On April 19, Ichiko Aoba graced the Chan Centre for her first-ever performance in Vancouver. The Japanese singer-songwriter, known for blending sparse folk melodies with virtuosic jazz rhythms and ambient soundscapes, is currently on her 2025 world tour promoting her latest LP Luminescent Creatures.
Upon entering the Chan Centre, I was immediately struck by the merchandise booth, where T-shirts were priced at $60. Despite the steep prices, the booth had one of the longest lines I’ve ever seen, snaking through the venue’s main hall and even climbing the mezzanine. Any hopes of grabbing a quick sticker were quickly dashed.
The Chan Shun Concert Hall was set up to complement Aoba’s intimate acoustic sound. Tiny microphones were suspended from the ceiling and mounted on railings, capturing the hall’s renowned acoustics. A simple black curtain hung behind the stage, with a hollowbody electric guitar and a violin waiting for the opening act.
Opening Act: Owen Pallett
The evening began with Canadian composer and singer-songwriter Owen Pallett. Known for his orchestral scores on films like Her and Dream Scenario, Pallett also has an impressive catalog of solo work and collaborations with bands like Arcade Fire.
Before Pallett performed, Jarrett Martineau, the Chan Centre’s Curator-in-Residence, welcomed the audience, offering a land acknowledgment and sharing information about upcoming events at the venue, including a concert from Mexican singer-songwriter Natalia Lafourcade and UBC’s annual Indigenous-led festival, ʔəm̓i ce:p xʷiwəl (Come Toward the Fire), in September.
Pallett’s set featured songs from their recent album Has a Good Home along with a few new pieces. Using a looper pedal, guitar, and violin, Pallett built intricate layers of sound, mixing simple melodies and rhythms with evocative lyrics. Despite a few nervous moments that led to minor mistakes and off-beat timings, Pallett’s live performance was impressive, showcasing their ability to create complex music on the fly.
Ichiko Aoba: A Mesmerizing Solo Performance
After a brief intermission, Aoba took the stage wearing a long kimono. The stage design, minimalist yet evocative, included a black ottoman, a tall lamp, and a globe on a stool — an aesthetic that conjured a Victorian or Meiji-era parlor. The lighting setup, which cast intricate leafy shadows on the stage, enhanced the intimate, almost dreamlike atmosphere.
Aoba’s setlist was a mix of songs in Japanese and French, played on piano and classical guitar. Though ambient soundscapes are an integral part of Aoba’s unique style, she performed solo, with no backing tracks. Her music stood on its own, with her voice and playing commanding attention.
Her melodies were fluid and creative, with complex jazz-inspired chords that kept listeners on their toes. Even her slower, simpler pieces, like “Endive to Nemutte (Asleep Among Endives),” were unpredictable yet satisfying. Upbeat tracks like “Taiyou-san (Mr. Sun)” showcased her lively rhythm, reminiscent of the French Hot Club jazz style of Django Reinhardt.
Aoba’s voice, often enhanced with reverb, was ethereal, sometimes blending with her guitar or piano and at other times standing alone as an instrument in itself. Between songs, she hummed and whistled, fully immersed in the performance.
In limited English, Aoba shared a personal story before performing “Uta no Kehai (Glimpse of a Song),” explaining how the song was inspired by a friend’s breakup, even miming the separation and reconciliation with her fingers.
A Stunning Encore
Following a standing ovation, Aoba returned to the stage for an encore, where she performed her song “Bouquet.” After removing the microphone from her guitar and pushing aside the vocal mic, she played an unreleased song in an entirely acoustic arrangement.
Ichiko Aoba’s performance at the Chan Centre was a testament to her artistry. With an audience captivated by every note, it was clear that Aoba’s music is the kind of performance the venue was designed to showcase.
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