Sometimes the most profound music experiences happen by chance. It was my unexpected good fortune to have been asked to join two dear friends to experience Kodo, the world renowned Taiko ensemble, at the Royal Festival Hall this evening. Indeed, I was so astonished by this Japanese drumming extravaganza that I had to share my experience and spread the word!

Any music historian will know that the sound of drums is ancient. And what it evokes in emotion and effect, by and through its primitive beat, is deeply felt. Taiko drums have been used as early as the 6th century, although their exact date of origin is unknown. They range in size as well as sound, and can take years to craft. Played at Japanese festivals and religious ceremonies, the concept of modern public performance of ensemble Taiko drumming, more specifically called Kumi-aiko, has developed since the 1950’s.

Meaning “Heartbeat” and/or “Children of The Drum“, Kodo are based on Japan's Sado Island. This second London date, as part of their “Kodo One Earth Europe Tour 2026: Luminance” was sold out. Since the group’s debut at The Berlin Festival in 1981, Kodo have given over 7,500 performances in 50 countries and regions around the world. Their tour banner, and it seems mission, is “One Earth”. Indeed, it was a privilege to witness this wonderful ensemble in action. Kodo’s drummers train and run kilometres daily as part of their pre-concert training regime. Their individual envelopment of holistic mind and body spirit discipline shines in this collective.

The ensemble’s deftness and dedication in poise and in their training with their bodies, to hold and be at one with drum and sticks using their legs, arms and position, was strong, graceful and balletic in pose. Kodo’s set pieces were immersive and astonishing in sound. Complex, completely choreographed and composed to feature the most minute of tone having significance, it was frankly a mystical experience. Watching and meditating on the different sized drums and beats, whilst they crescendoed and fell, multiple layers of imagery came to mind. From the forest, to the waterfall, to rain, to the sound of swarming bees, to an ancient temple, and to being at one with the earth, in a timeless dimension.

Indeed, we were wished good fortune by one of the ensemble, as the hushed audience (with photo and video camera phones prohibited) were spellbound by the global majesty of the sound as it rose and fell. The sound of a flute provided a softer, sweeter counterpoint with the tone also varied by metal percussion, while the lighting enhanced the experience too.

The visuality of the ensemble’s black and white costume, contrasting with the light and shadow, showing the concentration of each drummer against blue lighting, meant that even from the back, the audience could focus on an individual and attune and ally themselves with their performance. Indeed, the symbolism of light and shade, black and white, the majesty of the drums as well as the sound surround, enveloped the soul.

Tonight's programme, precisely and proudly curated by Director Yuki Hirata, featured the 2025 opener 'Prologue' by Hirata, that gave an immediate sample of Kodo’s sound, before moving on to Hirata’s other compositions, 'Shine a Light' (2019) and 'Rejoice' (2024). These were followed by Mitsuru Ishizuka's 'Stride' (2010), Yuta Sumiyoshi's 'Sepia Foothills' (2024) and Kodo’s arrangement of the Traditional 'Kiyari, Miyake', as well as ending Part 1 with Keiko Harada's 'E from Oni' (2022) plus Maki Ishii's 'Monocrome' (1976).

Personally I found the visual and sound purity of the first set remarkable. Totally immersive, with the dimly lit experience adding to the atmosphere, as well as being delighted in seeing their female members play. Part 2 contained more visual and sound magnificence, namely Sumiyoshi's 'Demon Scales' (2023) and Koshiro Hino's 'Ten-Ten, Games' (2021), ending with Kodo's traditional arrangement of both 'O-Daiko' and 'Yatai- Bayashi'. To also see a lone figure, solitary in a white headband drumming a gigantic drum, at one with its rhythm, was hypnotic and a sacred experience .

Koto’s aim is missionary in both message and sound. They say connect myriad cultures and ways of life by reminding people of our common bonds as human beings. The energy from the sound emanating outward seemed to transcend the hall with a global reach. From the international multi-ethnic audience who were queuing post performance to buy their t-shirts and merchandise, it was demonstrable as to how deeply they too had been affected by Kodo’s astonishing performance. Indeed, each of Kodo’s drum beats seared the individual and communal human soul tonight. They were awesome!

Review, photos and video: Denise Lester