In the spring of 2025, Iggy Pop returned to Japan for the first time in 17 years and 8 months--naturally, for a live performance. During this "Japan hiatus," Iggy and The Stooges released six studio albums:

"Préliminaires" (2009)
"Après" (2012)
"Ready to Die" (2013) *by Iggy Pop and The Stooges
"Post Pop Depression" (2016)
"Free" (2019)
"Every Loser" (2023)

"Préliminaires" marked a major shift away from rock, followed three years later by "Après," a chanson record that was rejected by major label Virgin and released on a smaller imprint. "Ready to Die," a hard rock album, served as the second and final release by the reformed Stooges. "Post Pop Depression," a heavy and introspective collaboration with stoner rock icon Josh Homme, was both a sequel and a closure to Iggy's late-'70s "Berlin period" works. "Free," a quiet and introspective album featuring jazz trumpeter Pan Amsterdam, and "Every Loser," a loud and aggressive record produced by young powerhouse Andrew Watt, all illustrate Iggy's fearless commitment to creative experimentation. Even with advancing age, his studio work shows no signs of artistic decline.

So what about his live performances? For fans in Japan, Iggy Pop's shows at the PUNKSPRING festival on March 30, 2025--his first in nearly two decades--and his April 2 solo headlining concert at Tokyo Garden Theater, his first such performance in Japan in 31 years, were long-awaited events. I experienced both from vastly different vantage points--mosh pit front and center, and then from the second-floor seats--and what stood out most was the strikingly updated ensemble. Though the setlist consisted mostly of Stooges-era songs written in the 20th century, the arrangements were undeniably modernized: thicker and heavier sounds, slower tempos compared to past live renditions, and a return to the original studio versions in structure and spirit. The addition of a two-piece horn section--trumpet and trombone--infused the music with new textures not present in the originals. The result was a swirling groove that reimagined the early-70s Stooges' self-proclaimed mission to "wipe out the '60s" as a 2025 evolutionary form--pure Iggy-style rock.

IGGY POP live tour 2025 member
Iggy Pop - vocal
Leron Thomas - trumpet
Corey King - trombone
Nick Zinner - guitar
Ale Campos - guitar
Seamus Beaghen - keyboards
Brad Truax - bass
Urian Hackney - drums

The track that most clearly symbolized this updated sound in the 2025 live setlist was undoubtedly "Raw Power." The heavy, drawn-out low chord riff in the intro brought to mind the original 1973 version. Back in 1972-73, live performances and rehearsal recordings already featured a much faster tempo than the studio version. Even when the reformed Stooges played it live with James Williamson, the BPM was significantly higher than on the original. But this time, the riff was played with intentional heaviness and restraint.

The guitarist performing that riff was Nick Zinner, known for his work with the American alternative band Yeah Yeah Yeahs. The band used a twin guitar setup, with Ale Campos--who is based in Miami, where Iggy lives--on rhythm guitar. The guitar sound crafted by this pair was thick and intensely focused on the low-mid range. With the trumpet covering the higher frequencies, the guitars and bass seemed to be fully committed to generating heavy low-end. Notably, instead of the iconic Marshall stacks, the stage was lined with three or four Fender combo amps (likely Deluxe Reverbs). Based on photos and videos, Nick wasn't using his usual Fender Japan Stratocaster from his Yeah Yeah Yeahs days. Instead, he opted for a GUILD semi-hollow body guitar (and reportedly a Gibson ES-335 during PUNKSPRING), which was clearly a deliberate choice.

Just from this guitar setup, I had assumed Iggy was giving detailed sound design instructions to the band--especially considering how, during the production of his 2016 album Post Pop Depression, he handed Josh Homme detailed notebooks from the Berlin era, meticulously sharing the sonic philosophy behind The Idiot and Lust for Life. So it seemed reasonable to believe he had a strong hand in shaping this tour's sound too.

However, when I spoke with Nick Zinner, he told me that Iggy simply asked the band to play. He explained that they themselves had spent a great deal of time and care working out how to make the sound feel authentic. In other words, the thick, heavy, full-bodied sound that defined this tour wasn't shaped by Iggy's direct instructions, but rather emerged organically from the band through trial and error--an approach driven by their own understanding of the material.

I also asked Nick whether the decision to arrange the songs in a way that closely resembled their original studio versions had been Iggy's intention. He responded that it was more of the band's own idea: they had asked themselves, as fans, what they would want to hear--and the answer was something faithful to the original. As Nick put it, "These songs are classics--godly even. So we tried to stay as true to the originals as we could."

That said, even if there were no explicit instructions from Iggy to the band, I believe his influence on the sound was still profound--beginning with the very selection of the band members themselves. The shift in personnel from the 2023 Montreux Jazz Festival lineup (including Sarah Lipstate and Greg F.) to this tour's configuration, featuring Nick Zinner and Ale Campos on guitar and a different rhythm section altogether, speaks volumes. I find it hard to believe that these changes were due solely to scheduling or logistical reasons. Rather, I think they reflect Iggy's evolving stage sound vision--and that this handpicked lineup was key to realizing it.

This also illustrates how the band--while receiving no explicit musical instructions--interpreted Iggy's intent through his choice of personnel and material. Their mutual discussion, deep respect for these "classic" tracks, and the desire to channel what fans truly wanted to hear resulted in a sound that felt both authentic and invigorated. The addition of a two-horn brass section sealed the reboot--offering a fresh, powerful resonance to Iggy's vintage catalog.

So, what kind of intent lies behind the setlist and sound design of Iggy Pop's 2025 live performances?

First, it's worth noting that the inclusion of many Stooges songs in the setlist was something Iggy himself explained in detail during his exclusive interview with RADIO NIKKEI in March. He clarified that many of the Stooges' songs were "written by myself alone" (likely referring to material from the second album) and that he doesn't really distinguish between his solo and Stooges work. He added, "Now that my career is entering its final stages, I really enjoy performing 'my songs.'" On top of that, he explained:

"... These Stooges were started in a local scene where the fight and the competition between the groups was who is the best on stage, was nothing about, we didn't think about making records at first, who is the best on stage, so that led us to, that led me to create music that would be very powerful live, and that's why the Stooges have lasted. So yeah, That's why there are so many Stooges songs in the setlist this time --That's all there is to it. I just wanted to kick some ass!"

This statement reflects Iggy Pop's present-day philosophy as he approaches the age of 78: he simply wants to deliver an explosive live performance using the music he originally created with that very goal in mind. But does that mean he's fallen into a nostalgic "golden oldies" mindset? Absolutely not.

"There's a song called 'LA Blues', while we do it, we're using tape, we're playing night clubbing on tape, in and out of the live Freak Out, to deconstruct, to mess up the song, to give it a feeling, a reaction of today, and so we're just bringing them into today."

This refers to the short improvisational segment that began with the March 24th Chicago show, now titled "Apocalypse." In many ways, this reflects the core theme of Iggy's current live performances: "dragging the Stooges songs into the present." This approach has two layers of meaning.

First, these songs were never meant to be nostalgic replays--they were built for live performance. And now, in 2025, they're being reinterpreted with contemporary sensibilities, equipment, and players. What's more, this evolution isn't only measured in the 50 years since their original release; even within the last couple of years, these songs continue to evolve.

Second, by placing these updated Stooges songs alongside new material, Iggy demonstrates that there is no real distinction in value between "old" and "new" in his repertoire--they all reflect the same artistic ethos.

Let's look at the first point in more depth. When it comes to this band, the standout feature is unquestionably the two-horn brass section. Jazz trumpeter Leron Thomas (aka Pan Amsterdam) first connected with Iggy when the latter played one of his songs on the BBC 6 show Iggy Confidential. Thomas went on to compose much of Iggy's 2019 album Free, establishing himself as a key creative partner. Joining him is New York-based singer-songwriter and trombonist Corey King. Both players, who also performed with Iggy at the 2023 Montreux Jazz Festival, are highly respected figures in the jazz and soul scenes. Their inclusion speaks volumes about Iggy's discerning taste.

What stood out to me was that, even with this horn section, there was no shift toward a lighter, more funk- or jazz-inflected sound--something that often happens when horns are added to a rock band. Instead, their presence was subtle yet impactful, never overpowering the rest of the ensemble. As mentioned earlier, the majority of the set was arranged and performed in a style close to the original studio recordings, with a heavy, mid-to-low-end sound built by the rhythm section and twin guitars. Within this robust sonic landscape, the horns added texture rather than flash.

In fact, when comparing this tour with Iggy's 2023 Montreux Jazz Festival set--where the band lineup was almost completely different save for the horns--you can hear that the tempos were faster and the overall sound lighter and funkier in 2023. The 2025 shows, on the other hand, emphasized thickness and weight. This suggests that Iggy is not only enjoying the new chemistry these songs take on but is also carefully evolving them.

A quick aside: there was once talk in the mid-2010s of "remaking" some of the Stooges' songs. These were tracks like "I Got a Right" and "Open Up and Bleed," which, despite being staples in the band's 1973-era live sets, were never properly recorded in the studio. Instead, they circulated in rough-sounding bootlegs. A plan emerged to finally record them in high fidelity. Although Iggy seemed personally interested, he wouldn't commit. Eventually, guitarist James Williamson took matters into his own hands--he went ahead and recorded the songs without Iggy, using guest vocalists for each track. The result was the 2014 album Re-Licked. If you allow yourself to speculate a little, it feels like Iggy, in 2025, is finally doing his own version of that idea--not as a studio remake, but as a live reinvention onstage.

Now, for the second point: pairing updated Stooges songs with brand-new material reveals something striking--there's no sense of "old vs. new." Iggy himself explained this in our exclusive interview:

"I play a couple from my latest album, From Every Loser, and those, they are very fresh. They stand up with the Stooges song, and the people who like those songs like the new ones just in the same way, but that wouldn't be true if I played the whole new album."

The two Every Loser tracks included in the setlist were the singles "Frenzy" and "Modern Day Ripoff." Both are fast-paced, guitar-heavy bangers that really get the crowd going. As Iggy noted, performing them alongside the classics--without any sense of awkwardness or disparity--underscores the continuity in his artistic vision. Time becomes irrelevant.

In a 1976 interview with the BBC, shortly after completing The Idiot and two years after the Stooges disbanded, Iggy reflected on the band's live sound with the following remarks:
> The Stooges' sound and stage performance had been his way of surviving
> It still was. That sound wasn't just music -- it was what kept him alive
> That's why he had to unleash it on stage -- for the audience, and for himself
That mindset doesn't seem to have changed at all in 2025.

Lastly, Iggy Pop's exclusive interview with RADIO NIKKEI will air in full as part of the special holiday program IGGY POP Invitational - The Complete Edition on May 5, 2025. In a relaxed and open atmosphere, Iggy discussed everything from his relationship with Japanese culture and his feelings about Stooges vs. solo songs, to behind-the-scenes stories about his BBC show Iggy Confidential, his creative drive, the music industry, and his connection with fans. Don't miss it--check it out!



IGGY POP LIVE setlist (2025.4.2 at TOKYO GARDEN THEATER, Tokyo Japan)
01. T.V. Eye (The Stooges)
02. Raw Power (Iggy and The Stooges)
03. I Got a Right (Iggy and The Stooges)
04. Gimme Danger (Iggy and The Stooges)
05. The Passenger
06. Lust for Life
07. Death Trip (Iggy and The Stooges)
08. Loose (The Stooges)
09. I Wanna Be Your Dog (The Stooges)
10. Search and Destroy (Iggy and The Stooges)
11. Down on the Street (The Stooges)
12. 1970 (The Stooges)
13. I'm Sick of You (Iggy and The Stooges)
14. Some Weird Sin
15. Frenzy
16. Apocalypse / Nightclubbing Mix
17. Modern Day Ripoff
18. I'm Bored
19. Real Wild Child (Wild One) (The Dee Jays cover)
＜ENCORE＞
20. Five Foot One