Koji Hasegawa sells out immersive drumming event behind the kit

Koji Hasegawa did not just play a set at RITTOR BASE in Ochanomizu, Tokyo. At Drumming Immersive feat. on May 6, 2026, attendees were placed directly behind his kit, close enough that earplugs were handed out before the first downbeat. The format sold out as soon as tickets went on sale in early April, and that reaction says plenty about what drum fans are chasing now: not another distant stage view, but the physical blast radius of the kit itself.

The event was built as a two-part, 25-person-limited experience, split into an experience course for players and an observation course open to any attendee. That detail mattered. This was not a general-purpose clinic or a standard live show dressed up with a new name. It was designed around the drummer’s actual seat, the place where the twin-bass weight, cymbal height, and stick rebound all hit at once. Hasegawa’s signature 26-inch twin-bass setup gave the whole thing a hard edge, and the close placement made the audience hear the kit the way a drummer hears it, not the way a room mix usually smooths it out.

Hasegawa’s own track record helps explain why the format landed so fast. His official biography says he was born in Tokyo on April 4, 1965, began drumming in elementary school, passed THE ALFEE’s support-drummer audition on October 14, 1983, and joined the band’s support on the December 17, 1983 OVER DRIVE tour show at Shibuya Kokaido. From there he became known as one of Japan’s most prominent high-speed twin-bass drummers, later backing acts including T.M.Revolution, abingdon boys school, and Kinniku Shoujo Tai.

The setup also lined up with his gear identity. A TAMA artist page lists dual 26x16 bass drums, while the promotional materials tied the event to Zildjian cymbals and the kind of stage-ready rig that rewards close inspection. By the time the show was over, Kozy Hasegawa’s official site was already framing the report as proof of the crowd’s excitement and the immersive atmosphere it created. That is the point: this was not just a packed room, but a sign that drummer-led coverage can move beyond the usual interview-and-performance template and turn the kit itself into the headline.