Osaka is currently hosting its first world’s fair in 55 years since Expo ’70 that took place under the theme of “Progress and Harmony for Mankind.” Throughout the currently ongoing EXPO 2025, various performances have been featured at the EXPO Arena “Matsuri,” and a particularly notable show took place earlier this month at this outdoor venue. The special concert, ZUTOMAYO’s independently produced event entitled OMOTE EXPO 2025 “MEIKŌ WA GUNARUGA GOTOSHI,” was made possible after the band negotiated directly with the Osaka/Kansai EXPO organizers to make it happen.
ZUTOMAYO’s MEIKŌ WA GUNARUGA GOTOSHI (roughly meaning “Celebrated Achievement is like Foolishness”) arena tour that ran from March to May this year drew 120,000 fans nationwide. Under the concept of “Midnight Forever Expo on the Far Side of the Sun,” the tour drew attention for its unique staging that brought to life “another Expo” that might have been happening behind the scenes during Expo ’70, just as the current EXPO 2025 is underway.
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Zutomayo Expo 2025
That said, what this seemingly outlandish tour expressed was a message about the inefficient, yet deeply endearing creations and art that are born when people try to make things through trial and error, or struggle to accomplish something — and ultimately about how people live. OMOTE EXPO 2025 “MEIKŌ WA GUNARUGA GOTOSHI” presented an opportunity to showcase that fictional Midnight Forever Expo on the stage of the real EXPO happening right now in 2025. (Omote, pronounced “oh mo tay,” means the side facing the front in this context.)
As the first live concert produced independently by the artist to take place at EXPO 2025, ticket holders of the world’s fair could enter the lottery for access to the show free of charge. After the event was announced, fans rushed to enter the draw. The 16,000-capacity EXPO Arena “Matsuri” became packed, setting a record for the largest attendance for a live event held at this outdoor venue. The event was received with such enthusiasm that fans gathered outside the arena to hear the sound leaking out.
What stood out most during the performance was how, despite its conceptual format, the show remained filled with energy and a celebratory vibe throughout. Following the opening narration by Koji Ishizaka — a prominent Japanese actor who also narrated Expo ’70 — the excitement in the venue soared from the beginning with high-energy performances, with highlights including the opening number “DNA,” featuring CRT display drums and electric fan harps, and “Byoshin wo kamu,” where the audience joined in with claps.
What feels strangely compelling is how ZUTOMAYO’s music is composed of a combination of extremely complex elements. The songs pack a wide range of elements into a single track, starting with rock, pop, soul, funk, dub, club music, and rap, plus various other essences, from singer-songwriter-like qualities to music originating from Japan’s internet like Vocaloid. The distinctive way everything comes together and washes over listeners as pure pop feels amplified exponentially in a live setting. Particularly striking is how the group skillfully integrates Black music like soul/funk and hip-hop sensibilities into Japanese pop. This vibrant sound perfectly complements the celebratory atmosphere of this live show.
Zutomayo Expo 2025
The concert maintained its full intensity well into the second half, occasionally featuring visual effects reminiscent of ‘70s American music programs like Soul Train, evoking the soul/funk style of the era. Details like Egg Chairs and red public telephones, seemingly paying homage to pavilions from Expo ’70, were presented to create a unique performance incorporating elements from 55 years ago interpreted in a modern way. Witnessing these performances, originally conceived solely for the fictional “Expo on the Far Side,” being unveiled at the actual EXPO 2025 was truly spectacular. In particular, the song “CREAM” released earlier this year stood out as a mid-set highlight, with its festive sound featuring airy strings reminiscent of Philly soul fused seamlessly with ZUTOMAYO’s characteristic vocals and performance style.
The band continued to captivate with “MILABO,” where a disco mirror ball spun over the Expo stage reflecting primary-colored lights, and during “STUDY ME,” with added Latin flavors not found in the original recording, trumpeter Hajime Gushiken charged in on a motorcycle. As the band built momentum over the undulating bassline in “TAIDADA,” lasers rained down relentlessly over the audience. Throughout the entire performance, the band explored visual enjoyment as well, using open-reel tape decks, CRT display drums, and electric fan harps, delivering a large-scale show that shook the entire venue, relentlessly building the crowd’s excitement.
Zutomayo Expo 2025
In the closing ceremony segment, the concert concluded with a quote from the late artist Taro Okamoto, who designed the Tower of the Sun at Expo’70 55 years ago: “Solitude is absolutely social.” Addressing the crowd for the last time during the set, ZUTOMAYO shared an anecdote about meeting Ishizaka before the event to ask him to narrate it. When asked, “What’s different between 50 years ago and now?” Ishizaka responded, “Compared to a simpler, more optimistic era, many things have become more complex today. Yet I feel the essence of humanity hasn’t changed that much.” After relaying these words to the crowd, the band closed the set with a uniting performance of “Seigi” (Justice).
Over the 55 years between Expo ’70 and EXPO 2025, countless individuals confronted solitude, persevered through trial and error, and ultimately propelled their eras forward. ZUTOMAYO affirms this noble solitude, and its recent event — presented in the unprecedented format of an independently produced show at an actual Expo disregarding profit — conveyed that message of affirmation through a truly spectacular performance. Every element including the format itself communicated the uniqueness of ZUTOMAYO.
Following the performance, the words “From Japan to Various Countries” flashed across the screen and the band announced its JAPAN & ASIA TOUR “ZUTOMAYO INTENSE II” set to travel to nine cities across the region. It looks like ZUTOMAYO will continue to expand its distinctive reach even further in the future.
【JAPAN & ASIA TOUR “ZUTOMAYO INTENSE II”】
February 28, 2026 (Sat) – Tokyo, Japan @ Nippon Budokan
March 1, 2026 (Sun) – Tokyo, Japan @ Nippon Budokan
March 14, 2026 (Sat) – Seoul, South Korea @ University Tiger Dome
March 28, 2026 (Sat) – Shanghai (venue to be announced)
April 4, 2026 (Sat) – Kanagawa, Japan @ Yokohama Arena
April 5, 2026 (Sun) – Kanagawa, Japan @ Yokohama Arena
April 17, 2026 (Fri) – Singapore @ The Star Theatre
April 24, 2026 (Fri) – Osaka, Japan @ Osaka-jō Hall
April 25, 2026 (Sat) – Osaka, Japan @ Osaka-jō Hall
May 2, 2026 (Sat) – Bangkok @ Union Hall
May 16, 2026 (Sat) – Taipei (venue to be announced)
June 2, 2026 (Tue) – Kanagawa, Japan @ K-Arena Yokohama
June 3, 2026 (Wed) – Kanagawa, Japan @ K-Arena Yokohama
Note: Additional overseas dates may be added.
–This article by Jin Sugiyama first appeared on Billboard Japan
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