25 YEARS OF BEATS, SWEAT, AND COMMUNITY:
TAIKOPROJECT’S ANNIVERSARY SHOW HITS
(MOST OF) THE RIGHT NOTES

Bryan Yamami and Masato Baba, the powerhouse duo behind TAIKOPROJECT, are still going strong after 25 years — and honestly, that’s impressive on so many levels. Not only are they raising families and still moving like dancers half their age, but they’ve also kept a professional taiko ensemble alive and thriving for over two decades. Whether or not you’re familiar with taiko — the Japanese folk drumming art form — that kind of staying power is something to admire.

To mark the milestone, TAIKOPROJECT brought together the Los Angeles community for a high-energy celebration at Disney Hall on July 19. Joined by koto and shamisen virtuoso Sumie Kaneko and East L.A. rock legends Quetzal, it was an ambitious, genre-crossing show with a lot of heart — and a lot of sweat, on and off the stage.

Things got off to a slightly shaky start. The opening, “Expanding,” a joyful composition by the founders, had some trouble locking into a steady tempo. But the group’s chemistry and big, bold choreography quickly found us back on board. Once those taiko rhythms filled the hall, you couldn’t help but feel the excitement in your chest.

Kaneko’s elegant koto solo led into a newer piece by ensemble member Brian O’Brien. While Kaneko’s composition “Sublimate Outcome” had some exciting rhythmic moments, the taiko choreography didn’t add much — it felt more like an afterthought than a meaningful addition to the story. On the other hand, Baba’s performance on the fue (Japanese flute) was a standout. His solo was playful, haunting, and nuanced — a reminder of why he’s considered one of the best on that instrument. Still, the composition as a whole could’ve used more layers to match the depth hinted at by the jazz-influenced rhythms and harmonies.

One of the night’s highlights was “Like Fire,” a visually striking piece led by longtime member Yumi Saito. With her background in traditional Japanese dance, Saito continues to push the boundaries of movement and percussion. Even with a noticeable misstep in the fast middle section, the piece radiated a spirit of exploration. It was heartening to see the group still embracing choreographic risk, a tradition carried on since the days of founding member Michelle Fujii.

Closing out the first half was a crowd favorite, “Many Sides,” a piece that plays to the ensemble’s strengths. The performers flowed in and out with slick solos and show-stopping flair, earning cheers as loud as a chorus of drums.

The second half featured a 45-minute collaboration set between TAIKOPROJECT and Quetzal. A slightly messy entrance march quickly turned into a fun and lively rock jam. While Dr. Gonzalez’s vocals didn’t particularly stand out, the vibe was great overall. Violinist Rocio Marron absolutely tore it up on “Kodama,” while “Atarigane Groove” featured one of the strongest fusions of the night — it weaved in Northern Japanese folk vocal stylings with power and authenticity. It felt like the collaboration really hit its stride here, and left me wanting more.

One piece that didn’t quite land was “Seiza.” While the audience seemed to enjoy it, it interrupted the show’s pacing. Kaneko’s dramatic vocals felt a bit too heavy for what was otherwise a delicate, introspective piece. Saito’s choreography, as always, was tasteful, but couldn’t overcome the overly edited and slightly jarring musical choices.

Then came “The Drop,” a visually intense, physically demanding work. With energy and a big finish, it closely echoed Kodō’s famous “Zoku” to the point where it didn’t feel like TAIKOPROJECT’s own voice, which raises questions about artistic originality. That said, the thrill of performing such a demanding piece can be a celebration in itself, and maybe that’s the point.

“Concrete Saplings,” a joyous, hopeful finale, would’ve been perfect as a planned encore. After a 90-minute show, it felt like the audience had earned one. The uplifting lyrics and infectious dance energy brought things full circle. Honestly, a concert of this scale needs to trust in its power to leave the crowd cheering for more.

Given this was Disney Hall, the sound mix was off. I get it — balancing whisper-soft shamisen and thunderous taiko is no easy feat. But persistent mic issues during set changes were distracting. The show deserved better audio.

Despite any flaws I mentioned, this performance was a meaningful and vibrant celebration. While there are other notable taiko groups like San Francisco Taiko Dojo and San Jose Taiko, TAIKOPROJECT has carved out a space that’s uniquely theirs — grounded in innovation and collaboration. Unlike some groups that lean heavily into nationalistic narratives, TAIKOPROJECT speaks from a place of cultural fusion and personal expression. Watching them is like witnessing Asian-American identity come alive — solos and unison, individuality and unity, all negotiating space on stage.

In a time of rising racism and division, the collaboration between TAIKOPROJECT and Quetzal is more than just a concert — it’s a statement. It’s an act of solidarity, empowerment, and hope. And while this one-night-only show made an impact in L.A., it deserves a national stage. A tour like this could spark conversations, build bridges, and show the world what creative resistance looks like.

So here’s to Bryan, Masato, Dr. Gonzalez, and everyone involved — thank you for the beats, the beauty, and the community. Here’s to 25 more years of “Hey-ya-sa’s,” “Many Sides,” and building something bigger than the sum of its parts. Keep going. We’re with you.

Otsukare-sama-deshita!

photos by Kentaro Terra

TAIKOPROJECT 25th Anniversary Celebration
Featuring Quetzal and Sumie Kaneko
Walt Disney Concert Hall, 111 S. Grand Ave.
Saturday, July 19, 2025 at 7
for more info, visit TAIKOPROJECT