Bringing a touch of the Rising Sun to the heart of London, HYPER JAPAN has been brightening our skies since 2010. From humble beginnings at The Old Truman Brewery, HYPER JAPAN has found a permanent home in the cavernous Olympia venue and attracts upwards of 80,000 visitors over the weekend. From arts and crafts to music and anime via interactive workshops, approaching Japanese culture is like falling into a wormhole from which you’ll never emerge and one lifetime is never enough to explore all its nooks and crannies. With stalls and vendors trading everything from food, drink, gaming, travel, anime, HYPER JAPAN makes the perfect entry point for those new to the wonderfully eclectic world of Japan, whilst old timers will find plenty to spike their interest, but be warned; once you’ve caught the HYPER JAPAN bug, there’s no turning back!

I remember an age when Japanese groups used to copy their Western counterparts right down to the minutest detail and were often mere facsimiles. I always found that a strange anomaly coming from such a unique and inventive nation, and whilst JERO11 does borrow from established genres such as heavy metal, he’s wise enough to bring some of his own background to proceedings and his set finds East and West colliding in cataclysmic fashion. He’s a name that’ll be familiar to regular gig goers in the UK, as JERO11 organises concerts and hosts touring bands, and he brings his magic to the Olympia this afternoon. In what can only be described as “shamisen heavy metal”, JERO11 has adapted a traditional Japanese instrument and he attacks it like Eddie Van Halen in his prime. Playing along to a backing track, JERO11 shows great virtuosity, fingers all a blur as he pulls some amazing sounds from the strings. The same applies when he picks up an electric guitar for some serious shredding on ‘Summoning The Yōkai’, before it’s back to the shamisen for ‘Soran Bushi’, a traditional fisherman’s song, updated and upgraded, and with plenty of crowd participation, ensures JERO11 won’t be forgotten in a hurry.

A string quartet might conjure images of suits and bow ties played to reserved crowds in historic venues. However, when it comes to PlayMud Strings, nothing could be further from the truth. Whilst they certainly have respect for their form, there’s a fluidity to their sound which means they can turn their hand to almost any style of music and present it in a classical form, and are sure to do for the string quartet what Hendrix did for rock ‘n’ roll. Their inclusion in today’s line-up indicates what a wide remit HYPER JAPAN has, making this the only festival that could switch between classical and hard rock without missing a beat, yet the curation works really well and is also testament to the power of PlayMud. Hailing from Manchester, they play with a passion that could match JERO11, and while they can’t quite compete in terms of volume, their classical readings of film soundtracks and anime tunes is just as passionate and their rendering of ‘The Water Margin’ theme resonates long after they left the stage.

Not since John Bonham hit the skins with Led Zeppelin has a drummer hit the skins and played as hard as Takuya Taniguchi The Taikoist does today. Having beat a path all over Europe, Takuya brings his magic to London and immediately casts a spell over the crowd with hypnotic rhythms. Like an eight-limbed octopus, the left hand beats one rhythm, the right another, yet they are unified and work in tandem effortlessly. Deft and dextrous, Takuya displays a skill that is possessed by only a select few and is enough to make any aspiring drummer throw down their sticks in exasperation. Yet, it is not only the large drums that Takuya beats, but a koto-type instrument is played with sticks, the gentle sound of the strings makes a nice tension of opposites with the thunderous that came before. Like a call to battle, a huge drum is beat as a finale and draws people towards the stage from all parts of the Olympia. Trance like, Takuya has altered the very fabric of time, and that means this set is over far too soon.

Welcomed like royalty, Queen Bee certainly knows how to make an entrance and it’s an arrival that sends many into delirium and ecstasy, and this is even before a note has been played. With long flowing robes and a special nail tipped glove, vocalist Avu-chan looks every inch the star, and with an impressive vocal range that hits amazing highs and lows (and sometimes within the same line), sounds like one, too. So far, the crowd has been reserved and respectful, largely remaining in their seats and showing their appreciation with polite clapping, but Queen Bee is greeted with something approaching Beatlemania as the audience rush towards the stage with fists pumping the air and feathered fans waved in affirmation. Of course, it doesn’t hurt that Queen Bee comes armed with a bunch of catchy tunes, each stinging the crowd between the ears and filling them with good vibes. Backed by a band who are tight as a nut and powered forwards by an elephantine bassist who stomps over the stage with some of the most heavenly (and heavy) beats ever conceived. All whilst Avu-chan writhes and ululates and sings with the sweetest birdsong makes for sixty minutes of sheer fun.

Warakuren are a large ensemble who are a feast for the ears and eyes. They perform an ancient dance, but infuse it with the modern. Arriving in bright, traditional dress, the female members move with gentle, sweeping motion whilst the men have a savage kind of grace that exists somewhere between dance and martial arts. However, Warakuren aren’t content to stay on the stage and they soon take to the floor, demanding crowd participation as they move through the seating, asking the crowd to chant a callback to the vocals and encouraging those who can to join in their dance routines. They’ve packed a lot of action into thirty minutes and makes for the best way to pass half-an-hour.

To say that there is an air of expectation surrounding the appearance of The Sixth Lie would be something of an understatement. With their anime tie-ins, many present have heard of this crew but have never seen them in the flesh. Nothing can really prepare us for the explosion that is The Sixth Lie’s arrival on stage; dressed in a silver suit, vocalist Arata makes for an arresting spectacle and is equally animated, seemingly intent on covering every inch of the stage, using all three octaves of his vocal range to fill the whole of the Olympia with his powerful singing. Whilst Reiji is often tied down with his instruments (guitar/keyboards) he’s a bundle of energy and it’s easy to tell that both were keen sports enthusiasts in high school because there’s no sign of flagging as they blast through a selection of their greatest hits. They’re performing like they are headliners and their energy makes many present loose their cool (but in their nicest possible way), but the biggest reaction is to ‘Shadow Is The Light’ (from the anime A Certain Scientific Accelerator) and I’m sure the next time they return it will be as headliners, and that’s no lie.

If 2025 was a busy year for Sacred Fleramo (they toured 100 cities), then 2026 is proving to be even more industrious. On a mission to play to over 10,000,000 people, it’s a milestone they look like achieving through sheer hard work and, of course, an explosive live show. A riotous explosion of sight and sound, they turn a solemn Sunday morning into a sparkly Saturday evening. When the band hit the stage it feels as if someone has detonated a bomb in the venue, but it’s a nice kind of explosion; one that sends shards of good vibes shattering in every direction. A five piece unit who operate in perfect harmony, the intricate dance moves could easily result in a tangle of limbs if not performed with razor sharp precision, yet they have a deftness that has been honed through all that road work and with super sweet vocal harmonies have a lightness of touch that can’t help but adhere them to the crowd. 2026 could be their year.

After the exhilarating exhibition of Sacred Fleramo, things go off of on a wildly (But definitely no less entertaining) different tangent with the dance troupe Aigoro Hanayagi. It’s a traditional style of dance that Aigoro Hanayagi perform, in the minimalist style there a very few props and the meaning of the two plays performed are conveyed with movement rather than words. The first piece concerns a servant who becomes detached from his employers whilst travelling through feudal Japan, the second a tale of star crossed lovers, yet both are united by that parred back aesthetic. Even if you are unaware of the synopsis of each story, then the meaning becomes patently obvious through the inventive mime and evocative facial expressions. An education, and all without a word being spoken.

Reimagining anime classics on keyboards, Keisuke Yoshizawa is a scientist of sound who pulls some surreal notes from his instruments. For some strange reason he plays unshod, I’m not sure that helps, yet he’s a wizard on the keys, creating an otherworldly vibe with notes that cascade like a waterfall and producing sheets of synths that fill the whole venue as if immovable glaciers of ice. These are tunes that are used at the most poignant moments in movies and therefore carry a lot of emotional weight. Keisuke’s performance encapsulates this, his renditions are unique yet they become recognisable as they progress, you can hear the ripples of approval as they connect with the crowd and are rewarded with rapt applause.

The perfect counterpoint to Keisuke’s neo-classical readings of anime tunes are Geeky Beats Big Band. Doing exactly what it says on the tin, they are a sixteen-piece ensemble (by my count), who put a decidedly jazzy swing on anime and game music. It’s an amalgamation that’s not as strange as at first it seems; many of these songs originated from the pens of jazz aficionados, so there’s a feeling that things have finally come full circle. That’s not to take anything away from the creativity of Geeky Beats, these songs are daring reinterpretations that, whilst easily identifiable, are fresh and new and seem to exist in some strange parallel universe where Benny Goodman leads a swing band who specialise in Japanese anime. What Geeky Beats bring to the fore is an inherent groove in these tunes that occasionally gets lost in the originals, and that makes their set a toe-tapping, head-bopping, pulse-racing extravaganza. As their name suggests, Geeky Beats Big Band don’t take themselves too seriously, but you definitely should.

It’s not my first time seeing the powerhouse that is Re:O live, having caught them at various smaller venues dotted around the capital. What becomes immediately apparent as they arrive at HYPER JAPAN is how at home they look on the larger stage. Having secured the prestigious support slot on Sunday afternoon, they are making the most of this opportunity and not even a few technical hitches can derail their unstoppable momentum. Featuring band members who hail from Japan and the UK (but currently residing in Berkshire), Re:O have a similar approach to JERO11 insofar as they take alternative rock from Japan and fuse it to the best of Western metal. But make no mistake, Re:O have a sound all their very own, a smorgasbord of metalcore, J-pop, cyberpunk and symphonic elements, all rolled into a sound that shines and sparkles like neon-lit, down town Tokyo. The band have taken advantage of the bigger production a larger stage offers and deliver a high-kicking extravaganza that’s undoubtedly won them more than a few new fans.

Having also appeared at the festival yesterday, many have returned for a second helping of the most vivacious of dance companies. Founded in 2022, Avantgardey have gained a reputation through their highly stylised dance routines, and whilst there are many such combos from Japan, none perform with the same chutzpah as this bunch. Their deadpan humour, lifeless stares and surprised expressions add elements that many of their peers lack. When the band arrive they have an element of the android about them; each is attired in identical clothing whilst sporting the same bob hairstyle and whilst there is a touch of the android about them (their moves are regimental and highly choreographed), each member has their own personality and that comes shining through on a lip-synched version of The Spice Girls’ ‘Wannabe’ and a crazy mash-up melody of classic Queen tunes (quite appropriate as they’re in the UK), each track raising the level of fun exponentially. Brandish orange glow sticks that burn like fire, Avantgardey make for a strong visible presence; when this ensemble are on stage it’s kind of hard to avert your eyes and look elsewhere, which means that there’s an all encompassing feel to their set, it inhabits your whole inner being and, subsequently, alters the very fabric of time. It means that their visit is over far too soon, but I have a funny feeling we’ll be hearing a lot more from Avantgardey real soon.

As the Rising Sun finally sets and brings another HYPER JAPAN to a successful conclusion, our thoughts are already turning to next year and we’re clearing space in our diary for the best celebration of all things Japanese.