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M/ SUNNY
When the DJ calls the audience on a recent occasion near Tokyo, the reaction is more visual than audible, with some car horns, flashing lights and hazard lights and flashing lights on car windows.
Welcome to the global drive-in concert, one of the tactics in which entertainment with giant crowds adapts to the coronavirus pandemic.
Drive In Fes at the end of last month on the outskirts of Nagara City, Chiba Prefecture, organized through a party designer with a delight of pioneering avant-garde meetings and one of the largest drive-in concerts ever held in Japan.
Riichiro Nakama, also known as Afromance, says he began thinking about the occasion as early as mid-March, when he began to feel the effect of the pandemic on the arts and entertainment.
“I heard news every day about occasions canceled or postponed due to coronavirus, and I sought to give artists and enthusiasts a position to perform,” says Afro’s 35-year-old CEO.
“Is everyone having fun?” asks one of the DJs, leading the audience to the Longwood Station parking lot, a movie filming location and a venue for occasions.
The music comes out of an emerging scene, but you must also have a compromised FM radio wave to connect internally to the car.
In an instant, car parking becomes a disco scene, full of lighting fixtures and level special effects. The fireworks were the last of the two-day festival, which featured about 220 cars and about 550 participants.
“The concept (of this drive-in) is not to think that you have to go through the fact that you’re stuck in a car, but that it’s a laugh precisely because you’re in a car,” says Afromance.
On pioneering occasions such as the “bath cinema” where visitors watch videos on the big screen as they dive into their personal bathtubs and “Maguro House”, which combines an exhibition of tuna filletes and space music, Afromance hopes above all that other people “enjoy an ordinary experience. »
A music festival isn’t just about listening to music, it’s about going out to feel a live festival,” he says.
Not everyone stays in your car all the time, however, the area is explained through social distance. A voiceover reminds the public to wear an outdoor mask in their car, use hazard lighting fixtures instead of encouraging and using the Line messaging app to check for crowded restrooms.
Before entering the concert venue, the organizers carry out temperature checks and advise others in their respective parking spaces. Drivers are kindly requested to shut down their engines and stay away from other cars.
After the start of the festival around 6 p. m. , participants enter and leave their cars, state or dancing outdoors of their vehicle in a designated space, for other cars.
“Usually at music festivals, we are so close to each other, but here there is distance and yet I can feel like a festival. It’s a whole new pleasure to enjoy a festival,” says Yuya Yanagita, 40. Seller.
Another participant, Osamu Sakai, 42, believes he has the most productive of the two worlds. “I might get out of the car in the legal area and move, and when I get tired, I just get back in my car,” he says.
Participants get a Spotify playlist in advance and, to minimize contact with staff, food can be ordered from Line. Staff on roller skates deliver from stalls serving soft food and drinks. Stage accessories.
Shinichi Osawa, a musician and DJ who is from the Mondo Grosso project, describes its functionality on the occasion as the “most physical” he has had since the coronavirus ended many of his shows.
Block. fm music maker and DJ Taku Takahashi echoes his sentiments. Takahashi, who is also part of the Japanese trio m-flo, said via email: “I reaffirmed how wonderful it is to perform, in any form, in front of an audience. “
As demanding situations such as profitability loom, Afromance, which has shared its experience beyond Tokyo in organizing such events, sees promising customers for behind-the-scenes concerts and hopes to motivate others to adapt.
“People can customize the way a music festival like never before,” he says. “I hope this is just a motion for others (in our industry) to look to the future. “
Just as music festivals are a staple of summer in Japan and abroad, so are fearsome ghosts. While virus rules and social estating restrict the operations of classic haunted houses, a Tokyo-based company that produces horror entertainment has the idea of an artistic twist : what is considered the world’s first haunted house.
“Since you’re in a car, there’s no way out. This makes the total configuration even scarier,” says Daichi Ono, a member of Kowagarasetai, which essentially translates as “scaring a team. “
Ono explained that, based on existing social estating patterns, cast members should wear a mask and be more than 2 metres away from consumers and that visitors cannot shout, which largely turns out to be contrary to the target. of being afraid in a haunted house.
Since Kowagarasetai provided the haunted space through the car in July, between 40 and 50 teams have been surrendered. The charm is priced at 8,000 euros according to the car for those who bring their own vehicle and 9,000 euros for those who want to borrow a four-seater vehicle.
Demand has been higher and many are on the waiting list. “A lot of visitors told us it was scarier,” Ono says.
Instead of feeling inside a car, other people begin to locate the oppressive confined area, he says, separated from the horrors through a single window.
The place, in a dark and secret garage in Tokyo’s Minato district, is revealed when a reservation is confirmed.
Once the guest stops the car and shuts down the engine in the dark, a voice begins to tell a terrible story that took place in a garage.
Terror is amplified through the sounds of someone hitting the car, as well as through a ghost or zombie that suddenly appears in the side window or in front of the windshield in the spectacle of approximately 20 minutes.
“As long as there’s a car, we can do it anywhere. That’s our point,” Says Ono.
Concerts and haunted houses aren’t the only attractions that inspire the Japanese to get back in their cars for fun. The pandemic also stimulated a resurgence of film parks that were popular in Japan in the 1990s until their slow disappearance due to film complexes.
The Do it Theatre reopened film parks in 2014, several years before the pandemic, the virus had given more impetus.
“With less entertainment since April, we’re looking to offer a position where everyone can laugh and take a break,” says Daichi Ito, general manager of Do it Theatre.
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