Kikuo World Tour 2026
Kikuoland: Above All Bounds
February 28, 2026 – NIPPONGAKU attended Kikuo’s concert in Barcelona, one of the early stops of his world tour Kikuoland: Above All Bounds. Yet from the very moment we stepped inside the venue, it was clear this was far more than just another tour date.
This was not Kikuo’s first time in Spain. Following his 2025 tour Kikuoland: Go-Round, he returned once again, with Barcelona as one of the key stops alongside a show in Madrid at La Riviera on March 1.
As we approached the venue, a long queue had already formed. What stood out wasn’t just its size, but the people within it. Colorful outfits, bold styling, and cosplays brought Kikuo’s universe into the real world. The atmosphere was already alive before the show had even begun.
Inside the floor area, past the merchandise stand, Hoshi-kun and Tsuki-chan welcomed fans. A constant line had formed just to take photos with them. Even before the music started, the space already felt like a complete experience.
At exactly 8:00 PM, the show began.
Kikuo appeared on stage, his face hidden behind his iconic mask. The reaction was immediate. A wave of cheers erupted as penlights filled the room, setting the entire venue in motion.
The opening track was a tour-exclusive remix of “Kimi wa Dekinai Ko.”
The moment the melodica kicked in, the atmosphere shifted. Pyro effects burst into the air as both floor and balcony were bathed in countless lights. Behind him, psychedelic visuals pulsed in perfect sync with the music, drawing the audience into something that felt less like listening and more like being pulled inside the sound itself.
“Chiri Chiri Juso” brought heavy low-end vibrations that resonated deep within the body, while its industrial textures reshaped the space. In “Svaahaa no Koe,” sharp strobe lights cut through the darkness, and “Rainborn Menoko” blended shifting rhythms with traditional elements, giving its story a striking sense of depth.
After “Kara Kara Kara no Kara,” Kikuo paused briefly to introduce himself. Even that short moment left a lasting impression within the flow of the performance.
As the set moved into its middle section, “Kaeru no Odori” accelerated everything. The tempo warped and twisted, creating a chaotic groove that spread across the venue. During the segment of “Sight, Noise, Life and the Earth,” visuals and sound merged, blurring the line between reality and illusion.
With “Triplights,” Kikuo shared the story behind the track: composed around 20 years ago during his university days, it had been uploaded to Nico Nico Douga only to be removed within an hour. That context added a new layer of weight to what was unfolding on stage.
“Gakkou wo Yasunda Hi no Koto” completely changed the mood.
Soft, fragile sounds filled the room as white penlights swayed gently from side to side. The audience moved naturally with the music, sinking into its atmosphere. In that moment, Kikuo’s range as an artist became unmistakably clear.
During the MC, he once again used his signature TTS voice, speaking in a light and humorous tone. He explained that while he can “talk” like this in Europe, it would be difficult to do the same in Japan. Then, taking the microphone, he softly said, “Hello.” Though nearly drowned out by cheers, the distance between artist and audience instantly disappeared. Returning to TTS right after created a contrast that felt uniquely Kikuo.
As he spoke about how his world tours have improved both the quality of his performances and his connection with fans, he expressed his gratitude before adding a surprise:
“I’d like to give you a new song.”
What followed was a demo track. While the instrumental was complete, the vocal melody was still unfinished, replaced by a piano line. Even in its incomplete form, it carried a special weight within that space.
As “Aishite Aishite Aishite” began, the atmosphere shifted instantly.
Red lights flooded the venue, and during the chorus, the entire crowd sang together. It was, without question, the emotional peak of the night.
“UFO,” “Tengoku de Ikou,” and “My Time” followed, before “Gomenne Gomenne” revealed the darker side of Kikuo’s music. Each song carried its own intensity, yet everything flowed seamlessly as one continuous experience.
The final track was “Soshite Kimi wa Tsuki ni Natta.”
Midway through the song, Hoshi-kun and Tsuki-chan joined the stage, signaling the finale. Confetti, balloons, and smoke effects filled the space as the performance raced forward without losing momentum.
Even after nearly two hours, the encore chants didn’t stop.
Kikuo returned to perform an instrumental version of “Aishite Aishite Aishite,” encouraging the audience to sing along. The entire venue became one unified voice, creating a moment that, as he himself noted, is rarely possible in Japan.
After thanking Barcelona, Kikuo left the stage.
The sound, the lights, and the emotions of that night cannot easily be put into words.
But one thing is certain:
they remain, even now, within everyone who was there.
