I want to listen to music at high volume through a high-quality sound system. But clubs are a bit too intense. I’d rather lose myself in the music in a more casual, relaxed setting—while also enjoying conversation and drinks. A record bar is the perfect fit for that kind of mood right now. We live in an era where we can listen to as much music as we want via streaming services, but vinyl still sounds better, and it’s packed with charms unique to analog media—from the design of the album covers to the very act of dropping the needle onto the record. In this series, we’ll visit the record bars that catch our eye and explore each one’s unique character and appeal. For our fourth installment, we’re heading to “LISTEN".
- Photo_Mikito Hyakuno
- Text_JAY
- Edit_Kazuki Sakaguchi
PROFILE
Born in Honmoku in 1987, he has lived in Yokohama ever since. Influenced by his mother, a music lover who adores rock and jazz, he grew up in an environment where music was always a part of his life from an early age. After leaving the foundation where he had worked since graduating from college, he moved to “ in Shibuya,Bar Music"After working there for about six years, he struck out on his own. In 2023, he opened the music bar "Listen" in Yoshida-cho, located near Noge—known as Yokohama's premier bar district."
Creating a musical space unlike any other in Yokohama, the city where I was born and raised.
—First of all, what kind of store is “Listen”?
We opened in November 2023 in Yoshida-cho, Yokohama. We’re located on the second floor of a building tucked away in a back alley, about a 6-minute walk from both Kannai Station and Sakuragicho Station. Yokohama has long been home to many establishments—such as jazz cafes and soul bars—where people can enjoy music and drinks. While I have great respect for the many legendary establishments that have shaped this “Yokohama spirit,” I also felt there should be a music bar where people could discover newer music. The whole idea began with my desire to open a bar like that right here in the city where I was born and raised.
—Could you tell us about your musical journey, Mr. Hasegawa?
My mother was a huge music fan; she used to frequent jazz cafes like “Down Beat” in Noge and “Minton House” in Chinatown, and I’ve heard she even worked at a record store at one point.
I took piano lessons from kindergarten through elementary school, and in sixth grade, I played Ryuichi Sakamoto’s “Energy Flow” and Chopin’s “Posthumous Nocturnes.” Even though I would go to lessons without practicing at all, thanks to my kind teacher, I was able to keep going, and I still love the piano to this day.
The first type of music I ever sought out on my own was hip-hop. I joined the basketball team in middle school and started watching the NBA, so my initial introduction to it was really through fashion. Back then, whenever I went to clothing stores that carried oversized clothes, they’d be playing hip-hop by artists like 2Pac and Jay-Z, and as I listened to it, I gradually got hooked.
I started collecting records in high school. I worked part-time to buy a turntable and practiced DJing. Once I got to college, I’d take MDs and tapes I’d recorded myself to local clubs and ask if I could DJ there.
—Was that when you gradually started to take an interest in music bars as well?
When I was a student, I majored in cultural anthropology. It’s a field of study where you deepen your understanding of culture by visiting various regions and experiencing local lifestyles and customs firsthand. Through those experiences, I came to realize firsthand that you can’t truly discover what’s interesting about a place unless you go there yourself.
I think it was that feeling that led me to start visiting jazz cafes and soul bars. My first experience at a music bar was at a place called “Bar MOTOWN” in Ishikawacho. The original songs—the beats and melodies later sampled in hip-hop—were playing naturally in the background. I remember nervously asking the owner, “What’s this song called?” Being able to naturally hear the music that served as the roots of hip-hop right in the town where I was born and raised made me feel like the town was teaching me something—or rather, it gave me a sense that everything was coming together.
After graduating from college, I took a job at a foundation that supports regional development on remote islands scattered throughout Japan. From Hokkaido to Amami, I traveled to various remote islands, but even then, I still found time to visit music bars whenever I could. One day, my encounter with “Bar Music” in Shibuya—a place I stopped by on my way home from work—became a major turning point for me.
—Why were you drawn to “bar music”?
“Bar Music” was a place where I could discover fresh music that was different from the black music I’d been listening to up until then. The owner’s philosophy—“low threshold, deep depth”—is firmly embedded in the music selection, giving me a sense of depth where everything has meaning. But what really drew me in was the venue’s broad appeal—it never forced that meaning on anyone, creating a welcoming space where everyone could feel at ease.
Rather than simply stating, “We play this kind of music here,” in a way that’s easy to understand, I find a certain indescribable subtlety—one that conveys the unique character of the place through the selection of each individual song and the owner’s personality—much more appealing. It was “Bar Music” that taught me that.
—And that’s when the turning point came for Mr. Hasegawa.
Around the time I had become a regular, I casually mentioned to the owner that “someday I’d like to run my own place.” Later, when a staff position opened up, he asked me, “Want to try working here?” That happened to coincide with my resignation from the foundation, so the very next day after I quit, I was already working at “Bar Music.”
“Bar Music” was a very no-nonsense music bar, with an approach that emphasized meticulous and thorough attention to every detail—from crafting drinks to providing service. Although the owner was strict, I learned a great deal from him, and that experience continues to shape who I am today. Even before the music comes into play, the comfort of the establishment as a dining venue and the creation of a space where people can relax are the fundamental prerequisites; only then can the bar’s dedication as a music bar truly resonate with customers. I remain grateful to this day for teaching me that standard.”
More than just being a regular customer or working there as a staff member, I feel that the very fact that I discovered a place called “Bar Music” holds great significance for me. Among the countless music bars out there, I happened to visit “Bar Music,” resonated with the owner’s values, and ended up becoming a regular. I can’t help but feel that this serendipitous encounter was almost as if I’d been drawn there by some kind of fate.
—Please tell us about your journey from your apprenticeship at “Bar Music” to starting your own business.
I’d always had a vague desire to go into business for myself, but I hadn’t worked out a specific plan. At the time, in addition to working at “Bar Music,” I was also working as a cashier at “Chigusa,” a long-established jazz café in Noge. However, when the COVID-19 pandemic hit, both places had to close, so I started working as a delivery person at a local liquor store to make ends meet.
Through that job, I was one of the first to hear that “ADLIB,” a jazz venue located where “Listen” stands today, was closing down. I thought it would be a shame for this place—which the previous owner had nurtured with such affection—to fall into the hands of someone with no connection to music. Since I’d always believed that if I were to run a shop, it should be in my hometown, this was an opportunity I couldn’t pass up. Driven by the determination that “I absolutely have to run a shop right here,” I did everything in my power and managed to secure the space.
The sounds coming from “Listen” weave together the history of the city.
—How did you decide on the name “Listen” for the store?
We considered some quirky ideas, like making up a new word, but in the end, we naturally settled on “Listen”—the simplest word of all. It immediately brings to mind a music store, and the way it sounds—like saying, “Let’s stop by Listen today”—gives it a friendly, approachable feel that’s easy to say. Above all, I was drawn to the very meaning of the word “Listen” (to listen/to hear). Lending an ear to both music and conversations with people—that’s the very essence of running a music bar, isn’t it? I felt that “Listen” was a word with universal value—one I want to pursue throughout my life.
For the logo, I asked someone who has long supported “Chigusa”—where I used to work—to design it by sampling the “MODERN JAZZ CHIGUSA” lettering from the sign. I hoped that this would be one way to carry on Yokohama’s history. I really like how it’s a little uneven compared to a standard font.
I also included a message meant to inspire myself to continue creating a store that lives up to the name “Listen.”
—That sentiment is also reflected in your attention to sound quality, isn't it?
Since I didn't have any expertise in sound engineering, I went to the DJ bar in Hachioji called “SHeLTeRI consulted with Mr. Mizoguchi, who handled the sound design for “Musica.” I’m using a 1988 Harbeth “HL5” as my speakers and a Sonus faber “Musica” as my integrated amplifier. I had been using the “Musica” at home, but pairing it with the “HL5” created a crystal-clear, expansive soundstage that was completely different from what I experienced at home. Even if no guests were to come that day, I’d be perfectly happy just listening to this sound all by myself.
—I got the feeling that this might be a combination you don't see very often.
“Making things as hard to understand as possible” is my philosophy. Of course, using a well-known, standard speaker might make it easier to show that I’m serious about sound quality. But I want people to experience music with an open mind, free from preconceptions. That’s something I’m always thinking about.
Even with the amplifier, customers told me it would be better to place it where it’s visible at first, but I absolutely didn’t want to do that. I think it’s a better experience for customers if they can listen to the sound with an open mind, free from any preconceptions.
Mr. Mizoguchi not only gave me advice on equipment but also helped with the construction of the DJ booth and the walls. While keeping the record racks, counter, tables, and chairs that I inherited from “Ad Lib” as they were, I’ve been selecting the lighting, decorative objects, and wall art myself, and I’m still going through a process of trial and error to create an even more comfortable space.
—What kind of vision do you have in mind when selecting songs?
”We want to bring you music that gives you chills”—that’s been our theme since we first opened. Lately, we’ve also been focusing on creating an immersive experience where, if you close your eyes, you might not even know where you are. Even though you’re in the same place, if you suddenly realize that completely different music is playing than just a moment ago and find yourself wondering, “Wait, where am I again?”—I think that would be really interesting.
Since I used to be a DJ, I place great importance on selecting tracks that flow naturally and match the vibe and atmosphere of the venue. With such a diverse crowd, I’m always mindful of not leaving anyone behind as much as possible.
We've published our store's playlist on Spotify, so I think listening to it will give you a sense of the records we carry and our approach to music selection.
—Has your approach to music changed since you opened the store?
In the past, I approached music more as a form of self-discovery—for example, even as a DJ, I used to seek out only music that resonated with my own worldview. But since “Listen” opened, I’ve started prioritizing above all else what I want to share with the customers here. I feel like my personal tastes and the selections I make for this store are starting to align nicely.
—Could you tell us which records you’ve been playing a lot at the store lately?
Starting from the top left and moving clockwise: James Blake, *Trying Times*; Small Circle of Friends, *SLOW*; SILENT POETS, *Hope*; kadan, *CASA*; Sufjan Stevens, *Mystery of Love*; Kip Hanrahan, *Vertical’s Currency*
First up is “CASA” by Kadan. When you play music in the store day in and day out, all year round, you start to realize which records resonate most vividly with each season. The track “Distance” is about summer, and I find myself wanting to drop the needle on it over and over again this time of year.
Sufjan Stevens’ “Mystery of Love” is a song that immediately brings to mind summer scenes, as it was used as the theme song for the movie *Call Me By Your Name* (Japanese title: *Kimi no Namae de Boku o Yobe*). I really like the B-side track, produced by Doveman, with its poignant and compelling sound, and I play it often.
There are some records I’ve always liked, but my attachment to them has grown even stronger since I opened the shop. One of them is Kip Hanrahan’s *Vertical’s Currency*. The opening tracks on both Side A and Side B are both precious songs that completely transform the atmosphere of the shop. Kip’s music feels like it connects with the fragrant air of the street right in front of us as we walk down the shop’s stairs.
I’ve been playing James Blake’s *Trying Times* almost every night since it was released. As the title suggests, it’s a powerful work that lets you witness a person’s life as they navigate the balance between endurance and breakthrough. The final track, “Just a Little Higher,” in particular, gives you the strength to look toward tomorrow without succumbing to the difficulties right in front of you.
And besides that, there are some cherished pieces—which I’d call my “soulmates”—that I’ll likely keep listening to for a long time to come.
One is *Hope*, a 2025 album by SILENT POETS, led by Noriharu Shimoda. When I first heard it, I thought, “What a powerful piece of work this is.” No matter how many times I listen to the title track, “Hope,” it feels like a new world opens up before my eyes, and tears well up in my eyes. It’s my dream to invite him to the store someday, in whatever form that may take.
Another is *SLOW*, released in 2025 by Small Circle of Friends, who have been performing live here every year since we opened. It’s an album that serves as a guiding light for listening to music as part of daily life, and I listen to it as if letting it seep into my very being. Like a secret phrase for nurturing love, I’d like to share *SLOW* with as many people as possible right here.
—Please tell us about the drink and food menus as well.
We offer a standard menu, but the selection of alcoholic beverages we carry has been gradually evolving to suit our customers’ tastes. While we used to have an extensive selection of awamori, we’ve recently been gathering a variety of spirits from all over Japan. Examples include “Nekka,” a rice shochu I discovered at a spice curry restaurant in Aizu, Fukushima, and “TEEDA,” a craft rum from “Helios Shuzo” in Nago, Okinawa. It’s so much fun to seek out and purchase locally rooted spirits while traveling.
Our food menu features our homemade Gorgonzola Basque cheesecake and salted caramel ice cream. They pair perfectly with whiskey, rum, and other spirits, and make the ideal dessert for your second or third stop on a night out, so we hope you’ll give them a try.
Cheesecake ¥600, TEEDA ¥1200
—What's your recommended drink?
We’re serving an original cocktail of the same name, inspired by the song “Sonachine” by Tempalay. Made by mixing tomato vinegar with shochu and soda, and garnished with a slice of lemon, this drink is characterized by its refreshing taste. Drawing inspiration from the Takeshi Kitano films that served as the motif for the song, we’ve crafted a red cocktail reminiscent of the color of blood.
Sonachine ¥900
Back when I worked at “Bar Music,” late-night Chinese food after work was a regular thing. The tomato-vinegar sour I used to drink back then has stayed in the back of my mind, and I’ve been thinking I’d like to serve it once I open my own place. People often think of bars as places with expensive, specialty cocktails, but I figured it would be nice to have a sour like this that you can order casually.
—I feel like this resonates with the idea behind “Bar Music” that “the threshold is low, but the depth is great.”
Yokohama has its own unique culture of “citizen pubs,” which originated in the early Shōwa period. These were beloved as places of relaxation where workers could enjoy affordable, delicious food and drinks before and after work.
A place where you can relax isn’t necessarily limited to quiet spots, is it? Even though that late-night Chinese restaurant in town was always bustling with noise, there was definitely a sense of relaxation there. Just like a neighborhood pub, “Listen” aims to create an atmosphere where local residents can enjoy a casual drink without any pretension—a place where they can truly unwind.
—In Yokohama, I feel a strong sense of community ties in each neighborhood. Are you aware of these local connections?
That’s right. Since I opened the shop, I’ve been connecting with other genres—like food and fashion—in addition to music. I’ve DJed at anniversary events for nearby shops, and just the other day, I participated as a DJ at a solo performance by a friend who’s a rakugo storyteller, selecting tracks during the time leading up to the show. I’d like to keep taking part in more opportunities like that in the future.
On the other hand, right now I just want to keep things running as usual, without any fuss. At music bars, it’s become the norm to invite guest DJs and host events, but the vibe and atmosphere of those events are completely different from day to day, aren’t they? Instead, I want to cherish that ordinary, everyday experience—where you walk into the bar and see the familiar owner there, and the usual atmosphere is just there. I think that’s where a deeper sense of what makes “Listen” unique will naturally emerge.
—Finally, could you tell us about your future plans?
It’s not as dramatic as calling it a “sense of responsibility,” but as someone who was born and raised in Yokohama and still lives here, I feel there’s a special significance to the fact that I started “Listen.” I want to carry on the spirit that the city of Yokohama has nurtured and become a part of that context. For example, at “Bar En,” an authentic bar in Motomachi, the owner used to work at the legendary bus bar “Jack Knife” on Yokohama’s waterfront and at the reggae bar “CROSS ROAD” in Shin-Yamashita. I want to hear more stories—the kind you can only hear from the people who’ve shaped Yokohama’s culture—and, while soaking up that atmosphere and charm, make “Listen” a place that can play a small part in that history.
LISTEN
Address: 2F, 3-9 Yoshida-cho, Naka-ku, Yokohama, Kanagawa Prefecture
Hours: 5:00 PM–12:00 AM (Mon–Sat); 3:00 PM–11:00 PM (Sun)
