Complete Guide to Bands from Gunma | BOØWY, BUCK-TICK, and BACK NUMBER: The "3Bs of Gunma" and the Local Music Scene

"Gunma's 3Bs" — Three bands that colored their era with their unique musical styles.

"Gunma's 3B" is a term referring to three rock bands from Gunma Prefecture: BOØWY (formed in 1981), BUCK-TICK (formed in 1983), and BACK NUMBER (formed in 2004). They are called this because all of their band names begin with the letter "B".

If you were to describe the characteristics of the 3-band system in one word:

• BOØWY : As pioneers of Japanese rock and new wave, they dominated the 1980s and disbanded in a legendary fashion. They are an indispensable presence when discussing the history of Japanese rock.
• BUCK-TICK : A national treasure of a band that laid the foundation for visual kei and gothic rock, and has maintained its unique worldview for over 40 years.
• BACK NUMBER : A leading force in modern pop-rock, singing about "sadness" with relatable lyrics. A band that represents Japanese love songs from the 2010s onward.

What's noteworthy is the vastly different genres of these three bands. While they create music with completely different approaches—rock and roll, gothic, and pop—they all originate from the same base: Gunma Prefecture. Let's take a closer look at each of them.

BOØWY—The legendary rock band born in Takasaki

The first "B" in "Gunma's 3Bs" is BOØWY , one of the most important bands in the history of Japanese rock. Despite their short six-year career, they left a legacy that will forever be etched in the Japanese music scene.

Musicians who grew up in Takasaki

The birth of BOØWY is deeply connected to the city of Takasaki in Gunma Prefecture. The core members, Kyosuke Himuro, Tomoyasu Hotei, and Tsunematsu Matsui, are all from Takasaki City.

Kyosuke Himuro was born in 1960 in Kuragano-cho, Takasaki City, Gunma Prefecture. He was familiar with music from a young age, and during his high school years, he deepened his devotion to guitar and rock music. He later moved to Tokyo to pursue his musical dreams. The unique singing voice he established as the vocalist of BOØWY—with its urgent lows and piercing highs—is the culmination of the sensibilities he honed in Takasaki.

Tomoyasu Hotei was born in 1962 in Egimachi, Takasaki City. He started playing guitar in his teens and possessed the talent to create one unique riff after another. "Hotei as a guitarist" is the musical core of BOØWY, and his unique guitar style has remained consistent up to the later song "Battle Without Honor Or Humanity" (known worldwide as the theme song for the movie "Kill Bill").

Tsunematsu Matsui is also from Takasaki City and played bass for BOØWY from its early days. The fact that these three people, who breathed the same air in Takasaki, later reunited in Tokyo and formed a band together may not have been a coincidence, but rather inevitable.

Takasaki was a vibrant city in northern Kanto during the 1960s and 70s. However, it was also an environment where young people were constantly yearning for Tokyo, and this sense of tension fueled the musicians. The yearning to "one day stand on that stage" was one of the driving forces that motivated local band members.

Formation and rise in Tokyo

In early 1981, BOØWY was formed in Tokyo, centered around Kyosuke Himuro, Tomoyasu Hotei, and Tsunematsu Matsui, all from Takasaki. Later, Makoto Takahashi joined on drums, completing the quartet that would shine brilliantly in the history of Japanese rock.

The early 1980s, when BOØWY was active, was a time of great transformation for the Japanese rock scene. Up until then, "Japanese rock" had mainly been an imitation of English-language music, and there was strong resistance to singing rock in Japanese. In this context, BOØWY boldly fused Japanese lyrics with new wave and post-punk sounds, presenting a completely new form of "Japanese rock."

They made their indie debut in 1983 and steadily expanded their fanbase. After making their major label debut in 1985, they released a string of hit songs such as "MARIONETTE," "WORKING MAN," "HONKY TONKY CRAZY," "B・BLUE," "Dreamin'," and "Kisetsu ga Kimi Dake wo Kaeru." In the late 1980s, they were one of the most popular rock bands in Japan, with tickets selling out instantly and albums becoming million-sellers.

The legendary breakup—the choice to bring an end to their peak.

However, BOØWY, having reached the pinnacle of their success, deliberately chose the path of disbandment. Less than two years after their major debut in 1985, tickets for their 1986-87 concerts at the Nippon Budokan sold out immediately. It was at the very height of their popularity, when they were the most popular Japanese rock band, that Kyosuke Himuro decided to disband.

"I wanted to end it before I burned out," "I wanted to make BOØWY a legend"—Himuro's words stemmed from a philosophy completely opposite to one that prioritized commercial success. He wanted to bring the band to a close while they were still at their peak and preserve the "BOØWY image" forever—this resolve culminated in the "LAST GIGS" at the Tokyo Dome on December 24, 1987. The excitement and shock of the moment when Kyosuke Himuro declared the band's disbandment in front of over 50,000 spectators remains a memorable scene etched in the history of Japanese music and is still talked about today.

"Why break up at the height of their popularity?"—This "legendary decision," which shocked music fans and industry insiders alike, was ironically later described as "making BOØWY an eternal force." After the breakup, Kyosuke Himuro achieved cumulative sales of over 3 million records as a solo artist, and Tomoyasu Hotei established a global reputation as a guitarist. Even though the band disbanded, each member continued to reach the top—this chain reaction proves to future generations the legitimacy of this "legendary breakup."

Even now, more than 30 years after their disbandment, BOØWY's songs continue to appear on karaoke rankings, and many bands say they "started their band with BOØWY songs." BOØWY's songs, which remain staples in the repertoire of cover bands, are truly a "timeless treasure."

Kyosuke Himuro and Tomoyasu Hotei—Takasaki natives who have soared to world-class standards

After the band broke up, both frontmen went on to have brilliant solo careers.

Kyosuke Himuro made his solo debut in 1990 and produced numerous hit songs such as "ANGEL," "ON MY WAY," "KISS ME," and "Claudia." He remained at the forefront of the Japanese rock scene until he announced his retirement from music in 2016 due to a vocal cord disorder. The story of a musician from Kuragano-cho, a provincial town in Takasaki City, who became one of Japan's top rock stars, is passed down as a source of pride for Gunma Prefecture.

Tomoyasu Hotei has continued to gain international acclaim as a guitarist. Starting in the 1990s, he began expanding his activities to Europe and Canada, releasing albums on overseas labels and performing at international music festivals. A turning point in his career was the creation of "BATTLE WITHOUT HONOR OR HUMANITY".

This song was originally written by Hotei as the theme song for the Japanese film "Shin Jingi Naki Tatakai" (New Battles Without Honor and Humanity), and its sharp guitar riff that starts right off leaves a strong impression. Later, director Quentin Tarantino happened to hear the song and decided to use it as the main theme for his 2003 film "Kill Bill." The song, which spread to the world under the English title "BATTLE WITHOUT HONOR OR HUMANITY," attracted international attention at the same time as the film's release.

Since then, this song has been repeatedly used in sporting events, martial arts competitions, movies, and commercials around the world, and its recognition as "something I've heard somewhere before" transcends national borders. The fact that the "sound" of a guitarist from Takasaki has become a global standard in pop culture symbolizes the reach of talent born in Gunma Prefecture. Furthermore, in the summer of 2012, he made a permanent move to London and continues to be active on the world stage while immersing himself in the British music scene. This is an overwhelming success story of a boy born in Egimachi, Takasaki City, who grew into one of the world's top guitarists.

What BOØWY's story teaches us

What's most striking about BOØWY's story is the fact that it all began with a "local encounter in Takasaki." Himuro and Hotei, who grew up breathing the same air in Takasaki, met and shared a passion for music, and that's how that chemical reaction was born. "Cherish local encounters"—this is the first lesson BOØWY's story teaches us.

If you're thinking of forming a band in Gunma and looking for bandmates, start by using Membo to connect with local musicians. After all, BOØWY's first steps began with a chance encounter in Takasaki.

Let's start a BOØWY cover band—a beginner's guide and practice steps

"I want to start a band, but I don't know where to begin practicing"—for beginners like you, the most recommended repertoire is BOØWY's music. BOØWY's songs have been loved as a staple for cover bands for nearly 40 years, and they condense the fundamentals of band ensemble playing. Simply covering one song will significantly improve your musical skills. If you're starting a band in Gunma, starting with BOØWY is the standard route.

Recommended songs by difficulty level

How to obtain tablature and chord charts

Tablature and chord charts for BOØWY songs can be easily obtained from the following services.

• J-Guitar : A wealth of guitar and bass tablature. Many BOØWY songs are included, and basic sheet music can be viewed for free.
• Print Sheet Music : Purchase sheet music individually based on official licenses. This is a safe option if you need more accurate sheet music.
• Commercially available band scores : Searching for "BOØWY band score" at music stores or online retailers will yield several officially supervised sheet music collections. The convenience lies in being able to check all parts in a single book.

BOØWY cover band: 3-step practice steps

Here are three practical steps to efficiently copy BOØWY's songs.

1. Step 1: Mastering basic chords and riffs (individual practice)
   First, each part is learned individually. The guitarist should start with chords and riffs, the bassist with root notes, and the drummer should internalize the basic patterns. The first step is to repeatedly listen to the recording and memorize it by ear.
2. Step 2: Part-by-part practice (2-3 people practicing together)
   Before everyone is assembled, we first divide into the rhythm section (drums + bass) and the front line (guitar + vocals) and practice together. Solidifying the groove of the drums and bass is especially crucial for a successful band ensemble.
3. Step 3: Full rehearsal with everyone (studio rehearsal)
   Once everyone is in the studio, practice playing the song from beginning to end without stopping. Use a metronome to gradually adjust the tempo to match the original song's tempo.

For guidance on how to proceed with your first band practice, please also refer to our "Complete Guide to Your First Band Practice ." It provides detailed information on everything from studio booking to how to conduct the practice on the day itself, ensuring a successful first rehearsal.

BUCK-TICK—Pioneers of Visual Kei created by Fujioka

The second B in "Gunma's 3Bs" is BUCK-TICK . Born in Gunma, the same prefecture as BOØWY, they are a unique band that has built a completely different musical world and continued to be active for over 40 years.

Fujioka High School - The Encounter of Five People

All five members of BUCK-TICK—Hisashi Imai (guitar/vocals), Hidehiko Hoshino (guitar), Yutaka Higuchi (bass), Toll Yagami (drums), and vocalist Atsushi Sakurai—are graduates of Gunma Prefectural Fujioka High School.

In 1983, the band's predecessor, "Hinan GO-GO," was formed in Fujioka City, centered around Hisashi Imai. The following summer, 1984, they changed their name to "BUCK-TICK," and their activities as a band began in earnest. Fujioka City is a regional city with a population of about 60,000, but no one at the time could have imagined that these high school students from this small town would later create a massive "sound" that would change the Japanese music scene.

What's noteworthy here is the fact that all the members attended the same high school. Unlike BOØWY, who were "people from the same Takasaki who came together in Tokyo," BUCK-TICK met directly within their local school in Fujioka and formed a band. World-class music was born from the small community of a local school—this is a powerful message for anyone thinking of starting a band in Gunma today.

The band name "BUCK-TICK" is known as a made-up word with no clear meaning. The naming, which prioritizes the "feel of the sound" over meaning, can be said to embody BUCK-TICK's attitude of consistently pursuing a sense and aesthetic that transcends language. There is also an anecdote that drummer Yagami Toll told the members at the beginning of the band's formation that "if we don't succeed within three years, we'll go back to Gunma." The real tension and determination of young people trying to spread their wings from the provinces to the world must have been the driving force that united the consciousness of all the members.

Major debut and a unique worldview

In November 1987, BUCK-TICK made their major debut. From the very beginning, their distinctive visual style and musicality attracted attention, and their fan base rapidly expanded.

BUCK-TICK's music is characterized by its "unique sound," which boldly fuses multiple genres:

• British Gothic Rock (influenced by bands like The Cure)
• New wave postpunk
• Industrial Rock
• Poetic lyrics in Japanese
• Arrangements that highlight the individuality of each member

The complex interplay of these elements creates a sound that is uniquely "BUCK-TICK music," something no other band can replicate. Looking at their representative songs, their diversity and consistency are striking. From pop to dark gothic—"Aku no Hana," "ICONOCLASM," "Barairo no Sekai," "Aishisa to Setsunasa to Kokoro Tsuyosa to," "Utsukushii Hito," and "Venus & Jason"—the sheer breadth of their sound is the true essence of BUCK-TICK.

A huge influence on Visual Kei.

One of BUCK-TICK's greatest contributions to Japanese music history is their pioneering influence on the musical style known as "Visual Kei."

In the late 1980s and early 1990s, BUCK-TICK pioneered a style where "visuals and music were integrated." Their approach of expressing distinctive makeup, costumes, and hairstyles together with music laid the foundation for the "visual kei scene" later created by bands such as X JAPAN, L'Arc-en-Ciel, and Dir en grey.

The style created by high school students in Fujioka, Gunma Prefecture, has given rise to a new genre of music in Japan—this fact demonstrates that a global culture can emerge from a small, local band scene.

A 40-year challenge—an unending musical quest

Another great thing about BUCK-TICK is that "in their career of over 40 years, they have never repeated the same style even once."

From their debut album to their latest release, BUCK-TICK has consistently pursued new musical challenges. Their inclination towards electronic music, their temporary shift to pop, and their return to their dark side—their evolution serves as a model for "continuous growth" as a band. Rather than "repeating the same style to sell records," their attitude of "pursuing the music they want to explore" has become an example for many musicians.

Their latest album, "SUBROSA," showcases their unwavering experimental spirit, and the BUCK-TICK official website continues to be updated with new information about their activities.

October 19, 2023 — Farewell and Continuing Music

On October 19, 2023, vocalist Atsushi Sakurai passed away suddenly at the age of 58. The sudden news of his death, after he fell ill during a live performance and never recovered, brought deep sorrow to fans throughout Japan.

The loss of this performer, who had led BUCK-TICK for nearly 40 years with his overwhelming presence, unique deep voice, and poetic stage presence, was immeasurable for music fans.

However, the remaining four members chose to continue their activities. With respect for the time they have spent as a band and for the music they have created, they continue to protect the name of BUCK-TICK and its musical legacy. Activities have continued beyond 2024, including Yagami Toll's birthday concert and special events.

Fujioka City - The birthplace of BUCK-TICK

When telling the story of BUCK-TICK, it's impossible to forget the city of Fujioka in Gunma Prefecture. Gunma Prefectural Fujioka High School, which all the band members attended, is still spoken of today as one of the "sacred places" for BUCK-TICK fans.

"A group of high school students in a rural area started making music together"—that simple starting point has grown into a grand story over the course of 40 years. You, who are about to start a band in Gunma, are standing at the same starting line.

BOØWY vs BUCK-TICK—Two completely different musical worlds, both born in Gunma Prefecture.

When discussing the "Gunma 3B," it's essential to compare BOØWY and BUCK-TICK, two bands that emerged from the same region but exhibited contrasting musical styles. Both bands left Gunma in the 1980s and left a significant mark on Japanese music history, but their approaches were almost diametrically opposed.

The true value of "Gunma's 3Bs" lies not in which is superior, but in the richness of such diverse musical directions emerging from the same land of Gunma. Whether it's burning out quickly and intensely like BOØWY, or continuing to evolve over 40 years like BUCK-TICK, both are forms of "authentic music."

BACK NUMBER — The standard-bearer of modern pop-rock born in Ota City

The third B in "Gunma's 3Bs" is BACK NUMBER , a band that represents the contemporary Japanese music scene. While BOØWY and BUCK-TICK left Gunma in the 1980s, BACK NUMBER is a band that Gunma has produced in the 21st century.

Singing "sadness" from Ota City

Iori Shimizu , the vocalist and guitarist of BACK NUMBER, hails from Ota City, Gunma Prefecture. Located in eastern Gunma Prefecture, Ota City is known as an industrial city with many factories. The lyrics written by Shimizu, who grew up in such an "ordinary provincial city," are neither glamorous nor urban, but possess a thoroughly down-to-earth reality.

"Takane no Hanako-san," "Tegami," "Christmas Song"—BACK NUMBER's songs resonate with so many people because they express the pain and sadness of everyday love without embellishment. The sensibility born from everyday life in Ota City resonates with millions of people—this is another example of "music nurtured by the land of Gunma."

From its formation in 2004 to becoming a national band

BACK NUMBER was formed in Gunma Prefecture in 2004. They started as a trio consisting of Iori Shimizu (vocals/guitar), Keisuke Ueda (guitar), and Kazuya Kojima (drums), gradually expanding their fanbase while gaining experience performing locally.

They made their major debut in 2011 with Universal Sigma. Immediately after their debut, their song "Tegami" (Letter) attracted attention, and around 2013-2014, "Takane no Hanako-san" (Hanako of the High Peak) and "HAPPY BIRTHDAY" became hits. Then, in 2015, their single "Christmas Song" received a million-selling certification from the Recording Industry Association of Japan, and has become established as a "classic hit that always returns to the charts every December."

Since then, they have continued to release hit songs that have been used as theme songs for movies and dramas, such as "Happy End," "VECTOR," "Encore," and "Mabataki," and have become one of Japan's leading bands from the late 2010s to the present day.

Pride in being from Gunma

The members of BACK NUMBER often express their gratitude in interviews for the time they've spent in their hometown of Gunma. It's their experience of steadily honing their skills through live performances in regional cities, rather than in the glamorous urban scene, that has cultivated the "reality of their lyrics" that resonates with listeners.

BOØWY and BUCK-TICK paved the way in the 1980s, and BACK NUMBER carried on that tradition in the 21st century. This chain of "stars are born in Gunma" is also a baton being passed to the next generation of Gunma musicians.

BACK NUMBER's story—continuing their band in their hometown while pursuing big dreams—is a message to you, who are currently thinking about forming a band in Gunma. Use Membo to find bandmates and take the first step towards soaring from your hometown to the whole country, just like BACK NUMBER.

Summary of achievements and records of "Gunma's 3B"

Let's take a look at the main achievements of the three bands known as "Gunma's 3Bs." Each of the three bands has made their mark in different ways and in different eras, but all of them are proof of "authentic music born in Gunma."

When you compare these three bands side-by-side, you can clearly see the different "forms of greatness" each possesses. BOØWY was short-lived but achieved overwhelming sales and legendary status; BUCK-TICK possessed unparalleled persistence and an experimental spirit; and BACK NUMBER achieved extraordinary play counts and relatability in the modern streaming age. These three "successful" bands, all born in Gunma Prefecture, have each left a deep mark on the history of Japanese music.

Why Gunma has a fertile ground for music: A "holy land for bands" born from geography, industry, and culture.

It's no mere coincidence that three legendary bands—BOØWY, BUCK-TICK, and BACK NUMBER—all originated in Gunma Prefecture. Gunma possesses unique geographical, industrial, and cultural characteristics that nurtured and motivated musicians, eventually propelling them to national fame.

Geographical factors – a distance from the Tokyo metropolitan area that is "neither too close nor too far."

The primary reason Gunma has become a mecca for musicians is its ideal distance from Tokyo. It takes about 50 minutes by Shinkansen bullet train from Takasaki to Ueno in Tokyo, or about 1.5 to 2 hours by car via the Kan-Etsu Expressway—this is the perfect "distance" for local bands.

If it's too close, the feeling that "we can go to Tokyo anytime" arises, and the motivation to nurture a band locally becomes weaker. If it's too far, accessing the Tokyo scene itself becomes difficult. Gunma's major cities are at the perfect distance, allowing for a lifestyle where musicians can hone their skills locally with friends and play gigs in Tokyo on weekends.

Furthermore, Gunma Prefecture has a topography that is an "inland basin surrounded by mountains." The basin's topography, with Mount Akagi, Mount Haruna, and Mount Myogi surrounding it on three sides, creates a kind of "closed world." Unlike port towns or tourist destinations, young people in Gunma grow up in an environment with limited outward access, so they tend to have a strong inner energy that burns brightly through music. BUCK-TICK's deep, dark gothic sound and BOØWY's spirit of "storming into Tokyo from the provinces" can be seen as products of this energy trying to break through the sense of geographical confinement.

Industrial Factors – The Rock Spirit Fostered in Factory Cities

Gunma has historically developed as an "industrial prefecture." Each of Gunma's major cities has its own unique industrial base.

• Kiryu City : A center of silk weaving known as "Nishijin in the west, Kiryu in the east." A city with a strong foundation of artisan culture.
• Ota City : An automotive industrial city home to the headquarters and factory of Subaru. Many workers employed at large factories live there.
• Takasaki City : A major commercial and transportation hub in northern Kanto. A city with a concentration of warehousing and manufacturing industries.
• Isezaki City : A production area known for Meisen silk weaving. A tradition of manufacturing is deeply rooted there.

It is a well-known fact worldwide that industrial cities centered around factories tend to have a culture where people "release their stress by playing in bands after work." Just as many rock bands have emerged from industrial cities in the UK such as Sheffield (steel), Detroit (automobiles), and Newcastle (coal mining), the industrial cities of Gunma have also fostered a spirit of "working diligently and burning with passion through music."

It makes perfect sense in this context that Iori Shimizu of BACK NUMBER grew up in Ota City, a "factory town," and that he infuses his lyrics with the reality of "ordinary life." The reason his unpretentious words resonated with millions of people may be because they were born from the authentic atmosphere of an industrial city.

Cultural Factors – The Roots of Live House Culture and the Power of Community

It's not enough to simply have young people who dream of becoming musicians. Musicians can only truly develop when they have places to perform, environments to hone their skills, and communities where they can learn and grow together with their peers.

A live music venue culture has been deeply rooted in Gunma Prefecture for many years, particularly in Takasaki and Maebashi. Live venues such as club FLEEZ in Takasaki and EUREKA in Maebashi have welcomed everything from indie bands to nationally recognized artists, functioning as important hubs for the North Kanto rock scene. The simple environment of being able to perform live locally is paramount to nurturing a band.

Furthermore, the abundance of practice studios in Gunma's various cities is also noteworthy. Young people who discover their passion for bands at school hone their skills in local studios, debut at local live music venues, and eventually spread their wings to the Tokyo metropolitan area—this "locally produced, locally consumed music growth route" has been functioning in Gunma. BUCK-TICK, who formed at a high school in Fujioka and nurtured their music locally before eventually making their way to the Tokyo scene, is a prime example of this route.

The combination of geography, industry, and culture has allowed Gunma to maintain a "fertile ground for producing musicians" for many years. This fertile ground remains intact. Connecting with fellow Gunma enthusiasts through Membo and taking root in this fertile ground is the first step towards the next legend.

Other notable musicians from Gunma

Beyond the "Gunma 3Bs," Gunma has produced a diverse range of musicians. Among music industry insiders, Gunma is sometimes described as a "band kingdom." The list of major artists confirmed below objectively demonstrates that this landlocked prefecture of approximately 1.96 million people has consistently produced nationally recognized musicians across different eras and genres.

A confirmed list of major musicians from Gunma Prefecture – objective evidence for the "Band Kingdom"

We have confirmed that there are over 16 bands and solo artists from Gunma Prefecture, totaling more than 20 individual artists. This is an unprecedented level of national recognition for a regional prefecture outside of the Tokyo metropolitan area.

The list above objectively confirms that Gunma has produced not only "3B" but also nationally recognized musicians across various genres, including jazz (Chihiro Yamanaka), enka/pop (Saori Yuki), and modern rock (LACCO TOWER, Straightener). In particular, the fact that two bands, BOØWY (Takasaki) and BUCK-TICK (Fujioka), debuted nationwide from the same prefecture in the 1980s is spoken of as a remarkable continuity in Japanese music history. The reputation of "Gunma as a band kingdom" is based on this objective accumulation of the number of bands produced.

Kyosuke Himuro – A solo artist who spearheaded Japanese rock from Takasaki.

After BOØWY disbanded, Kyosuke Himuro made his solo debut in 1990. With hit songs such as "ANGEL," "ON MY WAY," "KISS ME," and "Claudia," he established himself as a "solitary rock star" distinct from his BOØWY days. With his sharp, piercing vocals and overwhelming live performances, he remained at the top of the Japanese live music scene from the 1990s to the 2000s.

In 2016, he announced his retirement from music due to a vocal cord disorder. The story of this rock star, born in Kuragano-cho, Takasaki City, who continued to perform on the world stage, is passed down as a source of pride for Gunma Prefecture.

Tomoyasu Hotei - A world-renowned guitarist based in London.

Tomoyasu Hotei has continued to be a leading guitarist since the breakup of BOØWY, and is currently based in London, where he is active internationally. He has contributed music to Quentin Tarantino's film "Kill Bill" and has undertaken numerous international collaborations, embodying "Japanese rock that can be appreciated worldwide" from this guitarist born in Egimachi, Takasaki City.

He continues to be actively involved in live performances and music production, and as someone who has realized his dream of "going from Japan to the world," he remains a beacon of hope for young musicians.

LACCO TOWER - A modern rock band born in Isesaki

LACCO TOWER is a band that shares its roots with BACK NUMBER, Isesaki City in eastern Gunma Prefecture. The three members—bassist Shiozaki, drummer Shigeta, and guitarist Fujio—are all from Isesaki City, and they are a veteran rock band that has been active for over 20 years. Their unique musical style, which fuses heavy sounds with lyrical melodies, has garnered support from rock fans nationwide, and they are currently very active, with plans to release their full album "Makukai" in 2026.

Chihiro Yamanaka – A jazz pianist who is active on the world stage.

Gunma Prefecture has produced outstanding talent in genres other than rock. Jazz pianist Chihiro Yamanaka spent 15 years in Kiryu City, Gunma Prefecture, where she began her musical career. After graduating from Toho College of Music, she studied at Berklee College of Music in Boston, USA, graduating at the top of her class. Subsequently, she based herself in New York, releasing numerous albums as a leader, and is known as the first Japanese jazz artist to sign with the prestigious American record label Decca. Her sensibilities, honed in Kiryu, blossomed on the global music scene.

Yuki Saori - A national singer born in Kiryu

In the world of enka and pop music, Yuki Saori is known for hailing from Kiryu City, Gunma Prefecture. Since her debut in 1966, she has remained a leading figure in the music industry for a long and distinguished period. In 2011, her collaboration album with the American jazz orchestra Pink Martini was well-received in Japan, the United States, and Europe, establishing her as an internationally recognized and talented singer. Her voice, nurtured in Gunma, continues to resonate with many people across generations.

Local musicians who support Gunma's music culture

"Gunma's music" isn't just about nationally recognized stars. In cities like Takasaki, Maebashi, Kiryu, Ota, and Isesaki, many bands and musicians continue to support the local music scene today. From bands of working adults who play every weekend at local live music venues, to young musicians honing their skills in student band contests, to former professional musicians training the next generation at music schools—Gunma's music culture is being passed down through these grassroots activities.

The core members of "Gunma's 3B" also initially encountered music in their hometowns and gradually honed their skills. Starting music with friends in Gunma now means joining the continuation of that long history.

Gunma's Music Scene - Live House and Studio Information

For "Gunma's 3B" to spread their wings nationwide, local live performance experience was essential. Even today, Gunma has many live music venues and practice studios that support musical activities.

Takasaki – Gunma's largest music city

The heart of Gunma's music scene is undoubtedly Takasaki City. This city, which produced the core members of BOØWY, remains Gunma's largest venue for music activities, hosting numerous live performances and events.

The area around JR Takasaki Station is home to numerous live music venues, offering a wide range of performances from indie bands to tours by famous artists. From bands aiming for their first appearance to established acts that regularly perform, Takasaki's live music scene is always vibrant and dynamic.

Opened in 2019, the Takasaki Arts Theatre (TAK) has attracted attention as a cultural facility with some of the best acoustic equipment in Japan. Its 2,027-seat grand hall features a variable sound system capable of accommodating everything from orchestral performances to popular music, and is also used as a concert venue for national tours. As a symbol of Takasaki, the "City of Music," it is a source of pride for local music fans.

Maebashi – The prefectural capital's unique music community

Maebashi City, the capital of Gunma Prefecture, also has its own thriving music scene. While Maebashi may not be as well-known as Takasaki as a "city of music," a deeply rooted local music community is established, with bands actively performing in live music venues and studios on a daily basis.

Takasaki and Maebashi are only about 10 minutes apart by train, and Gunma's music scene is centered around these two cities. Bands based in Maebashi often perform at live music venues in Takasaki, and bands from Takasaki use studios in Maebashi as practice spaces, showing active movement between the two cities.

Kiryu, Ota, Isesaki—the band scene in the eastern area

In eastern Gunma Prefecture, in addition to Ota City, which produced BACK NUMBER, there are many other unique cities such as Kiryu City and Isesaki City.

Kiryu City, in particular, has a long history as a "textile town" and has cultivated its own unique cultural sensibilities. In terms of music, there is a locally rooted band scene, and a vibrant music community has formed throughout the eastern area, including Kiryu, Ota, and Isesaki.

The fact that Iori Shimizu of BACK NUMBER hails from Ota City is a source of great pride for musicians in the eastern Gunma area. "Stars can be born from eastern Gunma"—this fact encourages young band members to pursue their dreams.

Practice studio situation in Gunma

Once you've formed a band, the next thing you'll need is a practice studio. There are several music rehearsal studios in Gunma's major cities (Takasaki, Maebashi, Kiryu, Ota, and Isesaki). Here's a summary of the studio situation in Gunma to help you choose a studio.

• Estimated price : Approximately 1,500 to 4,000 yen per hour (varies depending on room size, time of day, and facilities)
• Weekday daytime discounts : Many studios offer discounts for weekday daytime sessions (often saving you around 500-1,000 yen).
• Standard equipment : Drum set, guitar amp, and bass amp are included as standard equipment.
• Vocal-friendly : Many studios are equipped with microphones and PA systems.
• Recording function : Some studios also have a basic recording function.

For information on choosing a studio in Gunma, please refer to our complete guide to renting a band practice space and studio . It provides detailed explanations on everything from criteria for selecting a studio to tips for negotiating prices and how to utilize other practice spaces besides studios.

Also, if you want your first band practice to go smoothly, we recommend reading the Complete Guide to Your First Band Practice . It's packed with tips for a successful first rehearsal, from booking a studio to how to proceed on the day.

Gunma's Music Environment Data - Live Houses, Studios, and Musician Population

Let's examine the data to see just how deeply rooted music is in Gunma. Below is an overview of music venues in major cities and the status of Gunma-based musicians registered with Membo.

Membo has over 50 registered musicians residing and active in Gunma Prefecture, and job postings for various positions such as guitarists, drummers, and vocalists are constantly being shared, mainly in Takasaki and Maebashi. The ease with which you can connect with diverse talent, including foreign musicians, is a major advantage of using Membo in Gunma.

List of major live music venues and studios in Gunma Prefecture

This is an overview of major facilities in Gunma Prefecture that may be useful when planning live performances or studio practice sessions. For the latest information on each facility (fees, reservation methods, and opening hours), please check their official websites or contact them directly.

*Prices, opening hours, and reservation methods are subject to change. Please check the official website of each facility or contact them directly for details. For more information on choosing a studio, please also refer to our complete guide to renting a band practice space/studio .

Finding band members in Gunma – Practical methods

For those of you who, after reading the story of "Gunma's 3B," thought "I want to form a band too" or "I want to find people to make music with," we'll introduce practical methods for recruiting and finding band members in Gunma.

Connect with musicians from Gunma through Membo

The easiest and most effective method is to use the member recruitment service "Membo." Membo is a platform that allows you to search information from more than 10 Japanese member recruitment sites all at once, and it also features a large number of listings for musicians residing in Gunma Prefecture.

Membo 's main advantages:

• You can narrow down member recruitment information by specifying Gunma Prefecture and individual cities.
• Filtering is possible by instrument played, such as guitar, bass, drums, and vocals.
• You can search by music genre, such as rock, pop, jazz, and classical.
• You can also set conditions such as experience level and activity frequency.
• With support for 8 languages, it's easy to connect with foreign musicians living in Gunma.
• It is completely free to use.

The Membo user guide provides detailed explanations on how to write effective job postings, choose photos, and increase responses. Simply improving the quality of your job postings can significantly change the quantity and quality of applications you receive.

Musicians from Gunma who met through Membo—real-world examples of its use

To answer the question, "Can you really find members with Membo?", we'll share testimonials from users in Gunma Prefecture who have used Membo.

Membo's main features include the ability to search over 5,000 job postings nationwide at once, and support for 8 languages (Japanese, English, Chinese, Korean, Vietnamese, Nepali, Hindi, and Traditional Chinese), making it comfortable to use on smartphones. Registration and use are completely free , and you can start immediately with just an email address.

For a guitarist in their 30s living in Takasaki City:
"I quit my previous job and moved to Gunma, but I was having trouble because I didn't have any musician friends in my hometown. I searched for band members in the Takasaki area on Membo and found a drummer who also likes BOØWY. I sent him a message and he replied right away, and two weeks later we were able to have our first session at a studio in Takasaki. Now we're active as a band that creates original songs. I realized that even as someone who has moved to Gunma, it's possible to find good friends."

For a drummer in their 20s living in Ota City:
"I'm a drummer in my hometown of Ota City, and I've been looking for a band to play in for a long time. I found a vocalist/guitarist on Membo who was looking for a BACK NUMBER-style pop-rock band, and when I contacted them, it turned out they lived in the same city of Ota! I can't believe someone like that was only a 5-minute drive away! I really feel that this is a service that's truly localized and useful. I never thought I'd get results so quickly in finding band members."

For a foreign bassist (native English speaker) residing in Maebashi City:
"I moved to Maebashi for work and was desperate to find a band. Membo's multilingual interface made it easy — I found a rock band in Takasaki looking for a bassist. Even though my Japanese isn't perfect, the band welcomed me right away. We've been playing together for over a year now. Membo helped me connect with local musicians in Gunma faster than I ever expected."

Each city in Gunma Prefecture has its own unique music community, and through Membo, you can find like-minded individuals in any area, including Takasaki, Maebashi, Ota, and Kiryu. Furthermore, because Gunma Prefecture has a large foreign population, one of Membo's features is that it's easy to meet foreign musicians.

Band Member Recruitment Service Comparison - Why Choose Membo?

Let's compare Membo's position among the many band member recruitment services available.

Gunma Prefecture has a large foreign population, particularly in the eastern part of the prefecture. If you want to make music with the Japanese-Brazilian community or musicians from Southeast Asia, Membo, which supports 8 languages and allows you to search multiple sites at once , will be the most effective tool for you.

Download the Membo PWA app so you can use it anytime on your smartphone. You can easily find members while on the go or while waiting at the studio.

Guide to finding instruments by type

One of the biggest challenges when forming a band is finding players for each instrument. In Gunma Prefecture, as in the rest of the country, rhythm section players (drums and bass) are in high demand and tend to be difficult to find. For effective ways to find players for each instrument, please refer to the following article.

• The Complete Guide to Finding a Bassist or Drummer When You Can't Find One : Practical Methods to Solve Rhythm Section Shortages
• The Complete Guide to Finding a Vocalist When You Can't Find One : Concrete Approaches to Finding the Face of Your Band
• The Complete Guide to Finding a Guitarist When You Can't Find One : How to Identify the Right Person Even When Applications Come In
• The Complete Guide to Finding a Keyboardist When You Can't Find One - Tips for Finding Keyboard Players

Recruitment strategies vary greatly depending on the instrument. Read articles tailored to the instruments your band needs and aim for effective recruitment.

Building connections at local live music venues and studios

While recruiting members online, let's also cherish "real-life encounters" in our local area. By actively using live music venues and practice studios in Gunma, you'll naturally expand your circle of musician friends.

• Participating in joint performance events : Joint performance events regularly held by live music venues are a unique opportunity to interact with other band members. Contact live music venues in Takasaki and Maebashi directly to inquire about performance opportunities.
• Utilizing Session Events : Session events hosted by instrument shops, music studios, and live music venues are ideal places to hone your playing skills while building your network.
• Music classes and ensemble courses : Band ensemble courses and workshops offered by local music schools can be used as a place to meet like-minded individuals.
• Social media and local groups : Information sharing and gathering through social media groups and communities targeting the Gunma music community is also effective.

For those planning to perform at a live music venue, the "Complete Guide to Your Band's First Live Performance" will be helpful. It provides detailed information to ensure a successful first performance, from how to submit your music to ticket quotas and the flow of the day.

The possibility of forming a band with foreign musicians in Gunma

In recent years, many foreigners have been living in Gunma Prefecture, and their backgrounds are diverse. In particular, eastern Gunma (around Ota and Oizumi) has a Japanese-Brazilian community, and many engineers and workers from Indonesia, Vietnam, and other countries live there, mainly in the manufacturing sector.

Many of them are musicians who love music, and some are thinking, "I want to join a Japanese band," or "I want to make music together." Membo supports eight languages (Japanese, English, Chinese, Korean, Vietnamese, Nepali, Hindi, and Traditional Chinese) and actively supports encounters with foreign musicians.

Just as Tomoyasu Hotei of BOØWY spread his wings to the world, there is certainly potential for a multicultural band to emerge from Gunma. If you are interested in forming a band with foreign members, please refer to our complete guide to finding band members—overcoming language barriers—for foreigners and Japanese people forming a band .

To attract an audience to a live performance

Once you have all the members and the band is starting up, the next step is to focus on attracting audiences to your live shows. The Complete Guide to Attracting Audiences to Bands' Live Shows provides detailed explanations of practical audience-attracting techniques, from promotional strategies using social media to methods for spreading word-of-mouth. Both BOØWY and BUCK-TICK started out by building their reputations in small live venues. Let's steadily increase our audience step by step.

Music festival and event information in Gunma

Gunma hosts a variety of music events throughout the year. Take advantage of these events, whether you're looking for band members or simply want to connect with local musicians.

Music events centered around Takasaki

In Takasaki City, a wide range of music events, from classical to rock and pop, are held at venues such as the Takasaki Arts Theatre and local live music venues. In particular, joint events featuring local bands are a valuable opportunity for new bands to promote themselves.

Takasaki's live music venues regularly host "newcomer auditions" and "band contests," which can be used as a place to test your skills. By participating in these events early in your band's formation, you can gain insight into your band's weaknesses and direction.

Outdoor events that take advantage of Gunma's rich natural environment

Gunma Prefecture, with its abundant natural beauty including Mount Akagi, Mount Haruna, and Mount Myogi , hosts numerous outdoor music events throughout the region. Performing on an outdoor stage offers a different sense of freedom and immersion compared to indoor live music venues, making it a special experience for local bands.

Attending these festivals and events as a participant is also a great way to meet fellow music lovers. For those looking for band members, jam sessions and joint performance events are ideal opportunities to connect with others.

Let's learn from the music scenes of other regions as well.

It's important to not only gain a deep understanding of Gunma's music scene, but also to draw inspiration from the music cultures of other regions. The complete guide to Nagasaki's music scene introduces Nagasaki's unique culture, which boasts a history of Western music spanning over 450 years. Understanding the relationship between local history, characteristics, and music can provide valuable insights for re-examining your own band's identity.

A Roadmap for Local Bands to Debut Nationally: Lessons from Gunma's 3Bs

Looking at the success of "Gunma's 3B"—BOØWY, BUCK-TICK, and BACK NUMBER—a common pattern emerges in the paths they have taken. This book abstracts and summarizes a concrete roadmap, based on the success stories of Gunma's 3B, that can serve as a reference for local bands aiming for a national debut.

Gunma Band's Three Common Success Principles

A careful analysis of the journeys of these three bands reveals a common "pattern of success" that transcends eras and genres.

• Rule 1: Local ties (all members have local connections)
  BOØWY was formed when fellow Takasaki natives reunited after moving to Tokyo, BUCK-TICK was formed by five classmates from Fujioka High School, and BACK NUMBER started with three people who met in Gunma Prefecture. Deep trust forged during childhood and through school has become the fundamental force that has kept these bands together for so long.
• Rule 2: The Art of Distance (Improve your skills while commuting to Tokyo in 1.5 to 2 hours)
  All three bands didn't "move" to Tokyo from the start, but rather built their skills by basing themselves in Gunma while commuting to the Tokyo metropolitan area's live music scene. They honed their skills locally and tested their abilities on Tokyo stages on weekends—this cycle rapidly improved their abilities.
• Rule 3: Accumulate live performance experience (a thousand practice sessions at local studios and live venues)
  Before releasing a record, they first "honed their skills through live performances." Their extensive experience playing in small local studios and live music venues in Takasaki and Maebashi directly contributed to the high quality of their stage performances after their major label debut.

A comparison of three bands—their journeys from formation to national debut.

From Gunma to the whole country—5 steps taken by a local band

By comparing the journeys of these three bands, a common pattern emerges of "Gunma-born, nationally debuted" bands that transcend eras and genres. By overlaying real-life examples of the Gunma 3B bands at each step, the path that Gunma musicians should take today becomes clear.

The key point in this pattern is that "no step can be skipped." Bands that jump into the Tokyo metropolitan area without building a base locally often don't last long. Conversely, if you have a solid foundation locally, you can immediately demonstrate your abilities on the Tokyo stage. Finding bandmates using Membo in Gunma is the very first step of Step 1.

BOØWY and BACK NUMBER: The concrete steps from local to national debut

"How did they move to Tokyo and make their national debut?" — By delving into the specific processes of BOØWY and BACK NUMBER, we can see a realistic route for local bands to achieve national success.

[BOØWY's case] Laying the groundwork in Takasaki → Moving to Tokyo and reuniting → Accumulating live performances → Signing a major label contract

1. Musical Foundation in Takasaki (Teenage Years) : Himuro, Hotei, and Matsui each discovered their passion for guitar and bass in Takasaki City, and gained their initial band experience locally. Breathing the same air in Takasaki and sharing music with local friends fostered the "relationships" that would later become the core of the band.
2. Moving to Tokyo and Reunion (1980-81) : The three members, who had moved to Tokyo at different times, coincidentally reunited in Tokyo and formed BOØWY in 1981. They gradually made their way into the Tokyo music scene by performing in small live houses in the Shimokitazawa, Shibuya, and Shinjuku areas.
3. Establishing their style through independent activities (1982-1985) : While accumulating live performances, they established their unique style of "Japanese rock x new wave." Ticket sales gradually began to increase, and they made their independent debut in 1983. As their audience numbers grew, they began to catch the attention of major labels.
4. Major debut (1985) : They signed a major label contract after being recognized for their ability to draw crowds at live performances and the quality of their songs. After their debut, they released a string of hits such as "MARIONETTE" and "B・BLUE," reaching the peak of their popularity in the late 1980s.

[BACK NUMBER's Case] 7 years of independent activities in Gunma → Nationwide expansion

1. Formation and Live Activities in Gunma (2004-2011) : The band was formed by three people who met in the Ota City area. While performing at live music venues in Gunma, they also actively participated in events in the Tokyo metropolitan area. With a policy of "not moving to Tokyo immediately and cherishing local ties," they steadily expanded their fan base both locally and in the Tokyo metropolitan area.
2. Refining his style through independent production (2004-2011) : While producing and distributing his own demo CDs and EPs, Iori Shimizu honed his songwriting style using "down-to-earth words." His approach, which focused on "poignant lyrics" rather than flashy production, gradually built up empathy.
3. Major label contract and nationwide breakthrough (2011-2015) : In their seventh year as an independent band, they signed a major label contract with Universal Sigma. Their debut single, "Tegami" (Letter), attracted attention, and after their breakthrough in 2013-2014, "Christmas Song" was certified as a million-selling single by the Recording Industry Association of Japan. While maintaining their base in Gunma, they grew into a "nationwide band."

The common thread among the three bands is the sequence of "local ties → honing skills locally → breaking through in the Tokyo metropolitan area." However, each band embodies this principle in its own unique way, leaving the message that "you don't have to follow the same route, but putting down roots in your local area is one thing you all have in common."

Step 1: Build a local fan base (estimated time: 1-2 years)

Every legendary band starts out on small local stages. BUCK-TICK began their activities in Fujioka and honed their skills in live music venues in Takasaki and Maebashi. BACK NUMBER, too, deepened their musical abilities and bonds through repeated live performances within Gunma Prefecture.

Effective actions for building a local fan base:

• They regularly hold live performances at local live music venues, at a pace of one to two shows per month.
• The band created social media accounts and began sharing information with local music fans.
• Actively participate in joint concert events to connect with other bands' fan bases.
• Test your skills by taking part in local band contests and auditions.

To enhance your local live performance activities, the "Complete Guide to Your Band's First Live House Appearance" will be helpful. Furthermore, strategies for increasing audience attendance at your live shows are explained in detail in the "Complete Guide to Attracting Audiences to Your Band's Live Shows ."

Step 2: Regularly hold live concerts in the Tokyo metropolitan area (目安: 2-3 years)

Once you've established a solid base locally, the next important step is to make regular live performances in the greater Tokyo area (Tokyo, Yokohama, and Saitama). All three bands from Gunma actively performed in the Tokyo live music scene, expanding their recognition nationwide.

As the story of Kyosuke Himuro and Tomoyasu Hotei of BOØWY, who "reunited in Tokyo as fellow Takasaki natives," illustrates, frequent travel to and from the Tokyo metropolitan area is key to a band's growth. The distance of 1.5 to 2 hours by car from Gunma to Tokyo makes it entirely possible to make trips to the metropolitan area once or twice a month.

• Actively apply to book gigs at live music venues in Tokyo (Shimokitazawa, Shibuya, Shinjuku, Koenji, etc.).
• We'll use Gunma's band network to organize joint concerts with bands from Tokyo.
• Social media campaigns targeting music fans in the Tokyo metropolitan area (emphasizing their Gunma origins as a "brand").
• We post live audio and video recordings to YouTube and SoundCloud to reach listeners outside our local area.

Step 3: Expand your global reach through social media and English-language content creation.

With BACK NUMBER's "Suiheisen" surpassing 900 million total streams and Tomoyasu Hotei's activities on the global stage, reaching out to listeners not only domestically but also overseas has become an effective strategy for contemporary musicians.

Gunma Prefecture has a large foreign population, and the multicultural communities in eastern Gunma (around Ota and Oizumi) in particular can serve as a foundation for multilingual and multicultural musical activities.

• Add English captions to the band's official social media posts (even a simple English translation of the post will be effective).
• Add English subtitles and descriptions to YouTube videos to reach international viewers.
• Register your music on streaming services such as Spotify, Apple Music, and YouTube Music.
• By welcoming foreign musicians into the band, you can enhance musical diversity and increase your ability to reach an international audience (see also the complete guide to forming a band with foreigners and Japanese musicians ).

Step 4: From independent release to digital distribution and major label debut

It's important to preserve the skills and recognition cultivated through live performances in the form of recorded music. BOØWY made their indie debut in 1983 and went major two years later in 1985. BUCK-TICK also started their career locally, then went through the indie scene before making their major debut.

In today's world, with the advent of streaming services, even independent artists can deliver their music to the entire world. By utilizing distribution services such as TuneCore and DistroKid, an independent band from Gunma can register their music on Spotify and Apple Music, reaching listeners both domestically and internationally.

• I started by producing my own music (demo tracks, home recordings).
• Trying out subscription distribution using a music distribution service.
• They are increasing their online fanbase by releasing live audio recordings and music videos on YouTube.
• Sending music samples to record labels and management companies, and applying for auditions.

For your first recording session, please refer to the "Complete Guide to Your First Band Recording Session ," and for music distribution, please refer to the "Complete Guide to Releasing Music as a Band ."

This roadmap is based on the success patterns of BOØWY, BUCK-TICK, and BACK NUMBER, but there isn't one single "right answer" that applies to every band. What's important is understanding "where your band is at right now" and continuously thinking about your next move. As a first step in that process, actively use Membo to find bandmates in Gunma.

Summary—The next legend will be born in Gunma

This article has provided a detailed explanation of the trajectories of the "Gunma 3B"—BOØWY, BUCK-TICK, and BACK NUMBER—and the Gunma music scene.

• BOØWY : Formed in Tokyo in 1981, centered around Kyosuke Himuro, Tomoyasu Hotei, and Tsunematsu Matsui, all from Takasaki City, Gunma Prefecture. As pioneers of Japanese rock and new wave, they dominated the music scene in the 1980s and disbanded in a legendary fashion with their "Last Gigs" at the Tokyo Dome in 1987.
• BUCK-TICK : Formed in 1983 by five members who met at the same high school in Fujioka City, Gunma Prefecture. They became pioneers of the visual kei genre with their unique worldview that fuses gothic rock and new wave, and have continued their musical exploration for over 40 years.
• BACK NUMBER : Formed in 2004, centered around Iori Shimizu, who hails from Ota City, Gunma Prefecture. They sing about modern love with relatable lyrics and have grown into a nationally recognized band since the 2010s.

The "energy" that Gunma possesses—the dynamism of an industrial city, the longing for Tokyo and pride in one's hometown, and the environment for honing one's music with friends—will continue to give rise to new bands. One day, a legend will emerge to engrave its name in the "lineage of Gunma music," which has continued from BOØWY to BUCK-TICK and BACK NUMBER.

Looking to form a band or find bandmates in Gunma? A connection through Membo could be the first step towards your legendary journey. Be sure to check out the latest Membo information . If you have any questions about how to use it, please see our help page . The Membo staff will fully support your musical activities.