View footage of Kan's residency here
Nick Cain reviewing Kan’s performance at Café Oto for The Wire:
“A fascinating and quite physical stage presence, he’s a curious mix of sweaty journeyman endeavour and flamboyant showmanship, switching easily from passionate, eyes-closed emoting to gurning leering invocations. His body tenses and uncoils in sympathy with the music, limbs curling and torso jerking laterally at irregular intervals, ducking away from and jolting back to the microphone... the magnetism of Mikami’s presence and the electricity of his performance amply convey the passion and emotion embedded in his songs, for all to see and hear.”
Spencer Grady reviewing Kan’s performance at Café Oto for the Record Collector magazine:
"Head thrown back and jugular veins pushing through skin, Mikami prowls the stage like a wounded tiger. But then that’s when a beast is at its most dangerous. While his songs are rich with traditional influences – English folk, American blues, Portuguese fado and Japanese enka – his schizophrenic exorcisms – guttural caterwauls, froggy croaks and plaintive whispers – are in a world all of their own. The theatricality of his gestures betray his career as an actor (he appeared alongside David Bowie and Ryuichi Sakamoto in Merry Christmas Mr. Lawrence); his energy seemingly boundless (this was the final night of a three-day residency), a vigour drawn deep from within and poured out in tempestuous tumult. And as he roars, he swipes at his guitar, summoning a series of staccato stabs and half-played notes that decay back into the silence from whence they came. By turn bone-chilling, irritating and beautifully romantic, Mikami’s music tears down the barriers erected by language. It’s clear what this maestro is saying – you only have to look at his face."
Images bellow taken at Cafe Oto by Gianmarco Delre
 
 
 
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