the worldview, and I'm the type who actually calls out.

And I felt the privilege of this C8 seat immediately with this song. Since it's directly in front, I could experience the video production and formation choreography exactly as intended. The video production that made it feel like a train running through a tunnel was excellent again this time.
Another difference in the production was that the dance from the second chorus was moved to the first chorus. This is because from the second chorus, stand microphones appeared, and the members danced while holding them. The ending production has also varied by TV program, but this time, instead of everyone showing their backs, they all faced forward to close. It felt like they were facing the Buddies.

Regarding individual performances and expressions, Tamura-san was impressive. She was dancing with such a huge smile, and in her recent anan interview, she said that Sakurazaka is 'youth'. I really felt that she is enjoying this 'now' to the fullest.

The three 4th generation members also left an impression. It wasn't that they stood out in a bad way, nor was it that the 4th generation members were amazing, but rather that they naturally blended in and existed there. They might have been nervous, but they didn't have expressions of confusion; their natural expressions were what left an impression.

M02. Shounin Yokkyuu (Desire for Approval)

The first song ended, and the 5th live concert opened in the best way possible, but then Morita-san's SNS exchange appeared on the screen. Buddies who are quick on the uptake would know what the next song is with this production. Yes, it's Shounin Yokkyuu.

No, that's right, Shounin Yokkyuu.
It's not like, 'Wait, really?'

"Shounin Yokkyuu as the second song? Sakurazaka, really?"

At this point, I thought this concert was going to be incredible, and I really felt that this concert was the culmination of Sakurazaka's 5th year.

And I believe this song is the one that exerts the maximum firepower for Sakurazaka in live performances.
I think this song is one that has been elevated to another level in live performances.
Yes, the intensity of the calls.
I got chills thinking about what it would be like to call out in this venue of 70,000 people.
The result was... the energy was just incredible. Is this their way of saying, 'Raise the vocalization and heat of the Buddies here by one level and get fired up!'?

The dance track was also impressive as expected.
The team dance that reminded me of 'Addiction' split into two teams with Yamazaki-san and Fujiyoshi-san, the pair dance with front members Yamashita-san and Taniguchi-san, and then after a pause, Morita-san reappeared. It really felt like the main act had arrived!!
From the overwhelming solo dance,"We're going to the National Stadium!!"The voltage in the venue rose even higher with Morita-san's call!! And from there, the furious final chorus.

The member who left an impression on me individually was Sato-san.
This song includes 1st generation members Habu-san, Koike-san, and Kobayashi-san.
Murayama-san took the Kobayashi-san position, and Kojima-san took the Koike-san position. 2nd generation member Inoue-san took the Habu-san position, but after Inoue-san graduated, 4th generation member Sato-san was selected for that position.
At the Dome, the 4th generation members hadn't yet taken over the substitute positions for their seniors, with the 3rd generation members mainly taking those roles. I was happy that 4th generation member Sato-san was selected here. It wasn't a feeling of surprise, but rather a feeling of 'it finally happened'.

She served as the center for 'Shounin Yokkyuu' at the 'Shin-San-Nin-Sha' (Newcomers) event.
So, it's not like the substitute position for this song was a piece of cake...
Because the center's dance and the Habu-san position's dance are completely different. So, she had to learn it almost from scratch.
This might not be because she experienced being the center for 'Shounin Yokkyuu', but simply because her ability to captivate and her ability to learn choreography were recognized.

In an interview with Nikkei Entertainment, she said: "I used to approach performances having decided, 'I'll make this kind of expression for this song,' but after Takahiro-sensei pointed out, 'Aren't you setting limits for yourself, Sato?' and I was struck by that realization, I started trying to "perform by following what wells up from my heart.""

I think her selection might have been based on an appreciation for that expressive power and ability to convey emotion.

M03. Make or Break (day 1)

Next to appear at the center was Mio Matono, and as the remixed Make or Break lyrics "Just my guy" played, the venue was filled with blue lighting.
It's Make or Break.
I had been talking with my Buddies friends about how "they'll probably do all the single tracks, right?" so I felt that it really might go in that direction.

And it begins with Matono-san's solo dance.
She is truly overflowing with confidence.
Actually, I'm writing this part of the note article at noon on the 12th at my accommodation, but a little while ago, I met someone who reads this note in person for the first time and we talked about various things regarding Sakurazaka.
He said, "Matono can become like Yuipon." I certainly agreed. Possessing a charismatic atmosphere despite her youth, captivating with overwhelming dance, and being incredibly cool and stylish. I certainly felt the traces of Yui Kobayashi in her.
Mio Matono, who admired Yui Kobayashi, and now there is a new member, Momomi Yamada, who joined because she already admires Mio Matono.
It is clearly being passed down, isn't it? Of course, Mio Matono is Mio Matono, so she isn't a replacement for Yui Kobayashi, and she will establish her own expression, but it looked like a scene where I could feel Yui Kobayashi's aura.

What left the biggest impression in this song was the dance track.
Among the many Sakurazaka dance tracks, this MoB dance track is one of my top two favorites. First, the sense of unity in the scene where they dance in sequence like a canon to the EDM beat is just too cool. And in this production, they were divided into two teams, Yamazaki-san's and Tamura-san's, and seeing Yamazaki-san literally dancing with her hair, and then having Yu Murai and Kira Yamashita, the dance duo of Rabbit and Cat, come out—I don't know if it was Takahiro-sensei or someone from INFINITY, but I want to share a drink with them for an hour. The fact that cheers of "Ohhh!!" erupted from the Buddies in the venue shows just how high the demand for these two is.

With excitement levels skyrocketing, we headed toward the final chorus, and I watched the Murai turn and the Matono tower head-on; I feel like I'm already full after just three songs.

M03. Jigoujitoku (day 2)

It was one of the surprises that they didn't do this song on the first day.
At the moment the second song ended on the second day, the stage production was green, not blue.
And then, the familiar intro played, and Hitomi Yamashita was illuminated at the center as her solo dance began.
A solo featuring the waacking choreography that is her specialty, with a smile that conveys confidence and ease. The venue erupted when she smiled while doing a move that looked like locking on or shooting a gun.

The energy of the Buddies for this song was also amazing. The sense of unity in the calls was incredible.

And one of the true highlights of this song is the dance track.
Just having Hitomi Yamashita in the center raises the quality of the dance track by a level. She gives off that kind of aura. Of course, it's because she has the technique, but I think she has a talent for captivating the audience that goes beyond that.

The gear shifted up again at the "You know" part, and it was full throttle until the end.
I feel like I'm going to be full after three songs on the second day too.

MC1

And just like the 5th tour, an MC segment was inserted at the timing when three songs had finished.
I want to touch deeply on the MC and the words as well, but my memory is hazy, so I will watch the repeat stream carefully and summarize it there as the "Words Edition," so I will only touch on the broad outlines here while tracing my memory.

First day: Takemoto-san, Matono-san, Taniguchi-san.
Second day: Moriya-san, Yamashita-san, Mukai-san.
For Mukai-san, the fact that what she was saying flew out of her head, or rather, she forgot the words and went "What was it again?" was charming (laughs). Along with Matono-san, I wonder if this generation of the 3rd generation is the generation that forgets things (laughs). But the fact that she could recover immediately and improvise is truly her adaptability! I was impressed that these girls are amazing despite being young.

And this time, Ozono-san had red hair, and Murai-san also went from black hair to a slightly brighter hair color.

Then Captain Matsuda hyped up the venue, and after that, the members also hyped it up with "Can you do it, Sakurazaka!!?" And finally, they hyped up the venue one more time before moving to the fourth song!

Dance Track ~ Flag Dance (4th Generation) ~

Since the 4th generation wasn't there halfway through the MC, I guessed it would be a 4th generation song next. Then, the 4th generation appeared on the center stage. Since Asai-san appeared, I thought it would surely be that song, but the atmosphere of the song was different, and a performance holding flags began.

At the time, I hadn't caught up on what the intention behind this was, but simply seeing the 4th generation dancing lively and smiling on this big stage made me smile naturally, and the positive and refreshing song style made me imagine that this live concert would continue to accelerate from here on.

After returning home, I thought about the meaning of the performance using the flags.
There is an idiom 'to raise a flag.' (Please don't get hung up on whether it's an idiom or not like someone else did.)

Raising a flag was originally a military term meaning to start a battle, but nowadays it is also used when launching a new business or organization.

There is also the idiom 'to wave a flag.' (Okay, that's enough about idioms, right?)

The meaning of waving a flag here is 'to take the lead and push things forward, to take leadership.'

The 4th generation members raise the flags and wave them. I interpreted this as a metaphor for them being members who will carve out a new path from here on out.

M04. Kombinat

And just when I thought it was a 4th generation song, I noticed Kira Masumoto was there, and the song that started was Kombinat!

My impression was that it was unexpected. It was just when I thought the setlist would be centered on single tracks, and my mind was set on hearing a 4th generation song.

Thinking, 'Oh, a 2nd generation song here!', I looked around and saw all the members! I see, so this is the hype song and fan service zone!

So, since the stage was close this time, I took out the sketchbook I had prepared to try and get some fan service. I'm the type of person who enjoys various cultures and is a bit of a dilettante, so I wanted to enjoy this opportunity as well. Although it's not a guaranteed outcome, I've only ever received a response once before. So, I thought this would be bonus time!

This time, when my Buddies friend next to me and I appealed together, we both got responses in a row! So, one of the missions I wanted to achieve with these seats is accomplished!

And seeing Masumoto-san up close again, while she's usually known for her eccentricities and sometimes called a 'rare beast,' she's also called a 'visual member,' and I understood why.

In Kombinat, besides Masumoto-san, Morita-san and Moriya-san also came close. I've been to about 20 concerts so far, and this was my third time in the arena, but it was my first time being this close to the stage, so thank you very much.

M05. Drone Senkai-chu

Next was Drone Senkai-chu. Here too, while my focus was on getting a response, I was busy waving my towel and penlight, enjoying the call, and holding up my sketchbook when they came close. I remember Yamazaki-san coming close on the first day.

It goes without saying, but she really has an aura and charisma, doesn't she?
I've booked a real-life meet-and-greet for the first time, so I'm looking forward to greeting her.

On the second day, I was in the third-floor sky seats, but my eyes were caught by a member on the flower path who was having an exceptionally large reaction and jumping high. Even with binoculars, she was too far away to identify, but I think it was Nakajima-san (lol). She was entertaining us with her smile and her whole body in other scenes as well.

M06. Kiss ga Nigai

From a time filled with euphoria, the atmosphere changed instantly, and with the sound of a motorcycle engine revving, this song was performed for the first time.

I love the fast-paced melody and it's a song I wanted to hear live.
Simply put, the song is cool.
Personally, I think this song will become a huge hit that people can call along to as naturally as they do with Shounin Yokkyuu, but since it was the first performance, the calls felt a bit reserved.
It was a debut performance that made me want to help all the Buddies cultivate the perfect call for it.

The songs and performances are cool, aren't they?
Fujiyoshi-san's expressions, in particular, are truly masterful.

M07. Dry Fruit

Then, Dry Fruit began, but the performance started on the backstage, which was far from us near the center stage. Since it was hard to see, I enjoyed watching each of their expressions carefully on the monitor.

This was also the first time the performance of Dry Fruit was unveiled.
Murayama-san had many walking scenes in the MV, so this was my first time seeing her performance throughout the entire song. I love it when she is the center.
The powerful dance unleashed from her tall stature and cool, one-of-a-kind worldview is truly captivating, and as I wrote on note before, I haven't been able to take my eyes off her since the BAN performance at the Omotenashi-kai. When she is in the center, it feels very tight and cool.
I was really able to soak that in during this Dry Fruit performance as well.

Looking at the individual performances, there is a part in the B-melody where they do neck isolations, and Meguro-san is truly impressive. She also shows off her supple dance during the dance section with Hikari Endo-san and Matsumoto-san.

Another part of this song I like is the choreography in the second half of the second chorus where they turn their toes inward, spread their arms outward, and shake them at high speed. I liked Kojima-san's dancing in the MV at this part, so this was also a point of focus for me. Since they were filming with a wide shot of everyone, I couldn't identify Kojima-san specifically, but it had a sense of unity and was very good.

The fact that the penlights in the venue were mostly red and purple also matched the worldview and atmosphere of this song.

M08. Aozora ga Mieru Made

Light hit the center stage again, and Ozono-san appeared.
I thought it might be cool, but she was wrapped in a pale blue light and a gentle melody began to flow. Then, when I looked back, the other second-generation members were there on the main stage, and also on the backstage. And in the center were Moriya-san and Morita-san.

When it comes to this, it has to be that song.
"Aozora ga Mieru Made"

I really love this song too, as it's full of the members' smiles and overflowing with euphoria.
It makes me cry by conditioned reflex.
The members also said that it's a song with a lot of eye contact, and they wanted to make eye contact with everyone as much as possible.

Since I was right behind the center stage, I spent most of the time looking at their backs, but conversely, that was very good. Ozono-san was looking straight ahead and singing, and since her expression was being projected on the back monitor over Ozono-san, I could see it, and it was very emotional. The penlights in the venue were dyed in light blue and blue, the color of the blue sky.

In the second half, Ozono-san gave a speech, and then the members gathered around. On the first day, while Ozono-san was a bit overwhelmed with emotion, the other members approached her with smiles, and they all sang powerfully while looking forward. I was watching their backs from behind, and I could feel the accumulated time of the eight years they have walked and fought together.

I want to watch live footage via streaming or on disc.
That is, of course, because I want to keep the footage and the temperature of that moment I experienced myself forever. But there is one thing you have to be careful about when watching this footage.

It is that the footage you watch will overwrite your own memories.

Even though I was captivated by the members' expressions and every move at the venue, it gets overwritten by footage that is the same as or similar to the monitor footage, rather than the actual experience. Isn't that a waste? So, I intend to put the footage from that time into words so that I can remember it.

And what was impressive about this performance was the second day.
Of course, I can't remember every word of the speech, so I want to look back on it again after watching the repeat stream.

However, on the second day, it was"Buddies, the third generation, and the fourth generation are my treasures. There is no such thing as forever or a lifetime. It is painful that the things I cherish keep increasing."And after that "it is painful," there was a brief silence. Perhaps there were words she wanted to continue with after that. But I felt that she couldn't say those words because she was overwhelmed with emotion.

After that, the other members were performing with smiles around her in contrast. And Ozono-san also performed together with a smile again.

But in the scene where they stood in a line and held hands to sing, Endo-san and Moriya-san were also tearing up.
I know that the eight years of time and this wonderful moment will not last forever, and I end up thinking about it whether I want to or not.

Some of us have been supporting them for 10 years, some for about 4 years like me, and others have only recently become fans. Even from a fan's perspective, just imagining their relationships and the stories they share makes me tear up, thinking about the heavy burdens they carry and the long journey they have walked together. I can only imagine that the bond between the members, especially the second generation, who share these memories, is truly beyond anything we could conceive.

I am truly grateful that the second generation has worked so hard to get this far.
I felt this while watching their backs on the first day, and while watching the tears on the monitors on the second day.

M09. Sakurazuki

And continuing on, we are at the center stage. Thank you so much.
On the main stage, there is a moon, and in front of it, a cherry blossom tree created by projection mapping on a fountain. It's Sakurazuki, isn't it?

First, my impressions of the performance I saw up close on the first day. I could see their expressions clearly here as well.
Starting with Tamura-san and Morita-san. They are a pair in this song, and there is a part where they perform while looking into each other's eyes. Tamura-san answered this in an anan interview.

Having read that article, I felt the story behind that act of locking eyes, and it made me feel bittersweet as well.

There was also a scene where Matsuda Rina-san caught my eye. It wasn't a scene where she was being featured, but she was performing while singing with her eyes closed for a long time. Since she was in the back of the formation (directly in front of our position), it wasn't a scene that should have been visible, but I was moved by how deeply she was engaging with the song down to the smallest detail.

Another person is Mukai-san. She was in Habu-san's position. She also commented on taking over a senior's position in an anan interview.

Having read that, it really looked like she was performing with deep respect for her senior and fully immersed in the emotions. I'm surprised by the gap when I see her laughing heartily in the after-show stream, but she is truly a serious and wonderful person.

I was also drawn to Nakajima-san's performance.
In the lyrics ‘If we can't stay like this,’ there is a move where she sinks her body down and swings her arms up and down to express emotion, and Nakajima-san was pouring her entire body into that expression, which kept my eyes glued to her.

And what was impressive about this Sakurazuki was the second day. I was in the third-floor seats on the second day, and Moriya-san's eyes on the monitor looked a bit moist, but I couldn't be sure. After that, I saw a post on X saying she had shed tears, which confirmed it for me. Was it tears of joy that they had made it to the National Stadium, or was it tears thinking about Ozono-san's words from earlier and the time spent with the second generation? She rarely cries in front of others, so it really touched me.

M10. Mamoribito

And after that deeply moving performance, Kojima Nagisa-san and a piano appeared on the main stage. Speaking of her piano, she had performed at the Omotenashi-kai and the Backs Live, though not on stage, but I think her recent success led to her being chosen for this moment.

On the first day, I couldn't imagine what song it would be, but a gentle melody enveloped the venue. Then, a flower-like shape appeared on the monitor, and the melody of Mamoribito rang out with a sound like glass shattering, and just as I thought the flower was spreading, it turned out to be each of the members. I was surprised to find that those members were the fourth generation.“So the fourth generation is singing Mamoribito here. And Kojima-san sending them off with the piano—what a wonderful story,”I thought.

The center was Katsumata Haru-san. She had publicly stated that Kojima-san was one of her favorites. Singing a center song of a senior she admires, and likely being a Buddies herself, I think she understood the meaning of this song and what it represents for the third generation and their fans. And the fact that it was the song of the person she looks up to. Even if you tell yourself you don't need to overthink it, like ‘Is it okay for me to sing this song here?,’ you still end up thinking about a lot of things, right?

She was originally praised as a member with high expressive power, and I think that, combined with that background, resulted in a performance overflowing with emotion. The scene after the first chorus where she makes the Sakurazaka pose and raises her hand to the sky. Her hand looked like it was trembling.

It was also lovely to see everyone holding hands during the lyrics, "We won't move until the next generation." I could feel the bond among the 4th generation members.

And as for the performance, there was a solo dance following Katsumata-san's speech.

I would like to touch upon the words of the speech in more detail after the repeat streaming, but at the end of the first day, the words were as follows:
"Today, under the same sky, we will make our own cherry blossoms bloom in our own way."
On the second day, it was this:
"We will make our voices heard!"

The solo dance followed that.
It was heart-wrenching, as it felt like an expression of their determination to have each individual carry the torch with their own strength. After the solo dance ended, they incorporated choreography identical to that of 'Seijaku no Bouryoku,' which I felt also represented this succession.

Some might have thoughts about this song being passed down from the 3rd generation to the 4th generation, but this made me think about where "here" refers to, and what it means to "move". When I thought about it that way, I felt there was nothing negative about it. I hope to touch upon this in more detail later if I can put it into words.

Another highlight of 'Mamori-bito' that left an impression was the penlights on the second day. 'Mamori-bito' usually has an image of being mostly white, but for some reason, it spontaneously turned entirely green.

If I were to layer a story onto this unexpected and unintended event, green represents the image of fresh verdure. It makes me imagine a story where new buds called the 4th generation emerge, making the cherry blossom tree even deeper and stronger.

M11. Kogen (Light Source)

And then, unexpectedly, the 4th generation's performance continued. Silhouettes were projected into the light, and a fantastical melody and chorus flowed.

Then, Asai-san was illuminated by a spotlight, and the other 4th generation members appeared. And then, the unison singing of "wow~" began. After expressing their strong determination in 'Mamori-bito,' this song, which contains a powerful message from the 4th generation, was performed. And in terms of performance, it was the first time this song was unveiled. What a perfect flow...

The light rays on the background monitor were beautiful and simple, yet they created the world of 'Kogen.' I was truly moved by the production by the video team this time as well.

The 4th generation also has the power as a team, just like the 3rd generation. There were scenes where I felt a sense of unity, as if they were a single living organism. And I felt the strength in each individual's performance, following the flow of determination from 'Mamori-bito' earlier.

Finally, the 4th generation walked into the light and disappeared. You might say this is a retrospective interpretation, but at that moment, I felt that the next song would definitely be this one.

The contrast between light and darkness, and the flow connecting the 4th generation to the 3rd generation.

M12. Seijaku no Bouryoku (Violence of Silence)

After the sound of the bustling crowd, a high-pitched mosquito tone rings out, and many Buddies realize what is coming. Then, Shizuki Yamashita walks toward the center stage.

Last year, there were few opportunities to see the 3rd generation's 'Seijaku no Bouryoku' live, so I really wanted to see it at the National Stadium. Just thinking about what kind of world this darkness and silence of 70,000 people would be like made my heart tremble, and I assumed it would surely happen.

And right in front of me were the 3rd generation members in formation.

Once the intro began and the performance started, I decided I wouldn't miss a single moment of them right in front of me; I wanted to burn it into my memory. I wouldn't look at the monitors. I would focus all my attention on the expressions, voices, and movements of the girls right before my eyes. Even without consciously deciding that, that's what ended up happening.

I am truly grateful to have been able to bathe in that silence from such a close distance.

And while not everyone in the venue turned off their lights, the fact that so many people naturally turned them off without being told is one of the stories created by Sakurazaka and the Buddies. That sight was breathtaking, and the state of the venue with scattered lights remaining while they were being turned off was also beautiful.

The production also showed a different way of presenting the 'Seijaku' (Silence) segment.
When 'Seijaku no Boryoku' (Violence of Silence) was released to the world, not just as an MV but in the dynamic form of a 'live performance,' the long silence segment before the line 'Can you discard the desire to speak and love the silence?' was created as the initial live production. It's that performance where you can hear the breath of each individual member. Then, the silent dance performance at the beginning was also added.

Various productions were used to present "the sound called silence".

And this time, it was a music box.
Written on the music box is "The Sound of Silence"
.

I don't think silence is just the absence of sound.

As in the lyrics of 'Hikari no Kage' (Light's Shadow),
just as shadows are cast because there is light, we understand silence because there is sound.

At that moment, an airplane was flying in the night sky, and its sound was resonating just the same. It is precisely because of that sound that our being silent stood out. And like the lyrics of this song, even if you are holding onto some kind of conflict, despair, or negative emotions and are in a mess, daily life goes on without caring about such things. It was a sound that made me think about that as well.

And one more thing, the lyrics say this:

It is also a song that sings about that inner conflict of wanting to be alone but not wanting to be alone.

I was lost in thought about the music box while writing this note. That gentle melody was something nostalgic that reminded me of my childhood.
Even when I had feelings of despair, conflict, or anxiety, I wanted to let a gentle sound like a music box resonate within my heart; that was my interpretation of the quiet cry from the depths of my heart.

On the second day, tears were also welling up in Yamashita-san's eyes.
I wonder why so many members were tearful on the second day.

And then the music box stopped, followed by the line, 'Can you discard the desire to speak and love the silence?' And from there, the explosive performance leading to the finale.

And the applause that would not cease.

This song is truly one of a kind.

As for my impressions from watching the performance up close, from my position and angle, I could see Murayama-san, Nakajima-san, Odakura-san, and Murai-san well. Each of them was incredibly possessed by the performance, but Nakajima-san had a moment where she gave a performance that seemed to pour all her emotions into her entire body, and I felt that she was particular about every detail, while at the same time, expressing emotions that emerged right there on the spot.

As an aside, on the second day, perhaps due to sound issues at the venue, the sound of the music box was barely audible. It seems it could be heard on the stream, but with large venues, there are various problems, and the staff must have a hard time.

CHOREOGRAPHY DANCE TRACK YUI TAKEMOTO

Next, the screen displays "CHOREOGRAPHY DANCE TRACK YUI TAKEMOTO." A huge cheer erupts from the venue.
I couldn't help but shout, "Are you serious?!"
On the second day, a pair of young men nearby were also shouting, "No way!"

To give my impressions first: it was the best.
It is the best dance track yet.
First of all, the sound is great. It's passionate, cool, and music that quietly sets your heart on fire. My body started moving on its own. On the second day, clapping naturally broke out across the entire venue, and it was already a dance floor.

And because it's Yui Takemoto, a member of Sakurazaka who has watched the other members up close, the production is something that can't be dismissed with simple words. The members' individual personalities shine through, and above all, the dance composition and the way it's presented are just too cool. Of course, it must have been supervised by TAKAHIRO-sensei and INFINITY, but the composition was so unique and cool that it felt like TAKAHIRO-sensei might have created it.

It starts with Takemoto-san's solo dance. Even a dance amateur like me can feel how satisfying it is to hit the beats.

A composition that makes it look like Yamazaki-san's team and Fujiyoshi-san's team are battling. A performance that looks like a mirror. These two compositions reminded me of "Addiction" and "Minatoku Parsley."

From there, the music's bass becomes intense. Then the members sit on chairs. Hikaru Morita is in the center. This chair dance reminded me of "Abura wo Sase."

After that, a door appears, and third-generation members Murai-san and Yamashita-san perform together as rabbit and cat, joined by Taniguchi-san—a collaboration of three members who have been known for their dancing since the beginning. Then, a cool pose as if they were a hero squadron. And then, fourth-generation members Sato-san, Taniguchi-san, and Yamakawa-san, who are title track members, appear. Takemoto-san said on the after-stream that she was "very particular about the member composition." That really came across.

And they keep showing us more. Next, members appear from the center as if marching, and they perform with large lighting equipment for filming, clicking away. It was great how they created the entire world view.

The music becomes even more intense, a dance like a ritual begins, and they use canons to pile on the intensity, making my adrenaline rush like crazy.

And then the star returns. Yui Takemoto appears in the center.
From there, everyone dances together.
The tempo changes, with music starting again just when you thought it was over, reminiscent of "Nagaredama," and the Buddies were completely under their spell.

Finally, along with the heavy bass, a fleet of drones appears in the sky. I thought it was a scene from a movie. Then the drone art began, and the word "Addiction" floated in the sky.

M13. Addiction

Addiction here.
And surprisingly, the fourth-generation members have joined in too. It feels like they are going to pile on the intensity with everyone from the dance track onwards!

Truly an Addiction to Sakurazaka!

By the way, at this time, the venue was dyed deep red.
Personally, I changed my penlight to green and purple, the colors of Yamazaki-san and Fujiyoshi-san. This is because the 5th tour costumes were those two colors, and I have a strong image of the CDTV performance being lit in green and purple, but since the dance track before this was generally a red production, it probably turned red following that flow.

At this time, the drone performance continued in the sky.
I didn't notice it at the time because I was focused on the screen and the stage, but it seems that when the "HEY!" shout happened, "HEY!" was also lit up in the sky by the drones.

M14. Naze, Koi wo Shite Konakattan darou

This one here!
It was surprising to see them bring out an early song that is popular but not a title track here. Including the double center, five songs were performed where Fujiyoshi-san, the center of this title track, was the center. I think she is one of the central figures this time, and I felt once again that her expressive power is simply outstanding. In this song, her freely liberated expression makes my heart flutter.

I love how she shifts gears in the scene where she kneels and looks down before lifting her face just before the last chorus, and of course, the expression at the end. As usual, I was shouting "Right here!" in my heart.

It was also great to see the 4th generation members in positions here. Sato-san and Yamada-san were included. Sato-san was in the second senior position. I can feel her hard work and the expectations placed upon her.

The words "Sakurazaka46" and their logo were drawn in the night sky by drones.

M15. Nan-sai no Koro ni Modoritai no ka?

Then, the drones changed their formation again as a remixed version of the song played. Along with visuals of butterflies, cherry blossoms, stars, clowns, and clock hands in the night sky, music from songs like "Jouken Hansha de Nakete Kuru," "Yozora de Kagayaku Hoshi no Namae wo Boku wa Shiranai," and "UDAGAWA GENERATION" also played.

I was talking with the Buddies next to me, saying things like, "Is this 'Jouken Hansha'!? Oh, it's 'UDAGAWA'!" and from the point where the clock hands and multiple songs started playing midway through, I guessed it was this song based on the meaning. (I know, I know, you'll say this is just hindsight, haha.)

This was also on the center stage.
Thank you.
This is one of my top two favorite songs, so I was overwhelmed with emotion to be able to experience it from so close up.

The overflowing emotions of the members were really coming through, and the energy of the Buddies in the venue was at its peak.

And it was the best to be able to see the full-throttle performances of Yamazaki-san, Morita-san, and Fujiyoshi-san up close, and Yamazaki-san's hype-up was also the best. My vocabulary is failing me.

M16. Mou Ikkyoku, Hoshii no kai? (day 1)

The intense zone continues. After being hyped up by Yamazaki-san, let's get hyped up by Yamashita-san. She heated up the venue even more with language that you wouldn't expect from an idol! Now, put down your penlights, it's time for clap hands up!

Hands up isn't good for Sakurazaka concerts. Let's exercise self-restraint at chest height.

The highlight here is Morita Hikaru-sama.
I'm calling her 'sama' now.
It's amazing, please let me call her Run-sama.

I don't think it was shown on the monitors, but in the second half, she came to the center stage and was dancing and hyping up the crowd around Yamashita-san, and her movements were so fluid it was like she was doing parkour or dancing.

I was getting excited with the Buddies next to me, saying, "Wait! Morita Hikaru is insane!"

M16. Manhole no Futa no Ue (day 2)

One of the thoughts I had when the first day ended was, "Did they not do 'Manhole'? They could have included it." And I thought that if they were going to include it on the second day, this would be the place. (Please, tell me it's hindsight as many times as you want.)

I heard on Saito-san's radio last month that this song was the first one Kawamura Akane-san worked on as the main creator, so I was watching it from that perspective too. I really like the choreography in the chorus.

The highlight of this song is the members' expressions.
Morita-san's expression as she tries to grab something in the chorus. And from the 4th generation, Matsumoto-san's expression was impressive. She is truly excellent at performances that use these kinds of provocative expressions. However, the MVP is Fujiyoshi Karin-san. I will not accept any objections. I want to give a box of sweets to the cameraman who captured her right before the last chorus. They captured her brushing back her hair, winking, and making a slightly scrunched-up face—why are you so cool? How can you make such a perfect expression and performance in such a split second?

M17. Samidare yo

Then Yamazaki-san stood on the center stage, holding a hand mic in one hand, and began to sing 'Samidare yo'.

I couldn't believe it was a solo performance.

And then the venue turned green all at once.

Just like with "Aozora ga Mieru Made," the view from our seats on the first day was a sea of bright green penlights over Yamazaki-san's back. And on the back monitor, Yamazaki-san's expressions.

In 2022, they sang "Samidare yo" on a TV program at the National Stadium. That was a TV recording, so there was no audience. And of course, they didn't get there on their own power.

Four years later, they dyed this place green all by themselves. To use the words from Captain Matsuda's final speech, they dyed it together with the Buddies. What a wonderful story.

After the first chorus, Yamazaki-san left the stage, and the members appeared from the main stage. Along with Yamakawa-san, fourth-generation members Inaguma-san and Nakagawa-san were also there. Since Inaguma-san and Nakagawa-san didn't have dance experience, they might still be lacking in stamina or technique, but I can feel the management's intention in having them join the seniors in such a gentle song. Or perhaps, simply setting that aside, they were chosen because they fit the worldview.

The reach of "Samidare yo" was expanded at Inoue-san's graduation ceremony, but it further broadened its worldview and performance range at this anniversary live as well. This song is also used as the theme song for the third-generation documentary, and this grand melody line sounds like the national anthem of Sakurazaka.

It's also wonderful how they sing "Wow Wow" with the Buddies before the final chorus. And I think this is the first song where the formation of standing in a single horizontal line was used in Sakurazaka, and that line is really great, isn't it?

M18. Unhappy Birthday Syntax

From a fantastical atmosphere, the birthday melody that everyone is familiar with plays, with a red and black stage reminiscent of the music video and torches representing candles. There, Yu Murai performs a supple dance. But halfway through, the melody turns into a minor key, becoming like dissonance, with Yu Murai suffering and the members around her clapping.

And then the song starts. The worldview was incredibly well-crafted.

This song isn't a call-and-response song, and judging by the lyrics, it's also quite a dirty song. However, the quality as a song is very high, the composition is interesting, and Nasca-san's melody line is very cool.

And I find myself captivated by Murai-san's acting and expression. I think it's a performance that simply draws you in and overwhelms you with the song. It's truly surprising to see the breadth of performance possibilities in Sakurazaka, where they have so many colors and can be dyed in any color. And that's exactly why Sakurazaka is fun.

M19. Masatsu Keisu

Then, to the familiar melody, Morita-san and Yamazaki-san appear on the center stage. Thank you again. To be able to bathe in the friction of these two from so close up.

Here, there was a cameraman with a handheld camera on the center stage, capturing footage full of presence. The power of such professionals makes the live performance even more attractive, doesn't it?

The biggest highlight of this song in the live performance is surely the "Ma-sa-tsu" call. We really got the maximum firepower "Ma-sa-tsu".

M20. I will be

Then Taniguchi-san reigns over a large sofa for a solo dance. And then the other members come out for a dance track. It's "I will be." This song has also become a staple at live shows. In the dance track, the mentor-student duo of Takemoto and Nakajima appeared in the second half, which was exciting. It's Yuzuchuke. It's sad that we won't be able to see this Yuzuchuke duo anymore even though they are a great pair... And then Taniguchi-san does a cartwheel there, making it even more exciting.

The handheld camera footage here was also very good, just like in "Masatsu Keisu." While Aki Taniguchi is known for "Natsu no Chikamichi," I think this cool song "I will be," which is the exact opposite, has become her other signature song and the one that conveys her charm to the fullest.

There was one more person who deserved attention in this song.
That is Kazuko Matsumoto.
She stepped into Inoue-san's position, and every scene she was captured in was absolutely perfect; she stole my eyes in an instant. I will say this as many times as needed because it is truly important: she is excellent at challenging expressions and fearless smiles.

M21. BAN

It has finally arrived, fully prepared.
This song was not performed much in 2025.
Once the clock production appeared, and considering it was a song that hadn't been performed at this timing, I had already guessed it.
Well, I was looking forward to seeing what kind of BAN they would show us.
Buddies had been coming up with names like 'Special BAN' or 'Ultimate BAN' on their own, but what appeared this time was composed of the latest single's selected members. At first, I thought the 3rd and 4th generation members were just filling in the gaps left by the original members.

However, seeing the members who appeared in the second verse, I realized it was divided between title track members and BACKS members.

I mentioned earlier that I like Murayama-san's center performance in 'Dry Fruit', but I also mentioned in a previous note that I like her 'BAN' as well.

I was captivated by her performance of 'BAN' at the Omotenashikai. Her 'BAN', where she shook her hair and moved her whole body vigorously without caring about the eyes around her, stood out more than any other member, and I have been a fan of her dancing ever since. I was very satisfied to see her dancing 'BAN' as the center.

As expected, she had a great presence dancing in the middle and was superb.

M22. Start over!

Then, as if to press the attack, a remix of the intro to 'Start over!' played. The venue erupted with 'Oi! Oi!' calls in rhythm with the 'Start over!' jumps. Due to venue restrictions, we couldn't jump, but we all joined in with the sound to get excited.

And then, another huge cheer as Fujiyoshi-san appeared.
The performance of 'Start over!', which became a turning point for Sakurazaka, began.

The expressions during her interaction with Murai-san, who stepped into Kobayashi-san's position, were different every time, which was also a point of interest.

After Murai-san pulls Fujiyoshi-san intensely, they embrace gently.
And then, Fujiyoshi-san runs toward the center stage.

A pillar of fire rises on the center stage, where Fujiyoshi-san expresses a dance as if she is suffering and struggling with all her might. On the first day, I burned that image into my eyes right in front of me.

Then it enters the final chorus, but the expression here was different between the first and second days.
On the first day, like the other members, Fujiyoshi-san danced intensely while looking forward, evoking the image of a heart exploding, but on the second day, she danced in a slow, classical or jazz-like style while watching the members performing the heart movements on the main stage. It was a performance as if they were having a dialogue.

I am sure there is some meaning behind it, but I believe that the charm of Sakurazaka is that they make us imagine various worldviews and stories like this.

And finally, Fujiyoshi-san looks back again, staring at everyone on the main stage, and it ends.

M23. Nobody’s fault

And then, Hikaru Morita is on stage.
Her face is projected on the monitor, and the focus zooms in on her left eye.
Then, scenes from the music video for the debut song 'Nobody’s fault' are shown, and from there, Sakurazaka's six-year history flows by in music videos and live footage.
It flows along with profound music, as if looking back on the days of battle.
And the many images of the past reflected in Hikaru Morita's eyes. Each one is a story of rebirth that creates the present.

Then, the image dyed in the white of the National Stadium is reflected in her eyes again, and the words 'LAST SONG' appear on the center monitor.

I absolutely knew they would sing this song, and several members had expressed their desire to sing it at the National Stadium in magazine interviews.

On stage, they wore pure white costumes that were reminiscent of their debut song's music video, yet capable of being dyed any color.

Hikaru Morita stood in the center of the elevated stage. A small giant who ended up carrying the weight of Sakurazaka's maiden voyage as its savior. She might feel that this was a label thrust upon her by others, and I'm sure she felt the pressure. However, there is no doubt that it was her presence that supported Sakurazaka during its formative years.

And on both sides of her were the two who supported Sakurazaka alongside her and have always fought on the front lines to help the group grow to this point: Ten Yamasaki and Karin Fujiyoshi.

Rena Moriya stood in the center of the second tier. The fact that she was there also left an impression on my heart. She was also the first center from the Sakamichi Trainees. I believe she is one of the key figures who brought Sakurazaka onto its growth trajectory, and a member who supported the group strongly both mentally and physically.

My heart was moved by this formation, where members who supported Sakurazaka and knew its hardships were holding the center and the wings.

Then, everyone appeared on stage.
They all formed triangles with their hands, closed their eyes, and looked down quietly.
And when the song began, they delivered a powerful, perfectly synchronized performance.

Watching from the front, I felt a strange sensation.

It looked like a performance not by individuals, but as a single collective entity.

You might feel like you don't quite understand what I mean, but while each person was dancing,it felt as if it were being expressed as one single mass.The reason I could think that way is also because
I truly felt that everyone there was 'Sakurazaka'.The 3rd and 4th generation members joined later, and of course, they weren't there when this song was released. They also didn't experience the process leading up to the birth of this song. In other words, the end of Keyakizaka and the beginning during the COVID-19 pandemic. This song feels like it's bracing against the headwind of that difficult path. This identity shouldn't have been something the 3rd and 4th generation members possessed.

But when I saw this performance,I felt that everyone was a 'Sakurazaka' who possessed that identity.

From everyone's expressions,I felt their awareness, resolve, and pride as 'Sakurazaka'.That was released and reached us as an expression.

I simply stopped waving my penlight, watched them, and felt it with everyone else.

And I cannot go without talking about Hikaru Morita.

She is skillful, and I don't mean this in a bad way, but in a good way, she has a sense of composure.
In songs like 'BAN', 'Shounin Yokkyuu', and 'UDAGAWA', she makes the choreography her own, and her stability and high level of skill make it seem like she performs these difficult routines with ease.
And of course, even when she isn't the center, her presence there provides a sense of security.
But she has a sense of composure. I'll say it again, I don't mean that in a bad way.

However, this performance of 'Nobafow' was like she was shaving off her own life.
Her hair, which usually isn't that messy, was disheveled, and her expression was intense, even showing a hint of pain.
It looked like a super-protagonist in an anime who usually defeats enemies with ease was now unleashing power beyond their limits.
And at the end, she placed her triangle-shaped hand over her left eye and opened it with a snap.
I will touch upon the meaning of this 'rebirth' of the left eye in the MC report later,

but I am grateful to her for the weight of that meaning and for making that choice and bearing the responsibility for it.

The letter V appeared on the monitor, the members lined up in a V formation, and then an I appeared next to the V, making the letter VI emerge. Then they turned around and started walking toward that VI. Toward the 6th year of Sakurazaka.

GO TO THE 6TH YEAR

Then fireworks went off from both wings, and the main part of this legendary concert ended.

Since I can't put my words together,
please let me summarize my overall impressions in the MC/Words edition.

Encore

A01. Alter ego

A02. Natsu no Chikamichi

A03. That's Love, Isn't It

For the encore, they sang these three songs in a row. A 4th generation song, a 3rd generation song, and a song sung by the 1st and 2nd generations before the 3rd generation joined. I was surprised at first to see everyone singing these together.
I was thinking, 'Wait, the encore is Alter ego!? Starting with just the 4th generation? Are they coming out by generation? Is that what's happening?' and then I realized, 'Oh, all the members are here!'
It was refreshing to see the seniors singing these songs with everyone else. For these three songs, on the first day, I focused on getting responses from the Buddies next to me (lol). The difference in intensity compared to the earlier 'Nobody's Fault' (lol). That's also part of the fun of a Sakurazaka concert.

On the center stage, Yamakawa-san, Taniguchi-san, and Yamazaki-san, who are the centers for these three songs, were always nearby, which was a real treat. In the end, despite having a good seat, I didn't get a response in this zone. My fellow Buddies next to me got plenty, but why not me!

MC2

And the final MC.
Come to think of it, before the encore, I noticed and told my friend, 'We only had one MC this time too...'
However, my feet didn't hurt as much as they did on the last tour, and I was so immersed in the world of the concert that I forgot there wasn't an MC.

A04. Buddies (day 1)

A04. Sakurazaka no Uta (day 2)

Buddies on the first day, Sakurazaka no Uta on the second day.
Two representative songs packed with the history and background of Sakurazaka.
I tried to get a response on the first day, and I savored the lyrics on the second day.
Normally, this is a time to savor the lyrics and enjoy the sense of euphoria from the members' expressions, but I'm sorry to keep saying this, but since my seat was so close, this was a rare opportunity, so please forgive me...

I would like to look back on this as well, including the final speech in the words and MC section.

A concert that keeps reaching new heights

Regarding this concert, personally, I updated my personal best for live performances of almost every song. I've been to many concerts and seen the best performances, but combined with the production this time, there were many performances that left a lasting impression on my heart. 'Seijaku no Bouryoku', 'Mamori-bito', 'Aozora ga Mieru Made', etc., were the performances I liked the most and that resonated with me the most out of all the concerts I've seen so far.

As for 'Nobody's Fault', I updated my personal best for all the performances I've seen in Sakurazaka's history.

Once again, I felt that Sakurazaka's songs have stories, and that those stories are living things that are constantly being updated, and I felt that is the charm of Sakurazaka. I also felt that being able to see the members' growth, changes in their expression, and the story of each member at the concert is a real thrill.

I felt that the 2nd, 3rd, and 4th generations were blended very beautifully, and it was a concert where I could feel that the roots built by the 1st generation were certainly there.

I'm glad I met Sakurazaka.
In Sakurazaka's 6th year, let's continue to encounter wonderful songs and wonderful stories, enjoy them together, and make our dreams come true together.

Well, from tomorrow onwards, I will continue to write about the scenes, members, and words that left an impression on me from this 5th Anniversary Live as they come to mind.