Kodo - One Earth Tour

Hall One, The Sage Gateshead, 15th October

Elevated on a platform bordered with glowing lanterns, the heavily-varnished o-daiko gleamed centre-stage. Magnificent in both size and design, its mere presence commanded respect from the eager audience that filled Hall One in The Sage Gateshead. Around it lay an array of Japanese drums in all shapes and sizes. The lights dimmed and a spot shone on the front nagado-daiko that rested on the floor. Its player entered, took position and, with the softest tap that managed to fill the whole room, began an evening of music like no other.

Founded in 1981, Kodo are based on the 'floating treasure chest' of traditional Japanese culture, Sado Island. The birthplace of Noh theatre and now also home to three varieties of puppet theatre, the island has for centuries been a centre for the arts in the Land of the Rising Sun. Today, its history and natural beauty provide fitting inspiration for Kodo to create rhythms of the most primal type – rhythms belonging to an ancient art that was almost lost forever during the Second World War but, thanks to the tireless work of veterans of the group, is now very much alive.

On stage, the large drum was being beaten faster and stronger. A scream of effort took its player to his knees and, after beating harder than seemed physically possible, another agonising scream brought him back to his feet. His body tense and his head shuddering to the rhythms, he somehow found the stamina to drum through two or three more distinct phrases before a final strike gave rise to a rapturous opening applause.

Lighter, more fun pieces followed. There were smiles all round when, led by the young Yoshie Sunahata, individuals of Kodo had the chance to show off their skills as they each took turns to entertain the audience and themselves with short solo impromptus. Later, a comic piece that demonstrated all the nuances and colours hand cymbals have to offer caused plenty of laughs from both those on- and off-stage. There was a growing sense, however, that many of us were waiting to hear just one thing – the grand o-daiko mounted on the platform.

But that would have to wait as entering the stage was a lady. Tied with a white knot, her beautiful red kimono was embroidered with two small butterflies just visible from these front rows and her black hair was tied up, decorated with a crimson flower. In white slippers, she shuffled towards a small mounted nagado-daiko and, with two delicate taps, began a plaintive duet with a male member of the ensemble drumming in a corner of the stage. Their music captivating and the lady's graceful movements bewitching, the pair told a melancholic tale of unfulfilled passion between two young lovers, separated by distance but united by the spirit of the drum.

It is believed that the sounds of the daiko resemble the very first rhythm experienced by us all – that of a mother's heartbeat in the womb. Indeed, its thunderous vibrations are often used to help lull a baby to sleep. “Heartbeat” is in fact one of two meanings of “Kodo”. The second, read in a different way, is “Children of the Drum”, a reflection of Kodo's desire to play their drums simply, with the heart of a child.

There was nothing simple, however, about one piece. Composed especially for Kodo in 1976 by the late Maki Ishii, 'Monochrome' was as thrilling to listen to as it was complex to play. Incorporating mainly small shime-daiko, it was possible to hear everything from the gentle sound of rain drops to a swarm of locusts drummed out at an unbearable volume. At such points, time would seemingly stand still before crashing back down to earth again with the mighty boom of a gong. With such sophisticated techniques used throughout the 22-minute composition and such masterly playing to match, this was a definite highlight of the evening.

Then, finally, the moment had arrived. The platform was wheeled to the front of the stage and, as a heralding song came to its close, the loin cloth-clad leader of Kodo, Yoshikazu Fujimoto, and his apprentice climbed on board. For a moment, silence filled the hall. Then the first tap to the black and white painted skin took its place, resonating in all directions, then the second, the third and fourth, quicker and quicker until a steady rhythm was maintained. Bouncing on his feet like a boxer in the ring, Fujimoto was putting his whole muscle-laden body behind each strike, attacking the o-daiko with his beaters like a wild beast. A change of rhythm, more variation this time, his painful gasping for air clearly audible whenever he had the chance. And as if the sight of his drumming and the sweat pouring down his bare neck and back hadn't transfixed every pair of eyes in the room, there was another visual element to the event: a giant shadow of Fujimoto's caused by the platform lanterns was flickering on the ceiling, evocative of spirits or silhouettes dancing in a cave. A mighty climactic beat lead to a deafening cheer before a final flurry of percussion by the entire cast brought about the end of the show.

A powerful performance, primal and earthly in many ways, Kodo's 'One Earth' was both of a forgotten age and timeless. Executed with true Japanese precision and incredible energy, we were all privileged to be a part of this concert given by the very best in their field.

Hedd Thomas