Excursions: Celebrating 5 years of FULLHOUSE redefining Japan’s club scene

Welcome to Excursions; our feature series where we interview the providers of cultivating dance floors and distinctive musical affairs from around Asia.

Since their breakout in September last year, FULLHOUSE has rapidly gained global recognition, with ryota’s viral moments stealing the spotlight during their set. Over the past year, the collective has expanded its reach internationally. This summer, ryota completed his first Asia tour, while SAMO made waves with her debut at the renowned Fuji Rock Festival, following her standout performance at Rainbow Disco Club.

This year's September held special significance as FULLHOUSE celebrates their fifth anniversary. Formed just before the COVID-19 pandemic, the crew weathered setbacks but has made a remarkable comeback. Originally a six-member group, FULLHOUSE has now evolved into a collective of ten, welcoming a more diverse and dynamic roster of young talent. Their influence on Japanese youth culture continues to grow, marked by their feature in the influential magazine EYESCREAM, where they were hailed as "the new heroes of Osaka’s clubbing scene".

In honour of their fifth anniversary, FULLHOUSE curated a month-long celebration featuring a stellar line-up, including acts like Bradley Zero, Manami, BAD SISTA, and Disaffected.

Ahead of the close of this milestone project, Mixmag Asia sat down with the members of FULLHOUSE (ryota, cazbow, mileZ, kengotaki, TAKENOKO, nazanael, SAMO, YUVIE, r1ku and issa) for an in-depth interview, reflecting on their journey and what’s next for this boundary-pushing collective.

How about we start from the very beginning; how did FULLHOUSE come together? What inspired you to form a collective DJ crew?

ryota: Back then, the clubbing scene, its community, and even the industry were vastly different from what they are today. Personally, I wanted to challenge the negativity that surrounded the culture at the time. Our goal was to bring a fresh wave of change to Osaka.

cazbow: Yeah, to offer more details, ryota founded FULLHOUSE to revitalize Osaka's nightlife in the late 2010s by creating inclusive parties for people of all ages, genders, and nationalities. He brought together DJs from different communities, positioning the booth in a Boiler Room style to enhance the experience. I was invited to their first party featuring Conducta, which led to my joining the crew. Through our collaboration as FULLHOUSE, we grew closer, showcasing the diversity of our members. I'm thankful for ryota's ability to unite us all who were all interconnected across various communities into one despite being the youngest member of the original six.


What were some of the early challenges or milestones in establishing yourselves in Japan's DJ scene?

mileZ: In the beginning, we were always concerned about whether enough people would show up to the next party or even enjoy what we played. Our audience was mostly young adults, and at that time, mainstream top 40 hits dominated the Osaka club scene. The real challenge was attracting enough people to appreciate the underground sounds that were unfamiliar to most. But after witnessing crowds of people cheering to our DJ sets time and time again, we gained the confidence to keep pushing ourselves forward. It reassured us that we were heading in the right direction and allowed us to experiment with deeper, more underground sounds.

kengotaki: I agree. The balance of maintaining our creativity and financial stability, for sure. We had to keep advancing our DJ skills but also at the same time, it was crucial for us to think about how many customers we could attract this week and the week later and so on.

TAKENOKO: But when we look into the establishment of ourselves, I think we can all agree that our chance to be on Boiler Room paid off all our past pain and hardship.


How would you describe FULLHOUSE’s sound? Are there any specific genres or artists that have influenced your music style?

nazanael: ummm I would describe it as ‘ worldwide mishmash’ dance music with house, techno, hip hop, but at times afro, jungle and drum'n'bass, etc. For me, I received huge influences from brodinski, JAEL and okadada.

SAMO: For me, it's all about joy. Familiar tracks, as well as genres and sounds that we don't know, are mixed together with each DJ’s unique sensibility. In addition to that, Osaka’s incredible audience creates an atmosphere where everyone can fully enjoy the music. Especially when you're at Circus, you get to be exposed to various talented artists including DJ Masda, FJAAK, skin on skin, and Lady Shaka.

YUVIE: I think FULLHOUSE's strength is that we can handle any genre. It's a place where you can express what you personally think is cool without being confined to one genre. My encounter with tribal music definitely transformed my set. I've been playing a mix of powerful sounds like hard drums combined with live percussion. One artist who has influenced me is Dengue Dengue Dengue, a masked duo from Peru. When I first heard their Boiler Room set eight years ago, I was blown away by their visual impact and the way they built their grooves. It was truly electrifying.

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How do you balance individual DJ preferences with the collective's overall vibe and vision?

r1ku: Each DJ has a completely different style, so most of the time, I have no idea what kind of vibe would come up next, which honestly makes me nervous every time! *laughs*. That's why, rather than overthinking it, I find it most fun to just be myself and give it my all when I play and experiment.

SAMO: In the early days, since we held events every Saturday, we often watched each other’s sets within FULLHOUSE, so it was easy to tell what kind of sound everyone was into at the time. Now, with more members and a wider range of preferences and styles, things have become more diverse. At the same time, we all respect each other’s work, so when international artists come to perform, we carefully select the members whose sound matches the vibe, creating a finely tuned, elite line-up for the party.

What are some unique aspects of Japan’s DJ and club culture that have influenced your performances and growth? Additionally, since your touring has expanded compared to your first year when you were based only in Osaka, what difference do you notice between cities – in this case between Tokyo and Nagoya, for instance?

nazanael: okadada’s DJ definitely influenced me. He can handle any genre, crafting engaging transitions that keep the audience captivated no matter what. His ability to move in sync with the music during his sets is nothing short of genius, and I’ve been greatly influenced by him. For the difference between Tokyo and Osaka lies in the atmosphere; Tokyo has a cool vibe in a positive way, on the other hand, in Osaka, whether it's even with strangers, people are excitedly interacting and enjoying themselves together as a whole – so it's very different indeed.

mileZ: When it comes to touring, I’ve noticed that Tokyo has a larger number of DJs and partygoers compared to Osaka, which can create unique opportunities for us, DJs to stand out. In Tokyo, it seems like many people are interested in becoming DJs or exploring it as a hobby. With the abundance of venues and event possibilities, it’s often easier for beginners to secure gigs there than in Osaka. With that in mind, I definitely feel like we have made something special in Osaka due to our experience and challenges with different sounds. I can confidently say that every one of the FULLHOUSE members always tend to stand out in local Tokyo parties and absolutely smash their sets.

cazbow: While they may not be DJs, having live artists like Tohji and kZm feature FULLHOUSE was significant. By repeatedly participating in each other’s parties, FULLHOUSE was able to extend its reach beyond Osaka to other prefectures. Currently, half of our members are active in Tokyo, which can be attributed to the community they helped create by introducing FULLHOUSE. This has been a key factor in our growth and has had a substantial impact.

How has Japan’s music scene evolved since FULLHOUSE started, and where do you see it heading in the next few years?

issa: When I used to visit FULLHOUSE as one of their customers, I thought it was quite common for rappers and singers from overseas to come to Japan and perform. However, I felt that FULLHOUSE was the first to bring DJs from all over the world to Japan on this scale.

YUVIE: True. I also feel that the dance music scene in Osaka has grown significantly since FULLHOUSE started. Even in Osaka, where reggae and hip-hop culture are strong, the dance music scene has been gaining momentum, especially among the younger generation in recent years. I believe that the dance music scene will continue to grow to the point where we can host festivals on a scale comparable to those overseas in Japan.

TAKENOKO: I believe the restrictive notions or even narrowminded views in the culture and scene have diminished or at least declined. Today, the primary focus is on the quality and appeal of the music itself. The music scene in Japan will soon lose the traditional borderlines between countries and a new wave will emerge, I feel.

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Can you walk us through your process of curating sets for events or festivals? How do you choose tracks that fit the mood of the audience?

SAMO: I choose tracks that I absolutely want to play. Once I've established the core theme, I select songs that complement it in terms of vibe and feel. While I do make most of the selections, I don’t ever create a fixed setlist.

r1ku: I interpret the party's concept in my own way and try to grasp the vibe of the DJs I’m performing with, filling my playlist for each event accordingly. However, recently, I've been focusing more on expressing my own style rather than getting too caught up in those considerations.

ryota: Everyone has a different style and I think this is also another feature that contributes to the uniqueness of FULLHOUSE–adding more character to this crew.


Do you collaborate with other artists, visual performers, or producers for your shows? How does that shape your live performances?

kengotaki: We have invited Coco Nishi to design the flyers and have also requested looping materials from Kozee for the VJing. Although FULLHOUSE events predominantly feature international artists, we frequently include domestic artists as special guests.

SAMO: On a more personal note, this year at Fuji Rock, I had the pleasure of collaborating with Kenchan as my VJ. It was my first experience working with someone who knows me well, and the planning sessions were truly enjoyable. Kenchan's talent and creativity were exceptional!

How important is collaboration within the Japanese music community for FULLHOUSE? Do you work closely with other DJ crews, collectives, or event organizers?

nazanael: Collaboration is crucial in elevating the club music scene in Japan. Each FULLHOUSE member has connections not only in Osaka but also with crews in cities like Tokyo, Nagoya, Kyoto, and Fukuoka. In Tokyo, we are connected with Rave Racers; in Nagoya with L.O.S.T; in Kyoto with n.i.p.r; and in Fukuoka with Lit and Posit, among others. We regularly engage in these connections, whether by featuring them as DJs for FULLHOUSE events or co-hosting events together, fostering ongoing collaborations across these cities.

YUVIE: Meeting different DJs and co-creating parties across Japan has been an invaluable learning experience. The atmosphere changes significantly from place to place, allowing me to enjoy crafting unique sets each time. The diverse crowds provide a new challenge at every event, making it feel like valuable practice. I believe that merging different influences with FULLHOUSE to create dynamic and exciting parties will play a key role in expanding the scene even further.

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FULLHOUSE is known for its unique collective energy—how do you ensure that everyone’s creative input is represented in your shows?

cazbow: I believe that our five years of hosting parties and having ten members are key factors. Over the course of these five years, each member has understood their role and embraced the challenge of performing, embodying creativity and identity on the dance floor. Additionally, having ten members now, allows us to tailor the party to showcase the unique creativity of different members, often adapting our line-up to suit the vibe of the night, and we frequently discuss these arrangements through communication.

TAKENOKO: One word: communication.

SAMO: Yeah, it’s sometimes as simple as meeting up, talking, and spending time together.


What has been one of your most memorable performances so far, and why?

TAKENOKO: Our first anniversary when we took over a venue utilizing a former shipyard (CCO) and held our first festival.

YUVIE: It was at the party last year when we invited Lady Shaka as a guest. I was shocked to see a DJ with such explosive energy for the first time. Her performance was incredible, and she engaged everyone around her, creating an amazing atmosphere. The one-hour set felt way too short; I was left wanting more! You could really feel the energy spreading across the floor as the DJ herself was having the time of her life.

r1ku: One of the most memorable moments recently was when I had the opportunity to play before MANAMI at CIRCUS TOKYO during the first week of our fifth anniversary.

How do you connect with the audience during your sets? Do you have any specific rituals or techniques for creating a dynamic live experience?

cazbow: I always think about how to keep people moving and dancing, as I want to continue dancing myself. Since it’s a FULLHOUSE party, it’s perfectly fine to make significant changes in direction depending on the moment, and I’ve experienced those ‘right moments’ many times over the past five years. TAKENOKO stands out among the crew in this regard; no matter the situation, he knows how to connect with the audience and maintains a constant smile, creating a happy atmosphere on the floor. However, I believe that no one else can replicate that kind of performance…haha!

TAKENOKO: I aim to begin my set by thoughtfully and delicately establishing my unique musical perspective, gradually conveying it with greater clarity. I prioritize maintaining a consistent groove, ensuring that transitions between tracks are deliberate rather than rushed.

nazanael: Also to create an engaging experience by making unexpected yet positive track selections that keep the audience intrigued. This can involve suddenly dropping the BPM dramatically in the middle of a song, transitioning from an upbeat track to a darker one, or varying the way tracks are introduced and the beats to avoid monotony.

What are some goals or projects that FULLHOUSE is working on? Are there any upcoming releases or collaborations we should look forward to?

SAMO: We are actually planning our biggest festival curation project ever in Osaka at the end of the year on December 30!

TAKENOKO: I was thinking the same too, haha.

ryota: We can’t wait to fully disclose the details, but we are literally working really hard to turn our vision into reality.


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How do you envision the future of FULLHOUSE? Any plans to expand your presence internationally?

ryota: My ultimate goal is to transform FULLHOUSE into a club. In order to do so, I am using my opportunity to tour around the world to see what kind of clubs are around the world and also to connect with as many people as possible to find the right inspiration.

cazbow: This year, ryota successfully completed his Asia tour, while mileZ, issa, and r1ku gained valuable experience performing abroad. I believe that the international success of SAMO and kengotaki, who have dedicated a year to honing their skills domestically, is coming up soon for their international debut. It would be a tremendous joy for me if all ten members of FULLHOUSE could take over a weekend by performing over two nights or be entrusted with a booth at an outdoor festival abroad for an entire day for instance.

Follow FULLHOUSE on Instagram here.

Elle Katayama is an intern writer for Mixmag Asia, follow her on Instagram.

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