YAPOOL x the Tiger: A Split Tour Final in Shimokitazawa
FukuyoshiMaya
On July 20, 2026, I went to see the final date of YAPOOL and the Tiger's split tour, at Shimokitazawa BASEMENT BAR.
A friend asked me along out of nowhere, but I'd been wanting to catch both bands live and had been keeping an eye on their schedules, so the timing couldn't have been better.
I sort of get why these two are paired up, and yet it still feels like a cross-discipline bout. As I'll get into below, their musical roots come from completely different places. And still, both of them are rock 'n' roll bands through and through. That's what made the night interesting.
YAPOOL
First up were YAPOOL. Right down to how they dress, they were doing the rock 'n' roll band thing all the way. Straight-ahead rock 'n' roll built on British rock. Plenty of catchy songs, with an accessibility that makes you want to throw a fist in the air and sing along.
What sets them apart is that you hardly ever find a band this young carrying themselves like rock stars — and an audience buying into it this completely — while they tear ahead at full speed. In an age where social media is a given, performers and audiences alike have a harder time accepting the idea of a star. Just knowing there's a band taking on "becoming rock stars" head-on makes me happy. Because that's the presence a rock scene needs most, in any era.
I like a band called hotspring for much the same reason, and this show made it obvious why the two of them play together so often. hotspring are another good band built on British rock 'n' roll. Ten years ago, they were the ones filling that role in the Japanese band scene. They may not have the name recognition I once pictured for them, but the fact that they're still keeping the band rolling gives me both joy and respect — and so does the fact that they and a band as beautiful as YAPOOL are out there holding each other up.
This November, YAPOOL play a headline show at Shibuya CLUB QUATTRO, long treated as a proving ground for bands on the rise. I'm hoping it goes big for them.
the Tiger
Up next, the Tiger. They floored me — far better live than I'd imagined. Vocalist Lin has a husky voice but sings full-throated the whole way through, and it carries beautifully. It just feels good. There's a nice looseness to her, too, and you can feel how much she's enjoying being up there. That euphoria comes through just as clearly in drummer Atsushi Hara's face.
When I first heard their recordings, it was only a rough impression, but I thought they had a shot at being the next GLIM SPANKY. I still think so. The difference is that GLIM SPANKY's songs are steeped in psychedelic and garage-leaning rock 'n' roll, while the Tiger lean harder into rock 'n' roll rooted in soul and blues. Either way, someone needs to hurry up and drop a CD into Eiichiro Oda's mailbox. Then the theme song for the next ONE PIECE film is settled.
As a symbol of those soul and blues roots, left-handed bassist Yusuke Akiyama locks it down, cool and groovy. And Taiga Mori's guitar playing is a gem — straight into the amp, no pedals, which makes it cooler still. This band has real potential. the Tiger come into much sharper focus when you see them live.
The Encore, Both Bands Onstage
For the encore, the two bands shared a stage for a cover of The Rolling Stones' "Wild Horses," the song the tour took its name from.
Sticky Fingers is an immortal classic — the album with that zipper sleeve anyone who loves music has seen at least once. This is one of its songs.
They said they're fond of it themselves, and the tour title really is a good one. It isn't just cool; you can feel the two bands pushing each other.
Then they closed with RC Succession's "Ame Agari no Yozora ni."
Children of the Stones and children of RC — the common ground made complete sense. Both of these bands have the British thing, and they have soul and blues.
After the show, RC Succession's "Wakatte Moraeru sa" was ringing out through the room.
この歌の良さが いつかきっと君にも わかってもらえるさ
いつかそんな日になる ぼくら何もまちがってないSomeday you'll surely come to see what's good about this song
Someday that day will come — we haven't done a thing wrong
That day can't be far off.
The Unsung Hero: Groove Nori
DJ Groove Nori handled the music playing through the room that night. The air he built pushed the heat in the venue higher, and once the bands were done he played with the sound, using the lingering afterglow as his spice.
Artist Profiles
YAPOOL
Formed in 2021. A Tokyo-based four-piece made up of Ren Ishikawa, Kosho Mizuno, Futa Kurushima and Yuya Osaka. They refine a sound rooted in garage, punk and rock 'n' roll into melodic, catchy songs, and with flashy, cool live performances they have been steadily building their draw. (Quoted from the band's official site.)
the Tiger
A four-piece rock band made up of Nagoya natives Taiga Mori (Gt), Lin (Gt/Vo) and Atsushi Hara (Dr), together with Yamanashi native Yusuke Akiyama (Ba).
Beginning with their first album Get Ready in March 2024, they have toured the country relentlessly. Their second album Black jungle followed in April 2025. Playing around 100 shows a year, in January 2026 they released LIVE!LIVE!!LIVE!!!, a two-disc set pairing a live DVD with a live audio CD. (Quoted from the band's official site.)
Contributing Writer, KAISHU VINYL
I currently work at a long-established CD and record shop in Japan. I don’t believe music has a single doorway: I discover it through live shows, books, conversations with friends, my work, the internet, or even a song I happen to hear while walking through the city. My guiding principle is to experience music in person, and I attend around 100 concerts and music events each year. When something catches my attention, I don’t let the encounter end there. I seek it out live, listen more deeply, and follow its trail through books, liner notes, interviews, and other sources—turning each discovery into knowledge and understanding of my own. At KAISHU VINYL, I share the energy I encounter in the music scene, along with the stories and context behind it, through live reports and artist features—bringing readers closer to music as it is heard, felt, and lived in Japan.
