Nariaki Obukuro, the rising J-pop artist who made waves as a Sony Music Japan-backed musician before branching out independently in London, has made a surprising turn in his music career. His latest album, Zatto, released in January, marks a significant departure from his planned dance music direction, reflecting the tumultuous global events that reshaped his approach to songwriting and performance.
“I couldn’t dance,” Obukuro explains. “Crazy things were happening — war, inflation. I’d go out and all I could think about was war.” This shift in mindset led Obukuro to move away from club beats and instead focus on raw, soulful grooves influenced by American soul, reggae, and flamenco. The album explores themes of empathy and the struggles faced by people from all walks of life, including those from marginalized communities, many of whom he met during his time in London.
“I’ve made many friends from all kinds of backgrounds — Black friends, friends from all over the world — and they all have their own struggles, like visa problems or facing discrimination,” Obukuro shares. “Before, I couldn’t understand what freedom really meant because I had always been free. I’ve since realized the true meaning of the word, and it has brought me deeper into the soul genre.”
In addition to reflecting on his newfound understanding of freedom, Zatto features a style that’s far removed from the typical J-pop scene. Obukuro’s desire to create Japanese soul music stems from his frustration at the scarcity of this genre in Japan. “It’s so hard to find Japanese soul music, so I want to create that,” he says.
Obukuro’s journey took a pivotal turn shortly after relocating to London, just as the city and the world were gripped by the COVID-19 pandemic. Though the restrictions kept him from fully immersing himself in London’s vibrant nightlife, he found solace in his two distinct communities: the DJ community, which focused on enjoying music, and the musician community, which centered around playing music. These interactions were key to Obukuro’s growth, especially in his language skills, as he began to engage in deeper conversations about music, politics, and human experiences.
In East London, Obukuro attended weekly jazz sessions led by Black musicians, where he slowly became more involved in the performances. While he was hesitant to sing at first, preferring instead to listen to others, he eventually gained confidence in his own voice. “It’s really awkward for me,” he admits with a shy laugh. “I’d much rather enjoy listening to the other singers.”
This newfound confidence in his voice is evident in Zatto, where Obukuro explores a variety of musical styles with a freedom he hadn’t previously experienced. Tracks like the album’s title song and “Tangerine” showcase a funky 1970s vibe and a fluidity in his vocal delivery, marking a departure from his previous work. His ability to express himself in both Japanese and English has allowed him to inject deeper linguistic nuances into his lyrics, as he describes the difference between singing in the two languages: “When speaking English, you use your whole body to pronounce words. In Japanese, everything is at the tip of the mouth. It’s like a saxophone, English uses everything.”
Zatto is a personal and musical evolution for Obukuro, as he moves away from commercial expectations and embraces his true artistic voice, shaped by the diverse and complex world around him.
