Shoukichi Kina live performance

Last Saturday evening Shoukichi Kina gave a live performance at his club Chakra in Naha. This was the second of two shows to promote his new album Nirai Pana which was reviewed on this blog last month. The first performance had been in Koza the night before.

A full house at Chakra saw Kina put on an exemplary performance. The inevitable ‘Hana’ was played twice – first in a stark solo version accompanied only by Kina’s sanshin and then near the end of the set with a full complement of Champloose band members plus Kina’s son Urufa who joined them to play electric guitar. Earlier in the evening two other young members of the Kina family, Masayo and Stephanie, provided backing vocals on two songs, ‘Haisai Kuduchi’ and ‘Umushirumun’. This was a refreshingly revamped and new-sounding performance from Kina who played sanshin on almost every song and used his accompanying musicians only very occasionally according to the needs of each piece of music. The default setting for most of the songs appeared to be Kina on sanshin plus keyboardist Yutaka Ishioka and bass player Takashi Kameda. This worked extremely well and Kina went through most of the songs from the Nirai Pana album plus a few old favourites such as ‘Haisai Ojisan’ which concluded the show.

Shoukichi Kina on stage last Saturday

Kina set out his stall with his newer stripped-down sound from the off with just voice and sanshin for the first two songs. ‘Agarizachi’, his great song about Yonaguni Island, was then followed by the exquisite ‘Omoibana’ for which keyboards and bass were added. It seemed that Kina might have peaked too early but to everyone’s joy the same high standard of singing and playing was maintained for the rest of the evening. Kina even seemed to have mellowed somewhat as he sang with obvious relish and enjoyment and we were spared the minor tantrums and calamities which have beset the occasional performance in the past. On Saturday it was just a master at work. It didn’t seem to matter that most of these songs were very familiar – Kina was able to bring them alive again and his wonderful singing wrung every little nuance and drop of emotion from the words.

After the show…

On a personal note, I began the evening with the feeling that I may have been walking into the lion’s den. Okinawan artists rarely receive critical reviews as the media here appears to act as little more than a publicity machine for churning out musicians’ press releases. In contrast, my review of Nirai Pana had been critical of several aspects of the album such as the absence of new material and even the misleading cover photo which shows Kina with an acoustic guitar.  On arrival at the club I was ushered to a seat near the front and told that Kina’s management had just provided him with a complete Japanese translation of the text of my review. Subsequently on stage Kina referred to me by name on more than one occasion, commenting on my “harsh criticism”. “Well, there’s nothing new about any of this album” he added at one point. Towards the end of the set he picked up an acoustic guitar and said he was going to use it now to show me that he can play it after all despite my correctly pointing out that there’s no guitar on the album.  Fortunately, this was all said in a fairly good-natured way and we were able to meet up and have a talk and a drink together after the performance. Thankfully, he does appreciate constructive criticism.

Explore posts in the same categories: Live in Okinawa

4 Comments on “Shoukichi Kina live performance”

  1. Izumi Nishi Says:

    I was intrigued to read your “personal note”. Now you might consider translating your book into Japanese if Okinawan musicians do start constructively appreciating your critical reviews.

  2. KAWAGUCHI Says:

    Dear Mr. John Potter,

    I just, just assume Kina might have played “Hinu Kan” at the recording because the promotional video shows he plays the acoustic guitar which looks similar to the performance seen at the Nirai Pana live at Chakra. Maybe, just maybe, the recording of the song was rejected for some reason. This might be the reason why the album cover shows him with the guitar. The cover still does not fit the content though. Shokichi-san is a guy with intuition as you well know, so the recording staff or champloose should have pointed out the mismatch of the album cover and the contents. He is a genius at music but not other everyday life things(Don’t get me wrong, I am NOT criticizing him in person). So he always needs to be supported by the people around him in that sense, I am afraid.
    The same thing could be said concerning about that he seemed to have forgotten to sing “Shima Guwa” at the gig. Champloose should have let him know that before the gig ends.

    I quite enjoy your review. Your book is also excellent. You are brave enough to mention the relationship between CHINA Sadao and KINA. I also have been planning to write something on Shokichi-san for the past 15 years, but I still cannot make it for several reasons. As a scholar of pop culture and also a big fan of him I will write a book in the near future in a different perspective than yours, hopefully. Thank you.

    • Thanks for all your comments and for your kind words about my book. Kina mentioned to me at his live performance that he did play guitar during the recording sessions for Nirai Pana but that it was not included on the final album. Apparently, many people told him that they liked the photo of him with the guitar so this is why it was used for the cover.

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