The Resurgence of Nagashi with Showa Tunes, Hypnosis, and Magic in Reiwa’s Alleyways
Inbound tourists are fascinated by
“Foreigners are particularly fond of city pop and anime songs. It seems that artists like Hikaru Utada and Southern All Stars are also known in Asia. Sometimes we’re surprised when they request songs like, ‘How do you know this song?'”
“When we’re out with our guitars, street musicians sometimes approach us, saying, ‘I want to do this too'”
The nagashi (street musicians), which seemed to have disappeared with the rise of karaoke, is making a comeback due to the revival of alley culture and inbound demand, with its popularity reigniting.
To understand the charm and current state of the Reiwa-era nagashi, we spoke with Paris Nakayama and Kio Endo, directors of the All Japan Nagashi Association and active performers.
Balloon art, hypnosis, caricatures. Reiwa’s nagashi has it all!
Carrying a guitar and walking through a noren (curtain) while saying, “How about a song?”. In the Showa era, “nagashi” (street performers) had various roles beyond just music.
“In the past, each entertainment district had something like a town’s talent agency. Lockers would have guitars stuck in them, and performers would grab the guitar and head out to work. For the so-called strays, or street performers who didn’t belong to any organization, there were local rules, like being allowed to perform for three days.
There’s also a story that they acted as bodyguards, helped with local connections, or even worked as informants,” said Paris Nakayama (P).
However, with the advent of karaoke, the number of street performers began to decline, and by the Heisei era, they had almost disappeared. Many of the legendary performers grew older or sadly passed away.
“With very few materials available, we mostly rely on hearsay for information. It’s not something you can easily pass down by teaching the techniques. It’s a job that you only pursue if you really want to, and if you’ve never seen it, there’s less chance of someone wanting to do it. So, at one point, the number of performers really dropped.
Through the activities of our association, we aim to preserve and expand the culture of nagashi in a new form,” said Kio Endo (E).
The revival of the “nagashi” culture came in 2008. The old, neglected public market, the ‘Yamashita Shopping Center’ near the west exit of Ebisu, was reborn as “Ebisu Yokocho,” a lively alley filled with unique eateries, and things began to change.
“About a year after it opened, I asked to perform there, and they allowed me in. Many influential people came to Ebisu, and the alley itself started to gain cultural momentum.
Whenever the alley was featured in the media, nagashi was often part of the scene. Eventually, new alleys opened in various places, and as a result, nagashi became necessary, so we started to bring in more performers,” Nakayama explained.
In 2014, Nakayama founded the “Heisei Nagashi Association.” Meanwhile, Endo began to gather performers from various fields beyond singing, and in 2017, established “YOI×Gei.” “YOI×Gei” partnered with “Norengai,” a company developing alley-style dining and commercial facilities. Whenever a new Norengai location was opening, they would request “nagashi,” prompting Endo to bring in more performers, which continued to grow.
“I myself perform balloon art as a street performer, and I believe that as long as it’s an act that can entertain the customers, it can be incorporated into the ‘nagashi’ format.
By reaching out to people within earshot and saying ‘Want to give it a try?’ those who started have been gathering even more people, and now, performers from various genres are active as nagashi,” said Endo (E).
Indeed. A major difference from the Showa-era “nagashi” is the vast expansion of its genres. In addition to singers, the street performance scene in Reiwa now includes various performers such as balloon artists, magicians, hypnotists, and caricature artists.
As the street performance culture gains momentum, the “Heisei Nagashi Union” led by Nakayama, “YOI×Gei” by Endo, and another group called “Kashiwa Nagashi” from Chiba have become central figures. In 2023, for the first time in Japan, these street performance organizations joined forces to establish the “All Japan Nagashi Association.”
“Each group brings performers with their own unique traits. My group often accepts people who make you wonder, ‘Can this really be considered street performance?’ On the other hand, Paris’s group sticks to the traditional guitar-based street performances, attracting people who admire him, including many second-career individuals—like former executives of foreign banks,” said Endo (E).
The world of street performance is a tough one, where income is solely based on tips
Street performing, especially in the “nagashi” tradition, might seem like a leisurely pursuit for those who love music and have some confidence in their instruments or voice, but it’s far from an easy path. Many enter the profession thinking of it as a fun way to enjoy their later years, but the reality is more challenging.
“Inside the venue, there are those who want to sing and have fun, and those who prefer a quiet drink. Sometimes, when there’s excitement and requests, someone at a nearby table might shout, ‘It’s too loud!’ It’s all part of the live experience. Those with more experience know how to read the room, avoid causing discomfort, and handle situations. If someone nearby is bothered, they know how to approach it. Many newcomers struggle and leave because they can’t manage these situations,” says one performer (P).
Street performance is often misunderstood as a transitional job or a temporary fix, but it’s a tough profession that requires real skill. Of the 20 newcomers who enter every year, only a few remain in the game. It’s a harsh reality.
When it comes to the system of individual performances like “nagashi” (street performers offering personal entertainment at tables), is it unique to Japan?
“In terms of performance, there’s a concept of table hopping in Western countries, where magicians or balloon artists move around restaurants to perform for customers. Like Japan, they also work on a tipping system, and in some cases, the venue may provide a guaranteed fee for the performers,” explains another performer (E).
The income for street performers, or “nagashi,” is primarily based on tips. The philosophy of the association is to maintain a flat relationship between the performers, the venues, and the customers, so it’s rare for performers to be paid a performance fee by the establishments.
This setup can be quite challenging. For instance, some younger customers may not understand phrases like “Your contribution” (a request for a tip) or “Add color” (a request to add something extra), and instead might respond by enthusiastically clapping without realizing they are being asked for a tip.
“Whether it’s street performance or a ‘nagashi’ (street performer), the old-fashioned ways of speaking often don’t work anymore. So, if I notice that the audience doesn’t understand, I have to try saying things in a different way.
On the other hand, younger people today are not resistant to tipping. With the rise of tipping for streamers on video-sharing sites, where viewers give virtual items, it has become quite normal. It’s like, ‘Oh, I’m tipping to support this person, got it.’ I’ve noticed that many people nowadays are surprisingly open to this kind of thing.” (E)
Even though “Your contribution” may not get through, throwing coins is immediately understood. It feels like we’ve come full circle.
By the way, while street musicians and live performers are required to obtain police permission for street performances, and tipping could technically be considered illegal, “nagashi” performances are different. As long as the venue permits it, since it takes place on private property, there is no legal issue with performing or receiving tips.
The thrill of live emotion is the essence of street performance!
The All Japan Street Performance Association does not have an annual membership fee and is almost entirely volunteer-based. When inquiries come in from those who want to become street performers, they introduce them to the appropriate organizations, and during tax season, they hold tax seminars, among other activities. Their work spans many areas.
“Each organization has some return, so we are able to continue, but it’s not so much about making it a profession. The benefit comes from spreading this culture, helping each organization obtain better information, and expanding it. Honestly, the budget issue is the biggest headache right now.” (E)
While there are many struggles, it’s an undeniable fact that street performance is currently well-received. So, what is the reason for the revival of street performance, which was once on the brink of extinction?
“There are various reasons, but one of our hopeful observations is that with the advancement of digitalization, you can now watch any kind of entertainment through a screen. On the other hand, due to the pandemic, there have been situations where you can only watch things through a screen. In a time when this has become so deeply ingrained, being able to witness live entertainment right in front of you feels extremely stimulating for both young people and middle-aged individuals.” (E)
Having your personal request listened to and watching a performance just for you right in front of your eyes—street performance feels like the ultimate luxury.
In the second part, we will focus on “Harumi,” who retired from a long career in the financial industry and jumped into the world of street performance. Stay tuned for a real look at street performance in the Reiwa era.
▼ Paris Nakayama, Director of the All Japan Street Performance Association. The man who spreads happiness. He made his street performance debut in 2008 at Kameido Yokocho. With his background as a former hotel staff member, he responds to your whims with impeccable grooming and a natural sense of service. His name is inspired by “Paris.” Featuring 2000 songs from 1950 to 2024, including enka, chanson, and canzone. Reviving the street performance culture centered around Tokyo. He also takes care of accompaniment and harmonies.
■ Paris Nakayama’s website is here
▼ Kio Endo (Crown Rio), Director of the All Japan Street Performance Association. A performer with 22 years of experience, and one of the few street performers specializing in balloon art in Japan. He has been active for 8 years as a street performer in this field. While contributing to the development of the association from his position as a director, he goes out on the streets every night to reflect the opinions of businesses and customers in the industry through his ongoing street performance activities.
■ Kio Endo (Crown Rio) website is here
■ The website for the “All Japan Street Performance Association” is here
Interview and text： Ide Chimasa PHOTO： Mayumi Abe (5th photo)
