Pharrell Williams is JOHN LEGEND'S 'MUSE'

Legends Of The Fall...

By TIM DAVID HARVEY 

Legend has it that John Stephens knows all about classic collaborations and concepts. From Oscar wins (with the 'Selma' 'Glory' in Common) to Christmas albums ('A Very Legendary Christmas') as 'tis almost the season again. A sweet sixteen years ago, the man who began his career playing piano on 'The Miseducation of Lauryn Hill's' 'Everything Is Everything', recorded an album with The Roots ('Wake Up!') of Philly. And we all know about his seminal moment, 'Get Lifted', with help from the G.O.O.D. Music of Kanye West. Ms. Hill returning the favour for the 'So High' Cloud 9 remix. Dear John is also amazing when he pushes the envelope alone, like on, "stepping away from the piano", Andre 3000 line albums such as, 'Evolver', 'Love In The Future' and 'Bigger Love'. But like his last name, eponymous, last straight-forward studio-album (but let's not forget 'My Favorite Dream' of 2024's children's album from the 'Jesus Christ Superstar') we know, he, and we, are all just 'Ordinary People' on the piano.

Looking up, in familiar black and white, a black bowtie on white suit, and a similar suited and booted string-section accompanying him on the album artwork, Legend knows which way to go on his new album 'Muse'. One that has nothing to do with the British Radiohead like rockers, who had their own amazing album ('The Wow! Signal') out this summer, but former N.E.R.D. rocker and Neptune, Pharrell Williams, who produces the entirety of this epic with his signature boom-bap bounce. Giving all of himself to the darkness and light of Legend once again. Also, vocally-appearing on the title-track, the Spike Jonze like 'Her', 'Get Back', 'Are You Ok?' (Annie), 'Next Time' and the grave of 'Fireflies'. And if, piece by piece (you have to watch that beautiful biopic on the super-producer, told through LEGOs), you think that all sounds like the early 2000s. From Kelis to Justin Timberlake, this album is complete with a Clipse collaboration ('Bodies On The Floor'). Returning the recently reunited Clipse comeback special, 'Let God Sort 'Em Out' favour.

Gospel, afrobeat, doo-wop, hip-hop, classic soul and so much more are explored through this 'Muse', following the pair's two-decade friendship. 'Muse' explores a man and his own relationship between Paris and high-art, and it even nods to the odyssey of the nine muses of Greek mythology and Stephens own ancestors of soul, as he continues his 'Evolver' era. From the definitive 'Daylight' breaking single, to going 'Under The Bridge' like the Red Hot Chili Peppers. Not to mention, all the inspired interlude introductions that come right before. It really does feel like the early 2000s skits again. Taps bodying one influence before No Malice and Pusha T. Despite the dynamic duo, Stephens still sings, "Oh, I'm only doing me/So, right now, life is Vеgas/And if I'm playing/I'm only doing me," on 'Doin' Me'. A self-empowering anthem for the man who knows how to write even better wedding songs than the great Tank (see, 'Conversations In The Dark' for the ultimate pillow-talk).

Everything is still everything on...well, 'Everything'. "We lost our cars and our keys/With nowhere to go, with no place to be/News cameras everywhere, but nothing left to see/We lost our kings, we lost our queens/They lost their castles, their compounds and empires/And for what's left, the prices are too high/And the politicians are liars/I thought my life was pristine, that's what I understood prior/But not anymore, the mountains are on fire." Socially and politically conscious, like the powerful 'Preach' singer always is, but still about love and how it's Beatle all you need ("Embers in the wind, the smoky views/I'll never sleep where I once slept again/Lost my ceilings, lost my walls/Goddamn, I lost it all, but if I got you/I got everything, yeah, I got everything.") That's why on the 'Sail Off' David Gray 'White Ladder' like sail away, John Legend can say, "I had a premonition we could be forever/If we don't start tonight, then baby, we might never." It's time to let your muse know they are more than your inspiration...but your intention, too.

Playlist Picks: 'Pray For Ya', 'Her (Feat. Pharrell Williams)', 'Bodies On The Floor (Feat. Clipse)'.

Spin This: John Legend - 'Get Lifted'.

'PRESS PLAY' on the new LISA EP

Play For Keeps...

By TIM DAVID HARVEY 

Once upon a time in... Thailand. Int. Hotel Room - Night. A young woman, dressed in a way superlative couldn't quite capture, is talking on the phone. Confirming flight details and itineraries, that are busier than those same superlatives, with her assistant. The assistant then reveals, that yes, he is still in town and there's a chance she could still catch him whilst she can. No, not Leo, but more like DiCaprio's 'Once Upon A Time In... Hollywood' director, Quentin Tarantino ('Pulp Fiction', 'Inglorious Basterds', 'Django Unchained'). LISA's, from South Korean pop phenomenon BLACKPINK, directing muse, on the same New Music Friday that John Legend releases an album of the same name inspiration with Pharrell. 

"Tarantino, Tarantino/Got my feet hangin' out the Camino (Oh)/Tarantino, Tarantino (Yeah)/Got my feet hangin' out the Camino", the Thai rapper/singer teases, like she's about to get a call back (she probably will). So much so, you're practically convinced you'll see the 'Reservoir Dogs' director, currently doing his first West End play ('The Popinjay Cavalier') in London with Sacha Baron Cohen, in the mirror at the end of the music video that kills it, like Bill. Lalisa, kicking ass and taking French fries she uses coolly as cigarettes, knowing Q.T. all too well. "Death proof, baby, I do all my own stunts/F you, baby, like a razor on my tongue/Black suit, fast food, takе me out to lunch/At the drive-thru, Thai funk, shakin' out thе trunk." With Uma Thurman "mustard on her sneakers". Yep, the 'Dusk 'Till Dawn' star likes feet. I once asked him, at a 'Death Proof' signing in Liverpool, no less, what Salma Hayek's taste like. And he replied, with a laugh, "pretty good, if you get the chance, I recommend it." 

That's Hollywood! But the 'SaWaDiKa' single before it is even more of an anthem. Seoul music for the K-Pop generation, with its icon spitting, "Hello, สวัสดีค่ะ/Yeah, you know my wrist is cold/Got this timepiece from Geneva/If you know it, then you know/I'm that b#### on your TV/And my Ferrari indigo/La Lalisa, la diva/สวัสดีค่ะ, there she go (Hey)." Backdropped by a bigger budget video and a Thai formal greeting on a new line of clothing more sought-after than the PlayStation controller bearing her autographed image. Ticking to a countdown, in Bangkok, New York City, Los Angeles and cities across China and Mexico City for a run that could even rival the Avengerss 'Doomsday' clock. All for Lisa's extended play, on Lloud and RCA Records, and her first solo releases since the 'Alter Ego' debut of this 'New Woman', 'Born Again', 'Rock Star' almost two years ago.

It's not even been a full calendar since her BLACKPINK outfit came back with their own epic EP, but Lisa makes the 'Deadline' for end of year big releases. All after bandmate and friend Jennie made a summer splash with some seriously stunning singles ('Less Than A Lover', 'Fallen Angel', 'Heaven'). And both Lisa and Jennie, with Jisoo ('Click') and Rosé ('New Trick') to come, our offering hits, and music videos, just as big as their 'Jump' when they said 'Go'! The Blackpink chant going on, all in the same year fellow classic contemporaries BTS made the comeback of the calendar with 'Arirang'. Korean music is still popping, and Lisa is riding it all the way in a 'V12' as she presses play on the car radio with Dem Jointz riding board manning shotgun. "Nothin' but net with the free throws", in the same era these Demon Hunter beaters told us they were "Golden, like Draymond." With a 'Cobra' clutch, sampling Missy Elliott and Timbaland's perfect 'Pass That Dutch', Lisa is ready to 'Cut U Off'. More than fifteen minutes of fame, sweating through the EP highlight and a black dress with hair blowing album art of iconography. Just 'Press Play' already. It's time to say hello.

Playlist Picks: 'Sawadika', 'Tarantino', 'Sweat'.

Spin This: BLACKPINK - 'Deadline (EP)'.

TINIE TEMPAH'S sound is still alive on 'THE NIGHT'S NOT DEAD'

Tempah Is The Night...

By TIM DAVID HARVEY

Disturbing London once again, Tinie Tempah is back! It may have been eleven years since the last album ('Youth') from Plumstead's very own, but don't discount the 'Demonstration' artistry from a man who has so many clothes, he probably still keeps some in his aunt's house. Ever since the 2010 release of his definitive 'Disc-Overy' discography released, to the month, a sweet sixteen years ago, Tempah has set the grimy tempo of UK rap music. Not to mention, other artist's own discographies. Like Labrinth? It was Tinie who helped set that big 'Earthquake' up in here. Stormzy. Little Simz. They all have Patrick Chukwuemeka Okogwu to thank, like Kano, Skpeta and Giggs.

After huge hits, like 'Pass Out', the future of this rapper, singer and television presenter was 'Written In The Stars', so to sing. As British as a cup of tea and biscuits, but as dangerous a talent as some of his contemporaries across the pond, in the New York birthplace of hip-hop, Tinie Tempah put us in the UK on the rap map. 'Not Letting Go', he's already passed the equally legendary Dizzee Rascal for most number one singles by a rapper from the United Kingdom. His middle name, "Chukwuemeka", in lbgo language means "God has done more", and the Lord, and his mysterious ways, really have for the platinum and gold star of Nigerian descent. Ever since using a thesaurus in class to juxtapose his name and ameliorate the aggressive sound of anger in his last. Following the inspiration he found watching the massive music video of So Solid Crew's '21 Seconds' to go. The wordplay has been potent ever since, as we say bonjour and hello to Uncle Fester once again, for someone who says he's getting goose bumps, "like R.L. Stine". Genius credit!

Turning Disturbing London into the UK's Def Jam or Rocafella records, kicking in the door with big smoke. Performing at Glastonbury with uncle Snoop Dogg. Teaming up with the iconic Swedish House Mafia for 'Miami 2 Ibiza'. Brits, MOBO's and a blue belt in Brazilian jiu-jitsu, Tempah could even take on the Bane of Tom Hardy, as it seems the 'Mobland' and 'Peaky Blinders' actor, could him, when it comes the rap game, if you've seen that latest music video with the Wu-Tang Clan. But now, Tinie is taking on the enormous challenge of returning to the game he hasn't played for in over a decade. Will it still be the same? Will he? His before its time sound sounds nostalgic now, but that's just nuanced in a good thing for all those who miss the good old days and the ways it paved. You can hear all that on strong singles like, 'Eat It Up', 'Closer', 'Living Life', 'Energy', 'Heaven Or Hell', 'To The Floor' and 'Rude x Badger x Travy'. X, like this marking the spot on these collaborations with Skepsis, Abi Flynn, Daecolm, Alex Mills, Reggie, and AFROJACK and Tropkillaz on the last cut, respectively.

Collaborations also come thick and fast with a 'Backstage' Elipsa and HolyBrune on the Japanese inspired 'Studio Ghibli'. An animated Tempah also takes hip-hop back to its storytelling roots with the compelling arc of '10 Minutes Later', as inspired as New Jersey's own presenter Joe Budden's own ten-minute track off his eponymous debut that pumped it up. From the dark 'Don't Ask Me About Last Night', to the 'I Lied' lyric video, Tinie is resurrecting the night he once ran with, like Richie. Party, but no bulls### for the rapper who can switch styles like he British GQ pioneers fashion. On 'Start A Fight' the beat punches with more dark, cinematic auras ready for Halloween. 'Cause It Feels So Good' and 'Body 2 Body' keep the sexy style in check. But it's 'Get My Attention' that will really get yours as Tempah raps, "back with a vengance/with sir independent/ask my accountants how we been spending/don't at me come out my mentions/aura winter collections/living like you ain't trying to see your pensions/eight to tens in our sections/no videos, not natural selection (whoo)." Yeah, don't call it a comeback!

Playlist Picks: '10 Minutes Later', 'Living Life (Tinie Tempah x Daecolm)', 'Studio Ghibli (Feat. HolyBrune)'.

Spin This: Tinie Tempah - 'Disc-Overy'.

MAX RICHTER does not go gentle into that good night 'WHILE THE FLOOD RAGES'

Rage, Rage...

By TIM DAVID HARVEY 

Dylan Thomas's 1951 villanelle 'Do Not Go Gentle Into That Good Night' is a profound poem urging a resistance against the reaper in the "rage, rage" refrain. A father's timely advice to his son, it was famousely used in Christopher Nolan's inspired 'Interstellar' starring Matthew McConaughey, Anne Hathaway, Jessica Chastain and Michael Caine. It also serves as symbolism here in Max Richter's latest album, 'While The Flood Rages'. As the last half of the album, featuring the legendary likes of 'A Sweet Air', 'Dawn' and 'My Body Is My Earthly Ark', sounds like it could have been used, like Ludwig Göransson, in the stead of Hans Zimmer's incredible soundtrack, because Lord knows the maestro is oftentimes busy.

Nothing can replace the Hans on the time of that soundtrack. And Max Richter's latest scale, following the portrait of 'In A Landscape', feels worryingly post-apocalyptic about our "place in the dirt". All the way down to the Muse like amazing album artwork of a structural future-scape, with "love" written like a sign, or cry, for help in the frozen tundra below. Actually, 'While The Flood Rages' and its 'Wave After Wave' cautionary tales we should 'Tell The Bees', whilst 'The City Was A Chaos', is actually inspired by the testament of the legendary 'The Handmaids Tale' author Margaret Atwood. Fitting after we've just finished the Canadian icon's 'Book Of Lives' 24-hour 'Memoir Of Sorts' amazing audiobook. Highly recommended, like her hot off the press Substack page and feed. An Orwell for our time. Influenced by the 'Alias Grace' writer's 'MaddAddam' trilogy. Field-recorded elements of her dystopian trilogy is incorporated into the British/German composer's own three-act structure of work.

'On The Nature Of Daylight', the 60-year-old composer's magnum opus has been used in everything from Scorsese and DiCaprio's shuddering 'Shutter Island' (mixed with the great Dinah Washington's 'This Bitter Earth'), to Richter's own scored single and an utterly raw and moving music video, featuring your very own June star of 'The Handmaid's Tale', Elizabeth Moss. Most recently, however, it gave us the most touching moment in Shakespeare's Globe Theatre for Chloé Zhao and Jessie Buckley's 'Hamnet' adaptation of Maggie O'Farrell's beautiful book. Yet 'The Flood Rages' takes us even further into the heart of mother earth. Spearheaded by the single of eleven-minutes, 'Now We Can Sing', offering us a Noah like way out of this rising tide and all the trouble of a world at war today that doesn't seem to subside. 

A classic collaboration with choreographer Wayne McGregor makes this all feel even more like a stirring soundtrack with absolute urgency. The advance of technology in the age of A.I. The fall of nature in our wounded land. And not to mention, we as a people and our resistance to all of that. These themes and ideas are explored in the sonic soundscape of Max's latest epic effort. Not to mention, one of his best yet in quite a year for the man who would have already been legendary if he took time off work during COVID-19. Instead of spending time working in his home studio for music that echoed the times we have, are and continue to live in to this day and accelerated age. Powerful and profound, it's a necessary percussion, punctuating all we're going through as we speak, in an album that really does so, without so much as a laced lyric. Orchestral and choral, taking us to an electronic church in the wild, the light is still alive in a man standing at the edge of the flood until it recedes. Raging against the machine, Max Richter is in control of his narrative in the eye of the storm. It's time, for the world, that we were, too.

Playlist Picks: 'Wave After Wave', 'The City Was A Chaos', 'Tell The Bees'.

Spin This: Max Richter - 'In A Landscape'.

EELS refuse to slip on 'COOKIE HAPPENED'

Accept Cookies...

By TIM DAVID HARVEY

Defying death, both literal and critical, the Eels are back again, slippery when wet, for 'Cookie Happened'. Inspired by the Sesame Street monster that loves chocolate chip baked goods, complete with a neon green, slam-dunking skeleton. 'Cap In Hand' ("here is the church/here is the steeple/open the door see, all the broken people", reminding me of games with my Gran), at your door with the lead single for their sweet sixteenth set, Mark Oliver Everett (E) and the boys in the band are still as fresh as the day they went to 'Susan's House', with 'Novocaine For The Soul'. Spluttering out as 'Beautiful Freaks' in '96. And that still must be her sister. It must be her sister...right?!

Two years ago, the Eels showed us in a scorching summer that it was 'Eels Time!' once again in a powerful and profound comeback album for the 'Daisies Of The Galaxy' legends. The subtle sonics of 'IF I'M GONNA GO ANYWHERE' and the simple notion of the lyrics, "love, what else is there, but love/What else is there?", still on my playlist, remains my personal favourite track of 2024. And despite being 'Clobbered', 'Bamboozled Again' and 'Lost and Barking', E knows it was all worth it on a beautiful break-up album of sorts. One whose disc would have either been in your stereo, or on top of all the other jewel cases next to it, back in the 90s, for how much you'd play it. "All of this will be forgotten. Every joy, accomplishment and hardship will one day become so irrelevant it will be as if none of it occurred," Everett tells us. "But as the great philosopher of our times, Cookie Monster once said: ‘Me no cry because cookie is finished. Me smile because cookie happened.’ This will all be forgotten. But isn’t it still a beautiful thing that it happened?"

Now, making a mark and taking a bite, it's not 'All Forgotten' on the single with the beautiful B-side of 'I'm On Standby' which is really here for you, even when the record doesn't play. Lyrics lingering like, "They broke your heart, looks like the end/I'm on standby/Your car is broken, your dog got sick/And it's cold/The boss can't wait to fire you/I'm on standby." The kindness, that like a friend, we all need in these troubled times. 'Taking Pictures' sharpens the focus with Mark Oliver putting us in the frame of "No one loves you in New York/Don't try making her go up north/And no one gets you back in Hollywood." The Los Feliz, Los Angeles, CA band bring back the 'New Story' with pages of guitar breaks and Hollywood like orchestral strings that show us their sound is timeless, "never a bore." On a swing, 'Congratulations To Me' offers that same celebration of joy in harmony with harps. Freakishly beautiful, these indie legends are the rock alternative you forgot you were waiting for to come back.

'One Razzle, One Dazzle' continues that sleight of hand, one-two punch. "You gotta wow them, zonk, biff, and pow them/That's what my dad used to say", Mark Oliver E advises, like a caped crusader in Adam West era, 60s tights. All you Burt Ward's will love the 'Dum Dums' that come shooting next, picking up that electric bright red telephone. Engaged with the lines, "I wish the world was just a beautiful place/A generous smile upon each and every face/Good-hearted people sharing all the riches/But the world's chock-full of dum-dums and little b#####s." The inspired instrumental break helping you put this all in perspective. In the end, 'The Way I Was Made' curtain does it E's way on electrics strummed like acoustics with the soars. "The gifts that I possess/Don't come without duress/It's just part of the deal/It's the way I was made/I didn't ask for any of it/But I try to make it work." In a day and age where New Music is forgotten way before the next Friday, we have another subtle classic on our hands that we should refuse to allow to be slept on. Don't reject all this happening, Cookie.

Playlist Picks: 'Cap In Hand', 'Taking Pictures', 'I'm On Standby'.

Spin This: Eels - 'Eels Time!'

SHERYL CROW'S new album will 'PICK YOU UP'

A Crow Left Of The Disorder

By TIM DAVID HARVEY 

A change would do the world some good right about now, but until then, how about a new album from legendary American singer-songwriter Sheryl Crow to 'Pick You Up'? Like Norah Jones off the floor. The 'If It Makes You Happy' singer giving us her first since the 'Revolution' of 2024. "All I wanna do, is have some fun", the golden era 90s star once sang, alongside soaking up the sun and singing 007 themes for James Bond's Pierce Brosnan era 'Tomorrow Never Dies'. But Missouri's own musical mainstay, with a favourite mistake, still knows that every day is a winding road. And whilst we all get a little bit closer to that land of the free that was promised to us again, Crow's compelling, trademark and true inspired idealism and outstanding optimism carries us over like the country strong star's blend of blues, rock, folk and pop.

Strong enough on this seventh seal tracking thirteenth studio album that's lucky for us, Sheryl urges us to get onboard the 'Freedom Bus' with former Dead Indian and Cosmic-American frontman Jesse Wells. The single, and the all-encompassing, great American video wonders in protest, "What if everyone took a civics class?/I'm not sure I know anyone who'd pass/But how wе live today comes from the past/If wе forget, it could slip from our grasp/Whatever happened to the Golden Rule/Whoever wrote it wasn't just a fool/We watch the thread unravel from the spool/When you preach love but you still act so cruel." Imprinting her own Big Green Barn productions, with Thirty Tigers providing the distribution, this twenty-five-minute album, running through with the spearheaded second single of a 'Freight Train', brings an art artwork or animals that Noah would be moved by, two-by-two.

Co-wrote with calendar by calendar, constant collaborator Jeff Trott (Counting Crows, Jason Mraz, Rob Thomas of Matchbox Twenty), this album, and its powerful and propelling title-track honours the album artwork of Tyson Grumm's painting 'The Elephant Who Forgot The Ocean', one brought by Crow at auction, addressing America's elephant in the room, and the watching world also at war and woe. Originally meant to be an EP, until a trip on the 'Freedom Bus' was deemed a necessity with the current state of the world, 'Pick You Up' is highlighted by the picks on 'Perfect' and 'I've Got Your Number'. Reflecting fellow blues legend Seasick Steve's 'Last Season Of America' from a few weeks back, any 'Flat Earth' believers may feel uncomfortable on a track that makes you "feel like staying in bed/Pull up the covers and watch an old movie instead." Yet it's 'Heaven Help Us' that may strike the deepest chord, like Kravitz's, telling us "It's so hard to believe/That from a burn out tree/A flower draws a bee/And life will keep on living/With every broken heart/Where all is torn apart/You get a brand-new start/But not without forgiving." This fall we have a chance to pick. The only way is up.

Playlist Picks: 'Pick You Up', 'Heaven Help Us', 'Freedom Bus (Feat. Jesse Welles)'.

Spin This: Seasick Steve - 'The Last Season Of American'.

SAKANACTION'S SAKANAQUARIUM just keeps getting bigger

The Age Of Aquarium

By TIM DAVID HARVEY

Until this time last week, Japan experienced 34 consecutive days of rain. And we're talking typhoons, not just mere drizzles. The longest streak since they started measuring this kind of thing, way back in 1886. Dampening a usual scorching summer that's way too hot and humid. That's not the only reign that can't be stopped. Top Japanese band Sakanaction, from Sapporo, Hokkaido, have been on a tear all year. Fresh off their Summer Sonic set, in Osaka and Tokyo, where they backed up the great Talking Head of David Byrne, they're burning down all sorts of houses like the Tom Cruise 'Digger' trailer.

Kaihin-Makuhari Station, the closest to the Summer Sonic festival stages in Tokyo, was covered in promotion for the 2026-2027 SAKANAQUARIUM tour. You couldn't even touch your Passmo or IC card on the ticket barrier reader without swiping some Sakanaction. The Sakanaquarium was setting all sorts of stages last year. Selling out two consecutive nights in Yokohama's K-Arena (the world's biggest arena solely dedicated to music). It will conclude next year, in 2027, marking Sakanaction's 20th anniversary since they were formed in Hokkaido with their current line-up. Ichiro Yamaguchi (vocals and guitar), Motoharu Iwadera (guitar), Ami Kusakari (bass guitar), Emi Okazaki (keyboards) and Keiichi Ejima (drums). And that's no crazy coincidence. It was written. Fine-tuned, like their studio to soundscape stage. 

This year, Sakanaction even won big at the Japan Music Awards thanks to their monster hit 'Kaiju'. Scooping up awards for all their hands. They may have missed out on the Best Artist Award, presented by Japanese acting legend Ken Watanabe ('The Last Samurai', 'Inception', 'Tokyo Vice'), as Mrs. Green Apple took home the fruits of their labour, but it's no biggie. The notorious, or should we say renowned, dance rockers of action fishing deserve their round of applause for so much more. Mrs. Green Apple may be the most popular band in Japan, right now, but Sakanaction are much more legendary. Whether it be Ichiro's inspired lead that has even given himself his very own outstandingly popular podcast, Motoharu's motoring guitar licks surrounded by pom-poms, Ami's always amazing bass, right in the pocket with perfection, Emi's shaded style, as iconic as the last notes on the 'Kaiju' keyboard, and Keiichi's kicking drum which rolls this all together. Just like his closing comments with Yamaguchi in a brother, and sisterhood, of beautiful bond banter.

This band are tight, like their sound, and as thick as thieves. Stealing your hearts and minds anytime you dive into the one aquarium you should never Celine Dion think twice about paying admission for. Especially when you can pick-up all sorts of sweet Sakanation merchandise. From rally towels, to iconic logo t-shirts, that are as original as the band's genre blending styles and signatures. They even have a throwback netted shopping bag for you to carry all this in, but I digress. When The Beatles first played the iconic Nippon Budokan, back in the summer of 1966 (a familiar one for the English), there was an uproar, as this traditional Tokyo 1964 Olympic venue was used for the sacredness of sports only. These days, everybody plays. I even saw Norah Jones and The Smashing Pumpkins here in the space of one week, this time last year. 

Yet, it was sixty years ago that the Fab Four took to the floor. Now, all these decades later, Sakanaction are making it their own. Especially with a sound even clearer than the d&b Soundscape they brought to bear, back in April, for their members only vote countdown show of classics at the renamed SGC Hall in Ariake. No one has played the beautiful Budokan like this. That's because of the bold and brilliant way Sakanaction, and their team and crew of t-shirt wearing workers who don't just promote, but emote this portmanteau of a band, work so hard to go further to the future each and every time, giving everything. Which is refreshingly rare and real in this day and age of cutting corners and costs. That's why, when you get to the seamless instrument to turntable (and Okazaki sunglasses) transition of the religiously felt 'Holy Dance', you're greeted with the three dimensions of a neon rectangle that borders the band. A cuboid of the perfect prism, laser hitting all of the lights you reach out for, like a dark side of the moon.

For the love of all that's holy, put those rectangles, you use to send texts and tweets, in your pocket, right away. Because this is an experience, like Jimi. From the 'Asa No Uta' opening surprise, that will have you hitting the arm of the person next to you, to the cheerleading ('Shin Takarajima') and roaring red skyscraper siren ('Kaiju') hits that are now joined by recent viral classics. The memoirs of a pair of geishas in 'Yoru No Odoriko', with perfect harmonies, and the 'Miami Vice' jackets of 'Wasurerarenaino', feel like new singles themselves. The latter has become a social media sensation of late thanks to Ichiro's dance and Ami's brilliant bass slapping solo. Everybody wants to try their hand and Instagram handle at the moves and strums. How the band brought it back to the stage, with palm trees in the video screen background (another classic component of the show) is the real winner, mind you. Simply sensational, there's nothing like a Sakanaction show. Dive in and swim.

Set-List Picks: 'Asa No Uta', 'Holy Dance', 'Wasurerarenaino'.