old events in tokyo

Chapter 158 Show
At around six o'clock on Monday night, there was already a long queue in front of a Live House called AKASO in Umeda District, Osaka.Here are the spectators waiting to enter.

The Japanese are very obsessed with music, which makes Japan the largest music market in the world outside of the United States.

Even in the 21st century, walking on the streets of Tokyo, Osaka and other cities, physical record stores and piano stores still abound.

This has resulted in Live Houses of all sizes springing up all over the streets and alleys of the city, and the Japanese are serious about music.

For example, record stores and live houses are classified according to style. Pop, jazz, blues, folk and other styles are very single. Fans can choose which store to visit according to their preferences.

For example, Kazuki Akiyama's live house tonight is focused on J-POP style, which may be the reason why Kimura Kumata chose this store to invest in it.

Many people know that it is basically not profitable for artists to hold concerts, and the purpose is mostly to gain popularity.

So, does a venue like Live House make money every time it holds a performance? In fact, it basically doesn’t make much money just by selling tickets, and the profit is very meager.

After all, for fans, they come to watch the show because they like it and support their favorite band singers, not to support the venue.

As for the organizer, where does the venue make money? The answer is drinks.

For Live House, there will not be performances every day, but the rent must be paid every day.If you only rely on that box office share, you will definitely lose money.

Therefore, in addition to buying tickets to enter the Live House in Japan, you also need to buy a "drink ticket" to enter.

This is mandatory and customary, and it is separate from the ticket and does not participate in the share.

If the ticket is a guarantee for the band performing that night, then the wine ticket is the most basic guarantee for the venue.

Musicians need tickets to maintain the daily expenses of the band, and Live House also needs wine tickets to ensure profitability.

This kind of operation has become a recognized and popular method in the industry, and the Live House, the band, and the audience have already reached a tacit agreement.

Another self-protective measure of Live House is the prohibition of re-entry. After paying the ticket and entering the venue, you can no longer go out to the convenience store outside to buy drinks.

Most of the consumption can only be done inside Live Hose unless you exit and don't enter again.

At this time, Kazuki Akiyama's performance poster was hung in front of the door of this Live House. The style was also very Live House, and the prices of tickets and wine tickets were also marked on it.

Some spectators were queuing up to check tickets to enter the venue, and some spectators who came in a hurry bought tickets on the spot at the window.

The performance tickets of well-known artists like Kazuki Akiyama are not worried about selling, and the "early bird tickets" were booked by the phone calls of fans in less than half an hour at the very beginning of the ticket release.

Others who come later can only come to the Live House and buy a small part of the on-site tickets reserved by the organizer.

Backstage at this time, Kazuki Akiyama was greeting the musicians who will be performing with him tonight.

This kind of live performance must be played live in order to truly appreciate the charm of music.

Although tonight is his special performance, he is not the only one performing, but also Chisato Moritaka and a short-haired girl whom he invited to sing.

"Akiyama-san, please teach me more." The girl seemed a little nervous, although she loves music, and occasionally sings a song or two impromptu in the Live House.

But there are so many people in the audience like today, and Kazuki Akiyama's supporting singer, all these put her a little more pressure than usual.

"Aiko, don't be nervous, just be the same as usual." Kazuki Akiyama comforted her very gently.

It's a young girl after all, probably just out of high school, and a little nervousness is inevitable.

She is Yanai Aiko, whom Kimura Kumata is optimistic about and recommends to him. She has short ear-length hair, an impressive tall and pointed nose, and a very slender voice.

Moritaka Chisato also came over to comfort her softly, because Kazuki Akiyama hadn't had time to talk to her in detail because of time constraints.

After preparing to perform tonight, I will have a detailed chat with her before returning to Tokyo tomorrow.

Soon it was seven o'clock in the evening, and the seats inside the Live House were already full of spectators, not only that, even the aisles were full of spectators.

Originally, the number of votes prepared was calculated according to the number of seats, but there were too many people, which even caused traffic jams outside.

There is no way Live House can only temporarily increase some standing tickets here to alleviate the dissatisfaction of the audience a little.

Neither Kazuki Akiyama nor the staff of Being had expected so many people to come today.

Because they didn't spend too much resources to promote this performance from the beginning to the end, because it's just a single promotion and don't need to invest too much.

But yesterday, after he participated in the radio program broadcast in Osaka, the news that he will have a live house performance in Osaka spread, and the local entertainment newspapers also reported on it at length.

Since his debut, he has hardly had any tour performances. This has something to do with Being's strategic style. Most of his artists have very few concert tours.

Of course, he himself is a little lazy, and he doesn't like the continuous rotation of all parts of the country.

Looking at the debut artists in Japan in this era, there are at least [-] or [-] tours each year.

This is true for Shizuka Kudo and SMAP. Of course, Kazuki Akiyama sometimes wonders if the firm behind him is squeezing too hard.

Putting it on him may not be able to persist, this time I finally showed up.

The fans were naturally overjoyed, their enthusiasm could not be contained in a small Live House.

The host spoke a few words on the stage and then left the stage.

As the lights dimmed, the noisy voices of the audience gradually subsided, and everyone waited intently with bated breath.

"Crack" a beam of bright white light focused on the center of the stage, and Kazuki Akiyama, who was dressed in black, was already standing under the spotlight. His well-trimmed hairstyle made him look very energetic.

"Ah!--" The audience in the audience cheered spontaneously, accompanied by tidal applause and waving fluorescent sticks.

"Good evening, wow, there are so many people." Kazuki Akiyama couldn't help sighing while looking at the densely packed crowd.

Seeing the scale of 2000 people on the stage is even more shocking. The sparkling light sticks are waving one by one, and the emotions are unconsciously excited when you are in it.

And what responded to him was another wave of cheers, "kazuki! kazuki!" This kind name has become a fixed slogan for his fans to support him.

"Good evening everyone, I'm Kazuki Akiyama." He bowed again and introduced himself formally.

"I'm very happy to come to Osaka, and even more happy to meet you here. Thank you for your support!"

There were still waves of cheers.

"Then hope to have a good night with everyone."

Without further ado, let's get straight to the topic. Everyone is here to listen to the music, and he doesn't want to get emotional.

Nodding to the band behind him, familiar music sounded.The audience in the audience also began to wave their arms to the beat.
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PS: there is still at night

　thanks for your support!

　　
　
(End of this chapter)