Dreams Come True USA Tour 2011!!

Read up on the latest Dreams Come True Tour news!
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Post by tokyophoto » Fri Oct 07, 2011 9:45 am

Marcellus has posted a few blog entries lamenting the poor tech skills of the USA sound crews.




Masa also talks about the sound difficulties in his (Japanese) blog:




I have some personal experience with this. Even for a regular English-speaking band on tour, getting a good sound check is rare. But visiting Japanese bands (especially those of any stature back in Japan) are even more nervous about the quality of their show. They wish they could bring their own sound people to set up and work the sound board, but because of U.S. union rules, that's often prohibited.

(On top of that, most U.S. sound crews dismiss foreign bands as being "too picky" during sound check -- it can really add frustration to musicians who are used to the best level of sound even in small live houses.)

God bless them for their patience and good will during all these difficulties.

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Post by nogizaka » Fri Oct 07, 2011 12:34 pm

No wonder the plastic trombone malfunctioned- looks like everyone else got to solo on it before Miwa!

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Post by Kudou » Wed Oct 12, 2011 8:05 pm

So who went to the NY shows? Give us your reports! :D

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Post by Johnny » Thu Oct 13, 2011 12:37 am

I want to hear a review as well what songs did they play? 8)
masa and miwa and taka too
even though there now a duo dreams come true. :)

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Post by Spaceman » Thu Oct 13, 2011 9:14 am

I had expected Jay to have posted his full in depth review by now, and I'm not very good at this sort of thing but will give it go. Will have to be quick as at work eating lunch.

I was at the extreme left of the stage for both nights, opposite side to where Masa was standing, first night was approx 5 rows from the front and got pointed at by Miwa when she was over this side. Got there a bit earlier the second night and managed to slip up the left hand side again to get into the second row behind two nice short Japanese girls, so had a perfect view across the whole stage. Now I don't know if Miwa recognized me from the previous night or weather she was just being nice to a non-japanese person in the crowd, but this time my frantic waving at her payed off and she blew me a kiss. Now that was worth the cost trip by its-self :lol:

The crowd did seem to have more energy to it on the second night and Miwa was really lapping it up and giving it her all, and the way she got us all to join in for Mirai Yosouzu II during the encore was a great end to a highly enjoyable two nights.
Last edited by Spaceman on Thu Oct 13, 2011 7:16 pm, edited 1 time in total.

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Post by chaim2000 » Thu Oct 13, 2011 10:24 am

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Casual fan - went to both shows

Post by ic » Thu Oct 13, 2011 12:04 pm

Hi.. first time on the forum here. I'm a casual fan that's turning into an obsessive one ^__^

I bought the 2nd show tix (~$90) on StubHub.com. I didn't have a ticket to the 1st show, but a box office guy told me depending on the turnout, they'd release tickets the day of, after the show starts. I thought I'd give it a try any way. I arrived in the area about 15 mins after 8pm, there were no lines outside (of course). Got super excited when I found that I could get in ($60). I was in the 2nd to the last line in the room but still had a good view of the stage (I'm tall for an Asian female, so that helps!).

Miwa and Masa were just doing their first MC, I missed the first 3 songs which I only found out on the 2nd night (Nando demo, Asa ga mata kuru, Sono saki e). It was amazing although I was a little put-off by the semi-sedated "fans" near me. (my) highlight song was "Kessen no Kinyoubi" -- the other song fusioned with it was "IT'S SO DELICIOUS."

The 2nd night 10/10 was more awesome than I can describe in words -- I was able to experience the full 2+ hour anticipation for the show... the line around the block, the wait inside, etc. I was still behind about 12 lines/people despite getting to the Highline at 540p. The fans near me seemed very calm... some of them reading while waiting. :) Tension was high from the start, with everyone singing from the first chorus of "Nando demo." Also "Asa ga mata kuru" is especially meaningful for me -- it was around that single that started to listen to JPOP. As the show went on I was glad to be amongst enthusiastic fans -- they were cheering, singing, and crying. It was great to be with the "right" crowd.

Encore was super -- as the crowd sang together, after the first few lines of "Mirai Yosouzu II" -- Miwa said she felt like crying~ As the band members were introduced, drummer Satoko was all teared up, and Miwa went to give her a hug and pat on the head...
The crowd cheered on for a 2nd encore -- just Miwa and Masa came back out, Miwa just sang her thanks to the New York Wonder Babies... and it was over.

I stuck around a bit after the show, the dancers AKS were on the sidewalk across the street -- so I went to meet and take a photo with them. Very cool and friendly guys.

I'm still in withdrawal...

p.s. can someone post the set list?

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DCT | 10 October 2011 | Highline Ballroom | Set List etc.

Post by Bandman » Thu Oct 13, 2011 9:23 pm

I attended the Oct. 10 concert in NYC.
Here is my record of the set list. I concur with other forum members that the enthusiasm and love among the crowd and the performers were strong that evening.

1 Nando demo
2 Asa ga mata suru
3 Sono saki e
4 Osaka Lover
5 Eyes to Me
6 Haretara ii ne
7 Jikan Ryokou
8 Meganegoshi no sora
9 Ikite yuku no desu
10 Sora o yomu
11 Nee

12 Nobuyoshi Nakazawa's song

13 Torridge and Lisbah
14 Sankyu
15 Poison Central
16 To the beat, not to the beat
17 The Monster
18 Funka-Monster
19 The One
20 Kono koi wa Hard-boiled
21 Kessen wa kinyoubi
22 It's so delicious
23 Ureshii! Tanoshii! Daisuki!
24 Mirai Yosouzu II
25 Love, Love, Love

It started out with music, then some speaking and banter, but the first FIVE songs were intense, and the crowd was on its feet moving to the music, making the floor bounce like a trampoline.

Masa had lost his voice. He said a few words in English, joking about how people know him as "the male part of DCT" but not knowing his name, while everyone knows "Miwa-chan." His way of being modest. Moreover, he had lost his voice due to drywall dust from the remodeling of his apartment, and perhaps also from the change of weather. Miwa said something about the emotions/feelings (kimochi) and surrounding the choice of performing entirely in Japanese (Nihongo), as far as I could tell, with my poor command of the language.

Jikan Ryokou included a nice moment of improvisation/scat singing. I am always fond of the jazzy elements of their music.

After Nee, Marcellus called out “The Language is Love” and then Nobuyoshi Nakazawa performed a song that I wasn't familiar with. Many of the instrumentalists played solos, including Masato Honma on sax.

As per a prior posting, the dance routine for Poison Control was sexy, and it was followed closely and in a similar vein, by To the beat, not to the beat. AKS were outstanding throughout the performance.

The medley of The Monster/FunkaMonster was great, as was the medley of Kessen wa kinyoubi with It’s so Delicious (innovatively) in the middle, finishing up the regular portion of the concert with their blockbuster, Ureshii! Tanoshii! Daisuki!

And the encore consisting of Mirai Yosouzu II and Love Love Love was an inspired choice, being favorites to sing-along, as we all did.

After the first encore, Masa and Miwa reappeared once more. Miwa sang, “Ganbatte Ganbatte Kuru Ganbare, and shouted out, Arigato Gozaimas.” And then it was over. We only wish we knew when another chance to see DCT in person might come again.

I had a wonderful time in wonderland.

I welcome the comments of others, who have or have not been able to attend this year's concerts.

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Post by ic » Thu Oct 13, 2011 11:33 pm

thanks for the setlist, Bandman!

might i add that (my japanese comprehension is mediocre), i think when Miwa and Masa came back out the 2nd time, Miwa said she's already kicked (?) off her shoes backstage while everyone was cheering encore again...

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Post by Jei » Fri Oct 14, 2011 5:46 am

Spaceman wrote:I had expected Jay to have posted his full in depth review by now
Sorry for the delay! Rest of life has been calling :)

Thank you all for the great reviews! I can't add too much more to what's already been said, but I'll add some impressions of the Oct 9th show:

* My lady friend and I arrived close to 8, so we when entered the room, we were greeted by the music box playing of DCT songs...nice touch :) And of course, the crowd went wild with the familiar introduction of the Wonderland theme

* We were close to the back of the room, so we were probably near you, ic :)

* I give tonnes of credit to the whole band (and especially Miwa & the AKS dancers) for making the most of such a small stage. All the energetic dancing in such a small space... (I hadn't seen that many people on such a stage since the last P-Funk concert ^o^)

* Kessen wa kinyoubi...Sankyu...Asa ga mata kuru...Love^3...'twas a great collection of the old and new :)

* Great horn section and I'm still digging the inclusion of Fuzzy Control in the Wonderland set up

* My lady friend, who speaks no Japanese and had only heard a few songs enjoyed the concert quite a bit. She enjoyed the energy on stage, the fun antics on stage and the overall power of the band :)

* The handing out of the Wonderland magazine for free at the end of the concert was a fab touch :)

* It was nice seeing Marcellus' blog photos about the show:


* Was I the only one who wanted to peak into the Western Beef place next door? ;)

* Thanks to A & R for all the help and a certain someone for sharing the experience :)
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Post by tokyophoto » Fri Oct 14, 2011 8:21 pm

It's so cool to see all the new people posting after the NYC shows!

I'm a little jealous -- the CA shows didn't have Kessen wa Kinyoubi. It's one of my favorite basslines from Masa. -- Of course it's no surprise that a band this experienced can change up their set list mid-tour.

M. Nealy's blog has some (rare) photos of Masa & Miwa at their final post-show party in NYC. I imagine they'd planned to spend more time in NYC before the Osaka shows got rescheduled.


* Maybe some of you NYC fans are in the crowd shots?

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Post by ic » Sat Oct 15, 2011 12:03 am

@tokyophoto : it's too bad they didn't play Kessen wa Kinyoubi in CA! it must've been added starting with the Seattle show (search on YT).

another note, i think it's really great that the entire group, esp AKS, pretty much sing along to all the songs.

p.s. i didn't make it into the crowd shot... missed by a few heads (to the left), haha. yes those are great photos by Marcellus -- he seems to have captured the everyone's spirit and personality!

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Post by Kudou » Sat Oct 15, 2011 3:05 am

Thanks for the extra reviews everyone!

tokyophoto, actually Kessen wa kinyoubi was included in the CA lineup, or at least at the Wiltern performance it was. I distinctly remember it being mixed with another song, I think it was "It's so delicious!".

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Post by tokyophoto » Sat Oct 15, 2011 4:19 am

Maybe that mix threw me off, or maybe I was just in a daze...?
Kudou wrote:tokyophoto, actually Kessen wa kinyoubi was included in the CA lineup, or at least at the Wiltern performance it was. I distinctly remember it being mixed with another song, I think it was "It's so delicious!".

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Post by snowleopard » Wed Oct 26, 2011 6:00 pm


Please note: This review, originally posted on October 13, has been revised based on information clarified by other reviewers - thank you - and reposted with this new DCTJoy user account, and with photographs.
Dreams Come True | 9 October 2011 | Highline Ballroom | New York, New York

Japanese mega-band Dreams Come True made a very rare U.S. appearance at the Highline Ballroom in New York City on October 9, the first of two shows that sold-out within days of their announcement in July. Many thanks to DCT Joy for notifying the membership of this wonderful event. For those of us not in New York, Los Angeles, or Seattle, we otherwise might not have known about it.

At dusk, around 6:30, the line already was down the block for admission to the inconspicuous Highline Ballroom in the Lower West Side. On this unseasonably warm October Sunday evening, the anticipation was palpable, the "DCT Joy" bringing alive the night. One walks upstairs to the ballroom, spare and easy to navigate. The management asks those seated on the floor of the "pit" to stand so that the crowd can fill the room.

First of all, a big "shout-out" to Justin at JQ Magazine. This reviewer can not thank you enough. Also, thanks to Reiko from the DCT organization for her kind words.

Prior to the show, they played a recording of some of DCT's most well-known melodies, such as "Ano Natsu no Hanabi" and "Ureshii! Tanoshii! Daisuki!", performed on soft bells.

Promptly at 8:00, introductions were made first by a woman in Japanese, to great enthusiasm from the audience; then a man said, "New York City! Are you ready for Dreams Come True?!" "A Theme From The Wonderland" played as the fifteen-piece band-and-dance ensemble walked on stage, followed by Masato Nakamura. Although the Highline Ballroom has a standing capacity of 700, with a few dozen dinner tables on the balcony, the roar from the crowd was as if they were in an arena. With the theme concluded, Miwa Yoshida arrived, with her hair tied back and wearing a loose-fitting, off-white outfit; and, with her familiar exclamation "Dreams Come True in Wonderland....!!!", the band launched into a heavy version of "Nando Demo", as the crowd danced, waved, and cheered, encouraged by Miwa in all of her boundless energy.

Immediately after "Nando Demo", they segued into "Asa Ga Mata Kuru", one of the best songs of the rock era, its melody poignant even at the high volume and delivered with the most intense emotion by Miwa. For this alone, the show was worth it.

If you have watched live videos on YouTube from DCT's career, you have seen their many huge and elaborate custom-designed stages, and their intricate choreography; and you have seen how all performers, especially Miwa, have complete command and control of the settings, never intimated or overwhelmed. Even without the elaborate production, and crowded as they were on the small stage, the performance was not lacking with any of the energy or musical qualities; we saw that the big productions augment the performance, but are not the heart and soul of the performance. It is the people, the artists, from the duo of Miwa and Masa to every supporting band member, who contribute the sound and the movement that make DCT one of the most exciting live acts ever.

Miwa would lead the audience in familiar waves, gestures, and sing-alongs, especially during the ever-popular live hits "Kessen Wa Kinyoubi" and "Ureshii! Tanoshii! Daisuki!" Although the show clearly was choreographed in most numbers, particularly the segment surrounding "Poison Central", the movements looked very "natural". As other reviewers have commented, DCT and their band looked as if they all are having so much fun onstage!

After three numbers, Miwa took time for extended greetings to the audience ("New York Wonder Babies"), mostly in Japanese. As translated for this reviewer (thank you, Justin), Miwa said that they were not sure how the audience would react; the positive enthusiasm for them truly was "Wonderland", and she wanted to take every one to Japan with her. Masa, wearing a multi-colored outfit, spoke mostly in English, charming the audience with his good-natured self-deprecating humor; he mentioned also that he had lost his voice, and that his apartment in New York was being renovated.

As other reviewers have noted, the show contains a mix of older and newer material, and well- and lesser-known songs, often with creative liberties taken in the arrangements, some unusually "heavy" or "hard". One never knew what to expect next - it was "unpredictable" in the best way.

"Haretara ii ne" remained up-tempo and still with attention to the nuances. "Yorokobi no Uta" was a nice inclusion from the classic era. An extended production number revolving around "Poison Central" and "The Monster" featured a rabbit-eared Miwa and the dancers in black masks and daring choreography (indeed, "Poison Central" opens with the provocative line, "Stop talking, start stripping"). Masa spoke to the audience again during a brief break in the set.

Vocalist Marcellus Nealy deftly shifted between supporting and lead roles; he had a good rapport with Miwa and the other performers. The saxophonist who plays the great solo in the YouTube video "Dreams Come True Wonderland 2007" added many nice, smooth, emotional, and flawless fills and solos to several of the numbers, as well as leading the six-piece DCT Horns in tight arrangements. The guitarist, on hire from another Japanese group, fit in seamlessly, and at one point delivered a fiery solo. The male vocalist who has been with the group at least since 2007 was with DCT at this show, also playing acoustic and electric guitars (including the acoustic in "Asa Ga Mata Kuru"). The woman drummer who appears in videos from the 20th Anniversary Tour two years ago was with them at this show; petite and with a perpetual cheerful smile, one might not have expected her to "kick it out" with such power and intensity - she and Masa were an ideal pair for an extremely tight and heavy rhythm section.

Masato Nakamura's keen sense of harmonic arrangement and tasteful bass lines that critically define the character of the songs always have been part of the indispensable mix of personalities, visions, and talents that have distinguished Dreams Come True. At these live volumes, the importance of Masa's bass guitar truly stood out as being on an equal footing with Miwa's melodies, lyrics, and vocal deliveries. Dreams Come True is a genuine duo of necessary and complementary parts, and Masa's smooth handling and control of the six-string puts him in the leading ranks of rock bass guitarists.

Reviews of the earlier shows noted some sound problems. At the Highline Ballroom, all voices and instruments (both acoustic and electric/electronic) were mixed and balanced perfectly, for that "big sound" that has defined DCT live and on record. That they could vary the arrangements and instrumentation and still have this level of excellence developed in a relatively short time demonstrates once again how seriously they take every detail of their craft.

Miwa, always smiling, generously shared credit and attention with the supporting band. She was full of aerobic energy all night, frequently mirroring the dancers' movements (as in "Kessen Wa Kinyoubi"), and interacting with the dancers spontaneously and rehearsed. Miwa's voice was flawless in pitch, dynamics, and emotional expressiveness, and never wavered even when she was striving for the maximum. She is a "natural" who has spent decades perfecting her talents; in this unedited, unenhanced, undiluted intimate setting, whatever ingredients comprise "star quality" were shining with abundance, and she was so radiantly beautiful; she confirmed what not enough people in the U.S. know: that Miwa Yoshida belongs among the greatest popular music vocalists.

As the show progressed with increasingly "heavy" arrangements, suddenly the brass and woodwinds began playing the "DCT Horns" part from the end of the 2005 version of "Kessen Wa Kinyoubi"; Marcellus reminded us, "Because it's Sunday night!" - and the crowd's enthusiasm was unstoppable. It was all of the spectacle of the best live DCT shows, there in a small ballroom. In the middle of the song, Miwa and the band began to play "It's So Delicious"; then, suddenly, they reverted to "Kessen Wa Kinyoubi". On cue, most of the audience joined in the "vocal endurance" line near the conclusion ("Ni-na-na ni-na-na....nowwwww!"), as the song ended in a great climax of light, sound, and motion. Where to go from there?! All that was left was "Ureshii! Tanoshii! Daisuki!"; hands waving, heads bopping, the crowd was on fire with full delight as Miwa delivered her most heart-felt performance of the song that, after twenty years, still is the crown jewel of the Dreams Come True oeuvre.

Joining hands and taking their bows, Miwa, Masa, and their band slowly left the stage that provided a treasured night of popular music at its best. (The inflexible demands of out-of-state travel prevented the encores from being seen.)

Now that the '90s are becoming part of the "classic rock" format, it is time to note that most people outside of East Asia do not know that Dreams Come True was the most popular rock ensemble of the 1990s. In fact, within popular music of the 1990s, their exact contemporary Garth Brooks is their only real rival in terms of commercial success. What if events such as this "Wonderland" tour of the United States could initiate a belated but long-overdue and deserved appreciation of Dreams Come True in the U.S.?

Most people who have seen DCT in Japan have seen them in large arenas or sports stadiums, which means necessarily that it is a "distant" experience for most in attendance. On the floor at the Highline Ballroom, the furthest viewers were about fifty feet from the stage. Although we in the U.S. have fewer opportunities to see DCT, they are extremely rare opportunities to see one of the all-time greats "up close" and with an unforgettable immediacy.

For those who have been fans "long-distance" for so many years, perhaps the only thing that could have made the show better is if we could have seen Dreams Come True with Takahiro Nishikawa and Rinko Urashima ("Fun P" would have been a tremendous inclusion!). However, the performance was far better than any one could have expected, and our expectations were very high.

David Lee Roth once said, "You should never leave the audience wanting more; the audience should leave the arena completely drained, saying 'Wow - that was the most incredible thing I've ever seen!'" After only ninety-five quick minutes, before we knew it, the DCT show was over. We could have continued watching all night; and, yet..."Wow - that was the most incredible thing I've ever seen!" (You are right, Justin - our dreams came true.)

Thank you, Dreams Come True. The USA loves you. Come back soon!

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