By: Steven Mose

Hiromi – keys

Adam O’Farrill – trumpet

Gene Coye – drums

Hadrien Feraud – bass

The virtuosic Japanese pianist Hiromi and her band Sonicwonder stopped in Madison at the
Wisconsin Union Theater on October 2nd as part of their tour of the States. Hiromi and
Sonicwonder have made two albums, 2023’s Sonicwonderland and OUT THERE, which was
released in April of this year. My friend had the good sense to bring me along to a show I
otherwise would have been unlikely to even hear about, and I am only too glad that he did.

Hiromi and her band came out on stage around ten minutes after the listed start time of 7:30
and wasted no time in showing what a logistical feat it must have been to assemble such a
rhythmically and melodically sound group of musicians. Despite being well into their tour by this
point, each piece of the machine worked together perfectly, maintaining exact synchronization
during the nearly 30-minute-long four-part title track from OUT THERE. At several points, the
rhythmic structure of the drums and piano clashed in a way that nearly defied comprehension,
yet somehow was still pleasing to the ear. Bassist Hadrien Feraud played a number of
emotionally moving solos throughout the piece as well, demonstrating an uncanny ability to stay
in tune and make his five-stringed bass sound good near the top of the fretboard. Hiromi and
Sonicwonder, in my opinion, play a kind of music that is better appreciated live, as you can fully
appreciate the indescribable level of talent required to put together such melodically and
rhythmically complex music when you can see the band go to work.

After “OUT THERE” came the ostensibly final song of “Yes! Ramen!!,” a song that matches its
name about as well as any other I have heard. The whimsical transitions between different
driving and funky keyboard effects backed by upbeat trumpet and drums made for a really bright
listen. Even with the concert being a sit-down show, you could sense the desire to get up and
dance amongst the attendees.

The encore brought Hiromi back sans accompaniment for “Spectrum,” a highly technical and
more classically inspired piece, which allowed Hiromi to further display her broad musical ability.
In particular, rapid-fire hits on the same key required her to use three fingers in a rolling motion
to hit the same note at a remarkably fast rate, all while remaining perfectly in time and with
nearly constant dynamics. The alternately flowing and fast, unsettling passages of the song
made for a uniquely emotional listening experience. Sonicwonder then returned to the stage for
“Balloon Pop,” highlighted by a whimsical theme on the electric keyboard that appears
repeatedly throughout the song, interspersed with solos from all onstage. “Balloon Pop” was a
great choice for an uptempo and cheerful piece with which to end the concert

While I believe that a certain level of musical knowledge might be required to fully appreciate
Hiromi and Sonicwonder’s music (and I suspect someone more knowledgeable than I would
appreciate it better), the highly technical and at times atypical set was surprisingly accessible, in
addition to being some of the most impressive and entertaining live music I have ever heard.
Hiromi’s joyful stage presence and ability to have a ton of fun bring up the mood tremendously,
and her ability to switch rapidly and effortlessly between three keyboarded instruments within a
matter of seconds is a truly singular talent and was a sight to see. Furthermore, Sonicwonder’s
extremely talented musicians make tremendous contributions to the music while bringing out the
best in Hiromi’s playing. I would highly encourage you to check out Hiromi’s music online, and I
even more highly encourage you to pay a visit to a concert of hers if and when she comes back
this way on tour.

Cover Photo: “Hiromi’s Sonicwonder” by G4GTi is licensed under CC BY 2.0.