Behind the Scenes of GTC: An Event Through the Eyes of Our Staff
READY FOR OPEN AIR #4
GROW THE CULTURE continues its candid interview series, this time sitting down with Wada Ikumi and GTC organisers maidable, mana and snobo to look back on the previous edition, sharing their experiences and perspectives from both sides of the event.
Event
[No. 004]
Behind the Scenes of GTC: An Event Through the Eyes of Our Staff
READY FOR OPEN AIR #4
Looking back on the previous GTC with Wada Ikumi, who joined as a volunteer for the third event, alongside the organizing team: maidable, mana, and snobo.
② What Inspired Ikumi Wada to Apply as a Volunteer
Ikumi Wada: The two people I went with, oyabin and Kimotsuki, usually play genres like bass music, UKG, and jungle when they DJ, so I knew they loved that kind of sound. At first, I was mostly just being swept along by them. Kimotsuki in particular sent me a link saying, "Don't you want to go? Apparently we can apply as volunteers." So we were like, "Let's apply, let's do it!" and the three of us sent in our applications. Also, among Holloway's remixes, whenever there was one I thought was really nice, I used to send Holloway DMs like, "This was so good," and we'd exchanged a few messages.
maidable: You sent DMs yourself?
Ikumi Wada: Yes, exactly. Holloway had posted on his story saying something like, "If you liked it, message me." Holloway, whom I had interacted with, was playing at GTC, so I think I had seen the name GROW THE CULTURE even before applying. Partly because of that, although I'd never been before, I thought I might be able to participate as a volunteer, and my friends had invited me, so I remember applying quite enthusiastically.
maidable: Oh, I see. In terms of the lineup, were you also a fan of Hirai-san from CYK?
Ikumi Wada: That's right. I even asked to be scheduled off-shift during his set; knowing Hirai-san was there definitely made it easier to decide to go. I think I had mentioned that I was quite curious about Hirai-san and Velocity-san.
maidable: Did you know Hirai-san from RDC or something?
Ikumi Wada: I didn't go to clubs at all back in my hometown, so after moving to Tokyo, I thought I'd check out clubs because I love music. When seniors and friends took me out, I often ended up going specifically to see CYK.
maidable: Aside from that, you're just a fan of Hirai-kun in his own right, then. You also volunteered at RDC, right? Was that through a different path?
Ikumi Wada: Yes, that's right. It's just that I often saw him at RDC. (laughs) I was just watching from afar, thinking, "Oh, Hirai-san is here again!"
③ Points of Attraction for GTC
maidable: I was planning to ask later about the differences between RDC and GROW THE CULTURE, but RDC is on quite a large scale, isn't it? Having experienced RDC, was there anything that strongly attracted you to GROW THE CULTURE?
Wada Ikumi: Being invited was of course one reason, but the location itself piqued my interest right from the start. Partly because it's a manageable distance from my home, since I live pretty far to the west. But even putting that aside, it just looked like a really interesting place. And then, compared to participating in RDC, it felt much friendlier. Things like having an interview set up for you, for example. When an event gets that big, whether you're a volunteer or paid staff, you kind of end up in a [inaudible] sort of position. They recruit for several open slots, and whoever fills them just gets handed tasks like, "Please do this job."
maidable: When everyone gathers, you end up looking around nervously, too. There are good things about being big, but there are also tough things about it.
Wada Ikumi: Getting in touch with me and receiving emails directly felt fresh, or rather, it felt like I was being treated with genuine care, which made it easy to work.
maidable: Based on what you just said, did mana or snobo go to outdoor events in the first place?
snobo: What left a huge impression on me the first time I went was the amazing sense of openness. In a club, it feels like there's nowhere to escape. But outdoors, it's different. Since I mostly go to clubs, being outdoors allows me to enjoy things at my own pace, which I really love.
maidable: Before that, had you ever been to things like RDC or Rural?
snobo: No, not really...
maidable: House? Reggae? More like an underground outdoor rave?
snobo: Yeah, exactly. There were tons of gyaru girls, and skaters too.
maidable: That's interesting. That's its own awesome culture—a crowd that would normally never gather in one place. People who go to clubs usually plan it out together, but each scene inevitably has its own circles. If it's Circus, it's people who find it easy to go to Circus, or the regulars performing there and their friends. Normally, they'd never all come together.
snobo: Everyone invited friends from all over, and even moms were there. It was so overwhelmingly homey, I felt like, "Excuse me for intruding!" Especially coming from Tokyo. Another big thing was that during college, the times I wanted to go the most completely coincided with my assignment deadlines. (laughs)
④ Since mana and snobo got involved with GTC
maidable: What was your impression of GTC after you two got involved? Was it like "I don't really get it, but these guys seem to be doing something wild," or "We want to be a part of this too"? Did getting involved make you think, "I really like this aspect of it"?
snobo: A major factor in my interest in GTC was that they were constantly booking amazing international artists for events, which matched my favorite genre. Once I got involved, well, I had never worked behind the scenes to put together an event before, so I realized that behind a fun event lies proper [inaudible].
maidable: But in your (university) club, you also hosted parties, right? Was that different?
snobo: Honestly, in a university club, both the people organizing it and the people attending are from around the club, so in terms of drawing a crowd, I don't think the difficulty was that high. You don't do it alone, it's done based on everyone's opinions, and we didn't really divide roles much either. So it was great to learn that. That part is fundamentally different.
⑤ What was tough on the day of the event
maidable: Regarding the roles you're doing now, or what Ikumi-san did as a volunteer, I'd like to hear about anything memorable about your positions, including the day of the event, as well as before and after. Feel free to start with whatever is easy to talk about. Everyone talks about being blown away by the performers or their sets, but I think it would be interesting to hear about things related to what you were actually doing. Positive or negative, either is fine. Feel free to talk candidly.
Wada Ikumi: Setting aside the fact that the walkie-talkies didn't work for a second. (laughs)
maidable: No, you don't have to set that aside! I feel truly sorry about that... You were really quick on your feet that day, and I was so grateful. It sounds a bit like making excuses, but...
Wada Ikumi: The pitch that "they work even deep in the mountains" was a total lie. (laughs)
maidable: That happened, yeah. Today, I was browsing through our Discord logs from back then to jog my memory, and I was like, "Whoa, we were really having these exchanges." Like, "One car just came up," "One car."
Wada Ikumi: Things like, "Commodo-san has arrived." "Apparently his partner forgot their phone," and so on.
maidable: Down below, there was no Wi-Fi, just normal mobile reception, and we had Wi-Fi up here, but the walkie-talkies didn't function well and only picked up LTE signals. It made no sense at all, and it was like, "If it's LTE, we can't communicate!" As an organizer, I really must apologize again for that. Still, the fact that we were able to coordinate so closely was huge. Personally, there were no troubles down there at all, right? I felt bad for having you stand out there longer than planned, until late at night, but thanks to everyone, we were able to guide people really safely, so I was super happy.
Wada Ikumi: Aside from that, I was standing down there together with [name inaudible]-kun, so the two of us were chatting non-stop. Given the lineup, there were quite a few foreigners who came all the way to Daiba specifically for the [performers]. The two of us tried our best to explain things to the foreigners arriving by car at full throttle, and when they pleaded, "Wait, wait, wait, go find them for me, please!", we had to do our best to explain, "You can't go up there." It actually ended up being fun, though.
maidable: That totally happens, yeah.
Wada Ikumi: Around 6 a.m. when things were winding down, a pair showed up after putting in all that effort to get there, and while wondering, "How are they going to climb up after this?", we had to harden our hearts a bit and force them to turn back, going, "I'm so sorry."
maidable: I feel like the tough things are pretty easy to recall. snobo was panicking like crazy handling the entrance—I was wondering if you were okay.
snobo: Speaking of that, I was so panicked that I barely have any memory of it. I worked the entrance first, right? To begin with, I didn't know the keyboard shortcuts (on the PC), and a massive line started forming, which made me panic, and from there on, my memory is just gone.
maidable: You were just frantically dealing with it non-stop. There are waves, you know—sometimes no one comes at all, and other times more than a dozen people arrive, like three groups showing up at once. That's pretty tough, and I feel like the same can be said for the bar. Waves and inconsistencies. Last year probably had the largest attendance among the past three editions, but I think that was the toughest part, and it was a good learning experience for next time. ...Though I'm forcing it to sound like a good experience. (laughs) mana, did you have anything tough like that at the bar?
mana: I think it was full of unexpected situations. As for what was tough, we never imagined the line would stretch all the way to the middle of the dance floor. On our end, we said we wanted to guide them around the gazebo, but everyone was busy, and people were yelling "What would you like to drink?" "What would you like to drink?" all over the place, so no one could hear. It was like directing the queue, taking orders, and making drinks all at the same time. On top of that, foreign guests who bought shots were like, "Let's drink together!"
maidable: I got dragged into that two or three times too. (laughs)
mana: So you're drunk from drinking that, but you still have to direct people.
maidable: Everyone was drunk?
mana: Everyone was drunk, completely hammered.
maidable: You mean almost all the bar staff? It didn't look like that to me. You seemed to be working steadily, and it just looked like hard work because of the long line.
mana: Everyone's bar staff, so even if they're completely wasted, they can still do the job properly, sort of. (laughs) That was tough. But on the bright side, surprisingly, everyone stayed at the bar the entire time even when it wasn't their shift, for some mysterious reason. Even when we told them, "Go dance!", they'd come back to take out the trash, clean up empty cans, and organize things. Thanks to that, it was a great opportunity to rethink the staffing and layout so we could handle both busy and slow times.
mana: With each edition—the first, second, and third—the operations and workflow have been getting better. But there's still so much we can fine-tune precisely because it's at this scale. Even with the walkie-talkie issue earlier. For starters, the indoor bar staff are mostly people who usually work at places scaled for just one person standing at the bar, so I realized we had to rethink everything, starting from the layout.
⑥ What Changed Over Time: The Atmosphere of the Floor
maidable: Speaking of which, how many times has it been now? mana, you've been here since the very first time, seeing both the first and second editions. Do you notice any differences between last year and the first two? For ikumi-san, the third edition was probably your first time. Instinctively, do you feel like "this part changed," or conversely, "this part remained unchanged in a good way"? It can be from an overarching perspective, or from the viewpoint of the bar.
mana: You can see the floor incredibly well from the bar. I often find myself watching the floor a lot. The year before last, there were quite a few people sitting around, and you could clearly tell a lot of people were hanging around the ashtray area smoking, so there were many people not dancing. I don't know if it was related to the number of attendees, but my impression of last time was that the floor was packed the entire time. Even though it was packed, people were moving around, so it was fluid and felt very comfortable—just the right number of people for it to stay comfortable, I'd say.
maidable: ikumi-san, I think there were times when you were participating as staff, and times when you were dancing on the floor. How was it for you?
Wada Ikumi: It was like... "There are so many people here." There were quite a lot of people, yet it was easy to dance and easy to see. If anything, it felt like "it's crowded, but easy to see."
maidable: What do you think contributed to that? Maybe the lack of walls, or the fact that it's not a closed-off space like a typical club?
Wada Ikumi: To begin with, the speakers being great might have had something to do with it, but even so... maybe because there's no sound bouncing back, it didn't feel very fatiguing to listen to. The volume was up, but there were no weird reflections. It wasn't uncomfortably boomy no matter where you stood; you could change how the sound felt depending on where you were, and you could move around as you liked. In that sense, while it wasn't an "escape" per se, there were places where you could step away when you felt like taking a little break.
maidable: Would you say that was quite a strong point?
ikumi: It might be. Having varying elevations was also pretty great, I think. Like the seating area in the back, or the different levels across the venue. If you were over there, you could talk while eating together. Even though you were close to the stage, you could still eat and chat comfortably. That's not something you really get at a club, right?
maidable: Normally, clubs have a completely flat floor with the stage elevated by one step. Hearing you say that makes me realize it too, but the terrain (of Ohba Camp Site) adds a sense of three-dimensionality. With the elevation changes, being down from the bungalows is completely different from the covered dining area.
Wada Ikumi: That's definitely true. Though I was just relentlessly hiking up and down, haha. During Commodo's set, I was almost entirely at the bottom, so hearing about it afterward made me pretty envious.
maidable: At the very bottom, could you barely hear the bass?
ikumi: At the lowest point, you could only hear it faintly.
⑦ snobo's Changing Role Within the Team
maidable: snobo, along with handling reception and the entrance, you also took on driving duties for some parts. Did that leave much of an impression on you? Or was it more about working the entrance on the day?
snobo: Driving definitely left an impression on me. It was my first time doing something like that.
maidable: First time?
snobo: Yeah. I was super nervous, so nervous that I was terrified of getting into an accident.
maidable: Everything turned out totally fine, though. In fact, for this upcoming fourth edition, you've even been looking for personnel, acting almost like a driving coordinator, right? Have you personally felt any shift there? I think the same goes for mana: starting out as regular staff for the first and second editions, and gradually transitioning into overseeing the bar. You're contributing as a performer too, of course, but shifting from that toward managing personnel means you'll probably be giving directions and coordinating with people, not just participating as an individual player. No need to fret over it, but do you feel any change in mindset or any anxiety?
mana: Honestly, I have nothing but anxiety when it comes to that. To be frank, I haven't taken on leadership roles at all since university. I was always the type to quietly work on my own tasks. But I want to do my best. Since entering the workforce, I've started experiencing those things on the job, so I want to apply that to GTC as well.
maidable: Wonderful. Conversely, it feels like the experience gained at GTC can feed back into your day job, too. Like ways of thinking and all that.
⑧ Touching Moments from the 3rd Edition
maidable: Well, returning to the topic of the 3rd edition for a moment. Earlier, I asked Ikumi-san about what stood out to him, but how about mana and snobo? Did you see any particular scene—whether involving the artists or the attendees—that left a deep impression or really touched you? For me, during my morning DJ set, I was first of all thrilled that so many people were dancing, and feeling that vital energy really gave me courage. Beyond that—and apologies to the bar staff for this—seeing a crowd of people swarming the bar and drinking heavily made me so happy to watch. It proved that we had successfully created that kind of atmosphere. Rather than winding down, it felt like things were just getting started, and seeing that energy reach even the areas further away really struck a chord with me. And then when andrew played James Blake's "Limit To Your Love" as the closing track, I got a little teary-eyed. That whole morning sequence moved me the most.
snobo: After andrew finished, there was a moment when Hisaki spoke on the mic, and that made me a bit emotional. Even though I felt like I hadn't contributed much and was already exhausted with a hazy mind, it gave me a burst of energy and straightened me up. It made me want to push myself even harder next year.
mana: Exactly as maidable said, in the morning, everyone was dancing arm-in-arm, yelling, "Don't let it end!"
maidable: There was quite a roar from the crowd, wasn't there?
mana: Hearing them say things like "I don't want it to end yet" made me so happy, knowing they genuinely had fun. Also, I was often smoking in front of the allz screen-printing booth behind the bar, and seeing a group of Japanese attendees and international attendees bonding and becoming great friends made me feel so warm inside.
maidable: You hear "don't let it end" at regular club parties too, but for a party that's been going on for around 20 hours, you'd think, "Come on, it's gotta end!" haha. You'd think, "That's crazy, let it finish." But from my perspective, it goes back to that feeling of wanting to keep pushing even into the morning. The crowd was meeting us head-on with that same intensity. With sets like Lil Tozan's, it just kept escalating. Normally, you'd expect things to wind down gently with some smoother jungle, but instead, they completely blew the roof off, and that energy felt so refreshing. That's something unique to the outdoors, and unique to GTC, I feel.
ikumi: I arrived pretty early in the morning, said my initial hellos, and was just wandering around. Lil Tozan had also arrived early, and he came over to talk to me.
maidable: He was super early, wasn't he? First among the performers, driving in by car.
ikumi: That's right. He mentioned he'd be driving back by himself afterward. We chatted in the morning saying "Nice to meet you," and his set was scheduled for quite late in the morning, right? When I told him, "Finally your turn," he said, "I'm so nervous," as he headed to the booth.
maidable: He really brought the energy up. He was super nervous, telling me, "What should I do, what should I do?" and I was like, "Just go smash it!" He was right after me. The moment his set started, it was ragga jungle from the get-go, and I thought, "This is incredible." Just as expected, the whole place went wild.
ikumi: I went to wake up Kimotsuki-san, too. The other two were asleep, so I was like, "He's playing right now!" Kimotsuki-san plays Tozan's tracks all the time, so I was like, "You HAVE to hear this," haha.
⑨ Connections After the Event, and Vinyl Talk
maidable: Regarding ikumi-san, getting a bit personal, I invited you to my lounge event too. Around that time, did you feel any change in perspective? Just your general impressions would be great, too.
Wada Ikumi: For me, hearing that snobo collects vinyl made me really happy. Digging for vinyl is primarily what I do. In scenes where digital files dominate—like UKG or bass music—I don't usually search for vinyl myself, and most of my DJ acquaintances play digitally. So it felt a bit hard to approach, and I'd often look at it thinking, "I'd rather have it on vinyl." Having snobo in the crew playing on vinyl felt reassuring and made me feel like we were kindred spirits.
maidable: Making that connection is great. Without GTC, that might not have happened.
ikumi: It's rare for us to cross paths based on the genres we usually play. Usually, it's disco-oriented people gathering together to play on vinyl. So learning that there's someone collecting vinyl in a genre I don't often encounter was really exciting. It even influenced the records I look for and play—making me want to spin things at double tempo, or conversely, half-time.
maidable: When the pool of tracks you want to dig deeper into expands, your playstyle changes too, right?
Wada Ikumi: Exactly, it's fascinating.
snobo: I only started collecting vinyl about a year ago; before that, I played off USBs. Compared to USBs, it's harder to collect—you have to buy each one, so the number of tracks you can pick is smaller—but on the other hand, you can cherish every single record. You develop a much stronger attachment to each one, so I'm really glad I made the switch.
maidable: ikumi-san, were you originally using USBs or digital?
Wada Ikumi: I started with vinyl from the beginning. I've always loved buying records. I already owned some, and after moving to Tokyo and seeing people DJing, I thought I'd like to try it with the records I had. That was my starting point.
maidable: So you liked records even before you started DJing?
Wada Ikumi: Well, I had a modest collection, but before DJing, I was mostly buying music from bands I liked in high school, or vintage Japanese pressings ("Wamono").
maidable: In a way, aside from your involvement with GTC, you discovered the joy of playing vinyl. Has being involved with GTC changed anything for you? Whether it's [inaudible], your job, or anything at all.
snobo: Playing vinyl is something consistent for me, and I plan to keep doing it. This might not directly relate to GTC, but starting vinyl made mixing tougher, especially with jungle since the BPM is so fast. There are masters out there like Kurashima-san (Dx) who are incredibly skilled, which makes me feel there's always higher ground to aim for, so I never get bored. I definitely want to keep going until I'm satisfied with my own performance.
maidable: Ultimately, it's not just about playing vinyl; the more you do it, the more you realize there's always someone better. That applies to the lineups we book, too. We invite top-tier talent, and every time, I'm blown away thinking, "I didn't know you could play like that." It's inspiring and makes you think, "I can still push further." You might think you're good at something, only to realize you still have a long way to go. The impact of the 3rd edition still hits me hard, like a wake-up slap. I imagine others feel that to some degree as well.
Wada Ikumi: Speaking of the edition I attended, ¥ØU$UK€ ¥UK1MAT$U made me realize... "Wait, I can play that too?" Artists I loved listening to but had arbitrarily given up on including in my sets—like The Prodigy—made me realize, "It's okay to play this," and seeing how thrilled the crowd was made me think, "This is amazing." It reminded me that we often restrict our own options without realizing it.
maidable: Watching DJs like Yukimatsu-san, you realize that truly great DJs have deep crates and exceptional taste in selecting from them. Yukimatsu-san was incredible. By the end, the BPM was fast, probably around 160, but while keeping that distinct GTC vibe, he wove in such a diverse range of tracks—truly masterful. He understood the context completely while unapologetically playing what both he and the crowd loved. I admired that form of expression so much, and it made me strongly feel that I still have a long way to go as a performer and artist.
⑩ How to Recommend GTC to Others
maidable: Let's shift our focus to the future. For example, if someone around ikumi-san is curious, or if you want to convey what GROW THE CULTURE is about to someone, what words would you use? A single catchphrase might be tough, so feel free to describe it in whatever format works for you.
Wada Ikumi: The spaces I frequent aren't necessarily clubs in Shibuya or Shinjuku where seasoned clubbers hang out, but rather smaller spots and music bars in Hachioji or Koenji. Many of the people and friends I meet are in that scene. People who dislike massive clubs like ZEROTOKYO can enjoy it, but even those who love those big venues will find that the open-air setting maintains just the right club atmosphere. The visuals and production play a role, too; it's not just thrown together outdoors—it carries a genuine club vibe alongside the spacious freedom unique to an outdoor venue.
maidable: You inevitably want to tell people, "I'm sure you'll have fun." Where do you think that club feeling comes from despite being outdoors?
Wada Ikumi: The fact that it gets properly dark at night, for one. And as mentioned earlier, the sound itself is very comfortable to listen to. With bass music at its core, the low end has satisfying weight and fullness, so in terms of sound, even seasoned club-goers will appreciate it. That said, because it's open-air, dealing with things like the cold becomes part of the charm, rather than just seeking sheer comfort. Though that depends on the person.
maidable: Does what you just shared align with what you personally found great about being involved in the event?
Wada Ikumi: Yes. Things like using vinyl. Recently, when organizing events with friends, we've been paying close attention to whether the venue's sound is good. On the flip side, some friends have stopped frequenting certain venues because "the sound there is fatiguing." With that shift in perspective, GTC definitely offers sound that's pleasant and genuinely good to spend time with. That quality is firmly guaranteed—it's not just a matter of "the location is fun, so that's enough."
maidable: You can come with the exact same mindset as going to a club: "I'm going to hear great sound" or "I'm going to hear great tunes." Over 20 hours, whenever you drop in, there's quality sound playing the entire time.
maidable: On that note, mana and snobo, you both have friends who haven't attended yet, and I'm sure you try various ways to explain its charm.
snobo: For anyone who feels suffocated by conventional clubs, I recommend it without hesitation.
maidable: "Suffocated." That's a great expression.
snobo: Quite a few of my friends feel that way. Some people start losing energy after just an hour in a club and feel the urge to step outside.
maidable: Why do you think that is? Because it feels cramped?
snobo: Yeah. The sound is overwhelming, you can't have a conversation, and so on.
maidable: There's also the fact that smoking is only allowed indoors, or there's no outdoor smoking area. The smoking dilemma.
snobo: That's definitely a factor too. GTC doesn't have that sense of confinement, which is why I recommend it. As ikumi-san said, the sound and dedication of GTC mesh seamlessly with the freedom of being outdoors.
maidable: The smoking situation is one thing, but not being able to re-enter is more frustrating for people than we realize. While it might not feel completely claustrophobic, it can become a deciding factor in whether someone returns. You can't just leave when you want to. With an open-air venue, while you can't physically leave easily due to location, you can take a step back musically—distance yourself from the sound, and come back whenever you like. Having options matters a lot. At a regular club, your only choices are listening or heading home, and going back inside means paying admission again... I'm actually surprised neither of you mentioned the lineup after talking about the sound! haha
mana: Hardly any of my friends are into bass music. I love it, but the only people I connect with over it are those I met through GTC. If I talk about the lineup, saying "this person is amazing" or "isn't it crazy to see them outdoors?", it doesn't resonate with them at all. That's why I tell them, "It's outdoors, the setting is fantastic, and the bass vibrates through your whole body," or "There's food, you can sit and drink when you're tired, and you can actually hear people talk." If they seem interested, I might share a link saying, "This artist is incredible, check them out." For example, I might mention that Yukimatsu-san's slot includes well-known Tokyo artists outside bass music too. House fans and people with all kinds of tastes attend, after all.
maidable: It's all about how you frame the appeal. You don't try pitching it with, "Isn't it insane that this international artist is coming?"
snobo: I usually invite people by saying, "This artist is playing." I don't really invite them just by saying, "It's outdoors, so it'll be fun."
maidable: Whereas mana prefers not to base her recommendations primarily on the lineup.
11. Post-Event Connections and Vinyl
maidable: Was there anyone you felt was an absolute must-see? An artist from the 3rd edition you'd recommend no matter what? Or simply the performer mana felt most attached to or moved by.
mana: Definitely Commodo. I'd been listening to his music for a while, and someone told me he loves rock music. Hearing that he draws inspiration from rock made me listen even more intently, and I thought, "I have to see this, it's going to be so cool."
maidable: How was it seeing him live?
mana: It was insanely cool!
maidable: Everyone agrees on Commodo. snobo, who on the lineup stood out most to you? You can include or exclude Commodo, and it doesn't have to be just one person.
snobo: In that case, Frankie $. He also plays jungle on vinyl.
maidable: Does he play UK bass-style sets too? Like in previous editions?
snobo: Exactly. In the 2nd edition, it was more ambient jungle, and he took a different approach for the 3rd. Frankie is on another level, so I've listened to his sets countless times. Watching what he does during a mix—his presence behind the decks is so composed, and it's incredible how he can command the crowd while remaining that calm.
maidable: You can see the pure skill shine through. DJs from that scene who regularly play on high-end mixers really show their fundamentals. Speaking of Frankie, despite playing extensively across Tokyo's premier venues and bars, he has performed at GTC since the very first edition and remains one of our biggest supporters, which is incredibly encouraging. Ikumi-san, along those lines, was Hirai-kun the one who moved you this time?
Wada Ikumi: Yes. I'd seen him play deep house and noticed he's also skilled with bass-leaning records. Playing in the earlier hours, his set was genuinely deep and captivating. The dancefloor was just getting started, but it felt great. Aside from Commodo, and not just because I was invited, I was really impressed by maidable-san...
maidable: Oh, thank you! Sorry if it felt like I fished for that, haha. Hearing that is very motivating. Earlier I mentioned feeling like I still have a long way to go, so that means a lot.
Looking Ahead to the 4th Edition
To First-Time Attendees
maidable: As we wind down, I'd like to wrap up by looking ahead to the 4th edition. Following up on what we discussed, do mana and snobo have any tips, pitch points, or advice on how to enjoy the event for newcomers? Earlier, mana mentioned how great the environment is.
mana: The food is delicious, the drinks are great, and that alone makes it worthwhile. People partying in Tokyo clubs often get exhausted or burnt out. In our generation, people party hard from 19 or 20 until around 23, and then they're like, "I'm done." Even for those who don't necessarily love the music deeply but just enjoy going out, the environment is completely different, surrounded by nature. You don't need extensive prep like packing gallons of water and heavy camping gear. It's not as demanding as camping, nowhere near as exhausting as a club, and feels more like an easy day trip—that's how I pitch it.
maidable: "Club burnout" is an interesting angle.
mana: What I often tell people is, "Come see the world I love." I'll say, "You've never seen anything like it, right? Just check it out once—I'll buy you a drink!" haha.
maidable: I love that. How about you, snobo?
snobo: I really want people who feel clubbing in Tokyo has grown stale to come out. For those who want to experience something grand and unusual—like lasers cutting through the mountains—I think it's perfect. Yet you can still enjoy it at your own pace. In that sense, it's easy to invite people who don't normally go to Tokyo clubs. I'll show them photos and say, "Isn't this beautiful? Wouldn't you love to see this? Want to come with me?"
Things to Try Moving Forward
maidable: With all that in mind, snobo, are there specific people you'd like to collaborate with or bring into the fold? For mana, perhaps from the bar's perspective as well.
snobo: I'd love to see more artists producing UK jungle. A crew I'd love to collaborate with at GTC is Distant Planet, who play hardcore jungle. The couple running it are around 50 to 70 years old.
maidable: That's amazing. I wonder how long people keep playing over there. Truly incredible. It's a life's work for them.
snobo: I went to the UK before and attended one of their parties, and it was unreal. I'd love to see a crew like that collaborate with GTC.
maidable: Would you like to reach out to them directly?
snobo: Definitely.
maidable: That sounds great! You should definitely go for it. Just like ikumi-san reaching out to Holloway, taking the initiative is the way to go. Consider that a preview for the future, haha. And mana, what about things you want to do through GTC or inspired by GTC? You're currently handling merchandise and will continue overseeing the bar, but is there anything you'd love to try, or ideas you think would be exciting for GTC?
mana: Aside from that, I'd love to collaborate with clothing stores or liquor shops that match GTC's vibe and concept, whether through parties or pop-ups, to expand everyone's reach and networks and create a space where everyone can connect. On a practical level, it feels like there are fewer people running outdoor bars or bartending at outdoor events, so if someone wants to throw a party but doesn't know how to set up a bar, I'd love to share that know-how: "This is how you do it."
maidable: You mean the number of people with that practical know-how is steadily shrinking?
mana: The solutions I worked hard to figure out—I'd rather give that knowledge away freely than try to sell it. I want to help and pass it along. People come primarily to see the DJs, and that's where the budget should rightfully go. When looking at the event as a whole, having to forgo booking a great artist just because outsourcing the bar costs too much would be such a shame.
maidable: What's interesting is that you've helped out at bars for various parties outside GTC, so that perspective probably grew from those experiences—thinking about how to manage the event holistically. In that regard, GTC has managed to keep things internal; while there's always room for improvement, we've kept operations running smoothly ourselves. With mana at the center, that's a perspective forged through real outdoor event experience.
mana: I feel like there are still plenty of things we can experiment with and challenges we can take on from here.
A Final Word
maidable: Finally, if everyone has any passionate thoughts or anything left unsaid, I'd like to get a brief comment from each of you. Nothing too formal, but I'd like to wrap up with some closing words. So, keeping the current flow going, let's start with Ikumi.
ikumi: I was thinking afterward about what to say when inviting people. At big outdoor events, quite a few people go just because camping is fun. I think there are people who enjoy having music vaguely playing in the background outdoors while embracing the inconveniences of nature. In GTC's case, even though it's outdoors and feels like a festival, the party vibe—that feeling of partying just like you normally do at a club—is consistently guaranteed and maintained throughout, which I think is really great. So rather than saying "let's go camping," I remembered that I want to invite my friends by saying, "Let's go party together!"
maidable: A party as an experience, right. How about snobo? Anything about what you want to do with GTC going forward? Really, anything is fine. It could be about your own involvement, or anything else.
snobo: I want to keep working hard as a DJ, push myself as a DJ, and also with video production. Even though I'm a beginner at video production.
maidable: Maybe options for your future will expand. Through GTC, opportunities to be active in places outside of GTC might open up as well. With video, if you start getting lots of requests, you could even do it as a side gig.
snobo: That's true. Before joining GTC, I only operated as a DJ, so my perspective was narrow. But since joining GTC, I've had all kinds of experiences and learned a lot about event production. I want to keep actively throwing myself into those areas and help build GTC.
maidable: Yes, thank you. Well then, wrap it up for us, mana!
mana: No way, I don't need to wrap it up! (laughs) Somehow this ended up like snobo's, but fine... what was it? I've been thinking about job hunting(?). It might be because I don't use my brain enough at my current job, but almost all the stories that come up in my interviews are about GTC. Whenever I talk about voluntary activities where I really applied my mind and worked hard, that's ultimately the only thing that comes out. Whether the results were good or not, because I have so few things at my actual job where I can look back and genuinely think, "I really saw this through" or "I worked hard on that," GTC just kept coming up. Being able to think for myself without anyone telling me what to do, wondering which approach is better or what will make people happy—that's really fun for me, and I feel like it brings me genuine happiness. Also, I will absolutely not let any long lines form this year.
maidable: There it is! A declaration!
mana: Zero lines might be impossible, but I'll do my best to address issues before lines form, set up a system that prevents them, and properly operationalize all of that.
maidable: So you'll be playing an active role in management as well. I'd be thrilled if being involved with GTC enhances your life, both personally and professionally. It might sound a bit grand, but with Ikumi, snobo, and everyone else, I really think opportunities like this are rare. Talking to various people lately, I've realized surprisingly few people have something outside of work that they can be this passionate about, where they can feel, "It was tough, but I'm glad I did it" or "I'm glad I worked hard." When I think about why we do this, part of it is probably seeking that kind of passion. While not necessarily a second career pillar alongside work, it's deeply rewarding—or rather, maybe this is where true fulfillment lies. The fact that this brings together our love for music and underground culture feels really significant, so since we have this wonderful opportunity to gather, I want to continue cherishing these relationships going forward. Thank you so much for joining us as staff and volunteers. mana and snobo, I'm counting on you again this time! And Ikumi, whether you're involved in some way or just coming out to have fun, we'd be thrilled, so we look forward to having you with us. With that, that wraps up this interview.
