Lola Amour Brings Filipino Soul to Two Sold Out Shows in Tokyo
Written by Odawni Villahermosa | February 06, 2026
Lola Amour | Photos by Odawni Villahermosa
Walking up to Heaven’s Door in Sangenjaya, Tokyo, a long line stretched toward the entrance, filled with fans bundled in puffer jackets and boots against the winter cold. At 7°C (44°F), Tokyo’s chill was unmistakable, yet the energy of the crowd was a totally different story. Even before doors opened, voices rang out in harmony as everyone waited in anticipation to hear “Raining in Manila” performed live by Lola Amour. Despite the cold, spirits remained high, turning the wait into a shared pre-show moment.
J.C.O.Y. | Photos by Odawni Villahermosa
The night opened with reggae performer JCOY, who quickly energized the crowd with a lively set blending English, Japanese, and Bisaya. His warm stage presence and infectious enthusiasm set the tone for the evening, easing the audience into the rhythm of the night and preparing them for Lola Amour’s long-awaited entrance.
As JCOY wrapped up his final song, anticipation reached its peak. Cheers erupted when fans realized the band was walking in from behind the crowd. Opening with “Saan Kakapit,” Lola Amour immediately established their signature sound with bold brass arrangements and a jazzy pop energy infused with unmistakable Filipino flavor. The intimacy of the venue only amplified the performance, making every note feel larger than the room itself.
Midway through the set, the band surprised the audience by welcoming Kokoro of Psychic Fever, a well-known Japanese boy band member, to the stage. The unexpected collaboration highlighted Lola Amour’s growing presence in Japan and further electrified an already enthusiastic crowd.
Photos by Odawni Villahermosa
When “Raining in Manila” finally began, the limitations of the small venue seemed to disappear. Packed shoulder to shoulder, fans swayed, sang along, and fully surrendered to the moment. Sensing the crowd’s excitement, the band leaned into the anticipation, deliberately delaying the fan-favorite saxophone solo subtly teasing the fans. When Jeff Abueg stepped forward to take center stage, the reaction was immediate. Cheers filled the room as the solo landed with full impact.
Shouts of “Isa pa!” (“One more!”) echoed repeatedly, met with playful honesty from the band: “Wala na kaming kanta” (“We don’t have any more songs”). Still, the night was far from over. After the set, fans lined up for photos and merchandise signing, the energy remaining high as band members laughed, smiled, and engaged warmly with everyone who approached them.
Due to overwhelming demand, Lola Amour performed a second sold-out show at Tokio Tokyo in Shibuya, a larger and more spacious venue. Despite the increase in size, the turnout was just as strong. The crowd was notably diverse, including many Japanese fans who did not speak Tagalog yet swayed along and stayed until the very end. This is clear proof of the band’s music transcending language and cultural barriers.
The sheer number of people in attendance spoke volumes. Filipinos traveled from as far as Shizuoka to witness the band live, turning the concerts into more than just performances. For many, the shows became a taste of home in a foreign land, a shared experience rooted in music, identity, and pride. With two sold-out shows in Tokyo and one in Osaka, Lola Amour’s presence in Japan may soon demand even bigger stages.
