Music as the Origin of Artist Mari Natsuki: Overwhelming 'Japanese-style Blues' Captivates Blue Note Tokyo in Its 8th Year

For multidisciplinary artist Mari Natsuki, music remains her fundamental origin. While she is celebrated in film, television, and theater, her singing reveals the soul-stirring spirit of 'Japanese-style Blues.' Her life's work, the regular performance at the prestigious Blue Note Tokyo, returned from May 15 to 17, 2026, with 'MARI de MODE 8.'

Appearing in a gorgeous black dress on the opening night, Natsuki was joined by a formidable lineup of musicians: Nobu Saito (Percussion), Masayuki Muraishi (Drums), Yoshito Tanaka (Guitar), Katsuhiro Mafune (Bass), Kaoru Inoue (Keyboard), and Toshitaka Shibata (Piano/Keyboard).

The set opened with a reimagined 'Tokyo Boogie Woogie,' marking her 50th anniversary, followed by the live staple 'O-souji Obachan.' The audience was immediately enthralled. 'Chinseizai,' inspired by Marie Laurencin's poetry, transformed life's hardships into a powerful anthem of resilience.

During the middle set, she performed songs like 'Musician,' 'Ninoude,' and 'Watashi wa Watashi yo,' all rooted in her personal worldview. Her performance went beyond a signature husky voice, delivering lyrics with deep emotional conviction born from a rich life experience. This same blues feeling underpins her commanding presence in voice acting.

Between songs, she spoke of her admiration for Thelonious Monk and shared a playful piano duet with Shibata. The energy peaked during 'PLAYER,' composed by Kazuyoshi Saito (ending theme for Goro Miyazaki's 'Ronia, the Robber’s Daughter'), and a soaring cover of Janis Joplin's 'Cry Baby.'

Natsuki’s blend of cool sophistication and approachability perfectly matched the Blue Note atmosphere, gently yet powerfully embodying the universality of the blues.