The global legacy of Yellow Magic Orchestra truly came into focus when the players on stage went beyond borders and decades. 

Ginger Root, a contemporary American artist connecting lines between ‘80s Japanese sounds and the Western rock of acts such as Paul McCartney, offered a boisterous take on the pioneering Japanese techno-pop trio’s version of “Tighten Up.” After his shout-heavy rendition, Keigo Oyamada walked on stage with guitar in hand. The ‘90s Shibuya-kei icon best known for his Cornelius project joined Ginger Root for a cover of YMO’s “Firecracker,” showing just how far-reaching the project’s reach has been.

Moments like this elevated “MUSIC AWARDS JAPAN A Tribute to YMO - SYMBOL OF MUSIC AWARDS JAPAN 2025 -” held on Tuesday, May 20 at Kyoto International Conference Center. Serving as a special event held prior to the inaugural edition of the MUSIC AWARDS JAPAN ceremony (full disclosure: the writer helped the ceremony with English PR), it served as a chance for a variety of Japanese artists to offer their interpretations on Haruomi Hosono, Yukihiro Takahashi, and Ryuichi Sakamoto’s pioneering work.

Fittingly, the evening never felt stuffy as tribute events sometimes run the risk of being. The tone for the night was established by DJ and Sakamoto-apprentice Towa Tei, who delivered a 30-minute set featuring YMO hits tweaked ever so slightly into a consistently kinetic groove. The tempo was high and the crowd invited to dance along rather than just sit back and listen.

The energy only picked up for the guests. The horn section from Tokyo Ska Paradise Orchestra underlined the playful nature of the night with brass-boosted takes on “Cosmic Surfin’” and “Simoon,” backed by the night’s special band, comprising players including some who had worked closely with YMO’s members. Sakanaction’s Ichiro Yamaguchi shuffled on stage next for two songs, followed by Yasuyuki Okamura with a funky pair culminating in a call-and-response rendition of “Kimi ni Mune Kyun.” By this point, everyone in the audience was standing and waving along to the music, the sold-out crowd reminding that for all the technical and experimental innovation the trio inspired, they were also above all else fun.

It was via these livelier moments where interesting combinations also manifest themselves. Those included the aforementioned meeting of Ginger Root and Oyamada, followed by rising Japanese electronic artist Sasuke Haraguchi emerging from the side to perform a sampler-powered cover of “Rydeen.” Joining the young creator next was a veteran — Hideki Matsutake, a pioneer of synthesizer music in Japan and close associate of YMO. Besides offering another poignant on-stage metaphor for the way the group’s catalog has passed between eras, it allowed them to offer up a ripping interpretation of “Behind The Mask” that once again had the Conference Center turned into an arena.

If the YMO tribute concert approached something more sentimental, it came via the presence of artists who had the closest ties of anyone on the bill to the original YMO. Matsutake’s appearance felt like an appropriate crescendo for the night, though it never turned overly gloomy, as the long-running synth whiz kept the energy up and urged the crowd to stand up as he played. Joining him for the finale was Miu Sakamoto, daughter of Ryuichi, who added vocal touches on “Yellow Magic (Tong Poo).” She had appeared earlier in the night for a couple of songs, including “Perspective” which her father had handled vocals for. On this finale, though, the two offered a dazzling version of one of YMO’s signature songs, showcasing both the techno-pop innovation they pushed forward and the humanity lurking in its core.

This concert offered a well-rounded celebration of YMO, not dwelling too much on its resume of accomplishments but instead letting the music itself remind of all the trio accomplished together. In many ways, this gathering showcased the full potential of the surrounding MUSIC AWARDS JAPAN experiment better than anything else on the week’s schedule. Besides being a chance to properly give a defining band its time in the spotlight, it presented something unique, underlined by the eclectic set of artists taking part. They came from different backgrounds and locations, but were united in an appreciation for YMO. That resulted in a one-of-a-kind evening offering the best possible version of what this undertaking can do, all while reminding of the continued relevance of Japanese legends today.