“GACKT Maou Symphony 2026 -INFINITY- organized by billboard classics”—a fusion of GACKT, the rock band YELLOW FRIED CHICKENz (YFCz), and the full orchestra Grand Philharmonic Tokyo—kicked off on July 14 at the Main Hall of Westa Kawagoe in Saitama.
True to GACKT’s declaration that he would “create a world no one else can imitate,” the stage was meticulously polished down to the finest detail, with rehearsals continuing right up until the doors opened. A unique atmosphere of heat and excitement filled the venue before the show even began, as the audience was enveloped in the tension, exhilaration, and anticipation typical of an opening night.
As the opening bell rang out and gradually morphed into a sound effect resembling a rumbling earth, two figures clad in masks and capes—”Darkness” and “Shadow”—appeared on stage. Acting as guides standing at the boundary between the mortal realm and the Demon King’s world, they addressed the audience, explaining that the “Maou Symphony” was a ritual designed to “confront forgotten memories once more.” Then, as the curtain rose and the Demon King descended, the boundary between stage and audience dissolved; transcending time and space, a unified world emerged. The ritual had finally begun.
The opening number was “ARROW.” As conductor Kakushi Yoneda led YFCz (also masked and caped) and the Grand Philharmonic Tokyo in the intro, the entire audience rose to their feet. It was a bold arrangement that launched straight into the chorus. The sheer power of the heavy drums and the sweeping, surging strings instantly engulfed the crowd. The song perfectly embodied the “Maou Symphony”—a dark fantasy world—deeply imbued with themes of life, death, and the yearning for reincarnation.
The stage layout was striking; the members of YFCz were positioned so that they were interspersed among the 59-piece orchestra. Here, too, the boundaries between the band and the orchestra dissolved, creating the impression of a single, unified musical ensemble. “NOESIS,” with its weighty introduction, saw the orchestra organically intertwine with the driving momentum generated by the drums and bass; the result was an aggressive yet alluring sound—reminiscent of heavy gothic rock—while the string section’s outro created a beautiful, lingering resonance.
The sound production was particularly noteworthy. The band and orchestra never clashed; instead, each sound rang out with clarity. While individual notes maintained their distinct character, they ultimately converged into a single, powerful arrow that pierced the hearts of the audience. This meticulously crafted soundscape demonstrated a clear evolution from the previous two “Maou Symphony” performances.
“Tsumi no Keishou -ORIGINAL SIN-” began with a melancholic melody before suddenly erupting into a wall of beautiful, thunderous sound. This industrial metal track—fueled by explosive low-end beats and twin guitars—featured a chorus with a grand, classical-style melody; the new arrangement brought the song’s contours into sharper relief. The combination of the sound and GACKT’s expressive vocals created a deeply immersive experience.
“UNTIL THE LAST DAY” was an anthem-like modern loud rock track that inspired the spirit of a warrior. The triple-guitar arrangement was intense yet pleasing to the ear, while the soaring vocals in the chorus evoked a sense of liberation, allowing lyrics that embodied GACKT’s philosophy of life to resonate directly with the listener. Amidst searchlight-like beams cutting through the darkness, “IN FLAMES” was unleashed. The deep bass tones reverberated in the chest, while the orchestral “build-up” before the chorus—and the tension created by the cello and brass sections before the finale—added a striking contrast to this modern hard rock track.
And then, the performance moved into “LAST SONG.” The ferocious sound of YFCz, delicate piano, and dramatically swelling strings expressed a blend of coldness and passion. The vocals—enduring sorrow while singing a plea for the beloved to remain unchanged, even though they would never meet again—elevated the track into a rock ballad that combined delicacy with grandeur. “LAPIS” was performed, beginning with a simple intro of cello, harp, and violin layered over serene piano. As smoke filled the air, the layered sounds of woodwinds and brass created an increasingly ethereal atmosphere. Even staple live tracks were given clever, innovative arrangements, revealing new facets of the songs. Yet, in this number originally released in 1999, the hope and determination of a young GACKT—singing that “even if dreams leave scars, nothing changes”—continued to shine brightly.
GACKT took the conductor’s podium, swapping places with the conductor. “FOUR SEASONS -I-” was a ballad medley evoking the changing seasons, comprising “HAKURO,” “DAY BREAKERS,” and “Sakura, Chiru…” The orchestration was superb, highlighting and enhancing the beautiful melodies of each song. Guided by GACKT’s fluid conducting, the instruments wove together a rich tapestry of sound. Like a single suite, the imagery of the four seasons vividly came to life.
As GACKT returned to the front of the stage, the lingering notes of the piano signaled that the story would continue. He performed “Setsugetsuka -THE END OF SILENCE-,” the continuation of “FOUR SEASONS -I-.” Clutching a handheld microphone, GACKT enveloped the audience with a poignant melody, beautiful Japanese lyrics, and powerful falsetto. Though the stage lights were focused on him, it seemed as if his singing itself was transforming into light, pouring out over the audience. “CLAY MORE” delivers a breathtaking performance where earth-shaking, heavy guitar riffs intersect with the driving momentum created by woodwinds, horns, and a harp, all blending with the band’s sound. With a melody that feels instantly familiar and lyrics exploring the dramatic aesthetics of a farewell, this weighty dark-fantasy rock track commands an overwhelming presence within the setlist.
Then came a major highlight of the “Maou Symphony” that the audience had been eagerly awaiting: the premiere of the new song “STAND ALONE.” While the chorus had already been revealed, the song was finally unveiled in its entirety. This track serves as the theme song for the drama *Black Trick: The Lawyer Who Manipulates Judgment* (premiering July 20, airing Mondays at 9 PM)—a show garnering attention as GACKT’s first starring role in a Fuji TV drama. Opening with a heroic intro, the song is an intense yet melodic number that builds a sense of rapid momentum through urgent beats, roaring guitars, and dazzling lighting effects. A striking bridge before the chorus heightens the tension to its peak before surging into a chorus of explosive release—a truly spectacular moment of power. It is a potent theme song that further heightens anticipation for the drama’s story.
The finale was “LOST ANGELS,” a magnificent medium-tempo rock ballad steeped in deep pathos. The poignant, crisp piano notes and sweeping strings created a powerful performance that dynamically shifted between stillness and motion; the ensemble grew increasingly intense toward the climax, as if emotions were bursting forth. Delivering lyrics rich with meaning through vocals that were both powerful and alluring, the show reached its grand conclusion. The “Maou” (Demon King) left the stage, and the guides “Yami” (Darkness) and “Kage” (Shadow) reappeared to announce the end of the ritual, sending the audience back to reality with a prayer: “May you live a life where you never need to open this door again.” Each audience member likely headed home carrying the message that “a work of art lives on in people’s memories” and the “Maou’s” (Demon King’s) question: “Am I living for my own happiness?”
The show featured new arrangements that surprised even long-time fans who had walked this path with GACKT; vivid sound and rich ensemble arrangements resonating from every direction; a profound vocal performance that felt rawer and more visceral than ever; and lighting design that wove a narrative. All these elements fused together to create a world unlike anything seen before. GACKT explained that the tour was titled “INFINITY” to signify “casting off constraints and stereotypes, setting no limits, and unleashing expression without bound.” True to those words, the 90-minute performance was an experience that transcended the boundaries between rock and orchestra, and between music and storytelling.
The tour has only just begun. One can only anticipate how this “ritual” will deepen as it travels across the country, and what kind of “Maou’s world” will be fully realized by the final show on August 29th. It was an overwhelming opening night that sparked such high expectations. Text: Hisakatsu Tanaka / Photo: Lestat C&M Project
◎Performance Information
[GACKT Maou Symphony 2026 -INFINITY- organized by billboard classics]
July 14, 2026 (Tue) Saitama: Westa Kawagoe, Main Hall | Doors 17:00 / Start 18:00
July 18, 2026 (Sat) Miyagi: Tokyo Electron Hall Miyagi | Doors 17:00 / Start 18:00
July 26, 2026 (Sun) Hiroshima: JMS Aster Plaza, Main Hall | Doors 16:00 / Start 17:00
August 2, 2026 (Sun) Fukuoka: Kurume City Plaza, The Grand Hall | Doors 16:00 / Start 17:00
August 11, 2026 (Tue/Holiday) Tokyo: Bunkyo Civic Hall, Main Hall | Doors 13:00 / Start 14:00
August 11, 2026 (Tue/Holiday) Tokyo: Bunkyo Civic Hall, Main Hall | Doors 17:00 / Start 18:00
August 15, 2026 (Sat) Aichi: Kariya City Cultural Center Iris, Main Hall | Doors 16:00 / Start 17:00
August 18, 2026 (Tue) Hokkaido: Sapporo Education and Culture Hall, Main Hall | Doors 17:00 / Start 18:00
August 29, 2026 (Sat) Osaka: Tokyo Tatemono Brillia HALL (Minoh), Main Hall | Doors 13:00 / Start 14:00
August 29, 2026 (Sat) Osaka: Tokyo Tatemono Brillia HALL Minoh Main Hall – Doors Open 17:00 / Show Starts 18:00
[GACKT Maou Symphony 2026 -INFINITY- organized by billboard classics]
July 14, 2026 – Westa Kawagoe Main Hall (Saitama)
1. ARROW (Orchestration by Hinako YOKOUCHI)
2. NOESIS (Orchestration by Mikina KAINUMA)
3. Tsumi no Keishou -ORIGINAL SIN- (Orchestration by Hitomi KOTO)
4. UNTIL THE LAST DAY (Orchestration by Hitomi KOTO)
5. IN FLAMES (Orchestration by Kei SATO)
6. LAST SONG (Orchestration by Mikina KAINUMA)
7. LAPIS (Orchestration by Hiromasa MATSUI)
8. FOUR SEASONS -I- (Orchestration by Ryunosuke KASAI)
Hakuro -HAKURO-
Akatsukizukiyo -DAY BREAKERS-
Sakura, Chiru…
Setsugetsuka -THE END OF SILENCE-
9. CLAYMORE (Orchestration by Shuwa NAGAI)
10. STAND ALONE (Orchestration by Shoya KITAGAWA)
11. LOST ANGELS (Orchestration by Hitomi KOTO)
-Setlist-
[GACKT Maou Symphony 2026 -INFINITY- organized by billboard classics]
July 14, 2026 – Westa Kawagoe Main Hall (Saitama)
ARROW (Orchestration by Hinako YOKOUCHI)
NOESIS (Orchestration by Mikina KAINUMA)
Tsumi no Keishou -ORIGINAL SIN- (Orchestration by Hitomi KOTO)
UNTIL THE LAST DAY (Orchestration by Hitomi KOTO)
IN FLAMES (Orchestration by Kei SATO)
LAST SONG (Orchestration by Mikina KAINUMA)
LAPIS (Orchestration by Hiromasa MATSUI)
FOUR SEASONS -I- (Orchestration by Ryunosuke KASAI)
Hakuro -HAKURO-
Akatsukizukiyo -DAY BREAKERS-
Sakura, Chiru…
Setsugetsuka -THE END OF SILENCE-
CLAYMORE (Orchestration by Shuwa NAGAI)
STAND ALONE (Orchestration by Shoya KITAGAWA)
LOST ANGELS (Orchestration by Hitomi KOTO)
Cast: GACKT
Conductors: Satoshi Yoneda (Saitama, Miyagi, Tokyo, Aichi, Hokkaido), Fumiaki Murakami (Hiroshima, Fukuoka, Osaka)
Orchestra: Grand Philharmonic Tokyo (Saitama, Miyagi, Tokyo, Aichi, Hokkaido), Grand Philharmonic Kyoto (Hiroshima, Fukuoka, Osaka)
Band: YELLOW FRIED CHICKENz
-Tickets- All seats reserved; tax included
1F Black Diamond Seat: ¥100,000 (1F Standing; guaranteed seat within the front 3 rows; includes exclusive Black Diamond Seat merchandise)
1F Diamond Seat: ¥60,000 (1F Standing; guaranteed seat in the front block, 4th row or further back; includes exclusive Diamond Seat merchandise)
1F Platinum Seat: ¥35,000 (1F Standing; guaranteed seat in the middle block; includes exclusive Platinum Seat merchandise)
1F S Seat: ¥18,000 (1F Standing; seat in the rear block)
2F Diamond Seat: ¥60,000 (2F Seated viewing; guaranteed seat within the front 2 rows; includes exclusive Diamond Seat merchandise)
2F & Above S Seat: ¥18,000 (Seated viewing on 2F or 3F)
2F & Above A Seat: ¥13,000 (Seated viewing on 2F or above; seats located behind S Seats)
General ticket sales now open
-Official Performance Website-
https://billboard-cc.com/GACKT2026
-Important Notes-
*1F is “all-standing” (though seats are provided); 2F and above are designated seated areas.
*Preschool children are not permitted to enter.
*Ticket limit: Maximum of 4 tickets per person per performance (maximum of 2 tickets for Black Diamond Seats only).
*Customers requiring wheelchair access, please contact the inquiry office.
*One ticket is required per person. Admission will not be granted to those who have lost their tickets or forgotten to bring them on the day of the performance.
*Please be sure to check the important notices posted on the official website when purchasing tickets.
(Information for attendees: https://billboard-cc.com/notice)
-Inquiries regarding the performance-
[Saitama/Tokyo] Kyodo Tokyo: 0570-550-799 (Weekdays 11:00–18:00 / Weekends & Holidays 10:00–18:00)
[Miyagi] Edward Live: 022-266-7555 (11:00–15:00 / Closed weekends & holidays)
[Hiroshima] YUMEBANCHI (Hiroshima): 082-249-3571 (12:00–17:00 / Closed weekends & holidays)
[Fukuoka] BEA: 092-712-4221 (Weekdays 12:00–16:00)
[Aichi] Sunday Folk Promotion: 052-320-9100 (Daily 12:00–18:00)
[Hokkaido] Doshin Play Guide: 0570-00-3871 (10:00–19:00 / Closed Tuesdays)
[Osaka] Kyodo Information: 0570-200-888 (12:00–17:00 / Closed Sundays & holidays)
Source: Billboard-japan.com
Translation: GACKT ITALIA Team
Translation © GACKT ITALIA