Today we’d like to introduce you to David Isick (Isaac)
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I asked every Japanese band in the 2012 SXSW roster if they wanted some extra gigs in Texas. In return, I asked for them to book some dates for me in Japan. I eventually learned that touring in Japan was quite challenging and could use a person like me to help bridge the gap. So I decided to live there and teach English for a short while before getting a visa in international relations/humanities. Since then I have booked dozens of international tours: taking Japanese bands to the western world and bringing the western world to Japan:
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
I had to learn the language. Though knowing English was a bit of a crutch in Tokyo, as many people wanted to speak English when meeting me – and subsequently I would often meet the most tenured professional in each building. In a society built on hierarchy and respect, not knowing the Japanese language proved to be an initial benefit for me in my professional life. It wasn’t until later I would begin to learn the language to connect with everyday strangers. This happened mainly because of my travels outside of Tokyo, where English isn’t spoken as much. After properly learning Japanese, it helped my business a bit and my social life a lot more.
Another major challenge were the difference in how the underground music scene runs here. In America the DIY scene often has promoters to help love things along. Here in Japan, most gigs are run in house – and direct knowledge with venues are required to help initiate and move things along. Venues in Japan are known as “Live Houses”, and are quite expensive to operate – but offer amenities that are frequently not available on the independent scene in the US: a person to run sound, a person to operate lighting, full equipment to rent (such as amps and drums sets), and promotion for the event.
It was a learning curve having to teach western acts the Japanese system – and ofcourse teaching Japanese artists the complexities (and often unorganized nature) of the western scene. Though I never get tired of watching them explore a new land for the first time!
Thanks for sharing that. So, maybe next you can tell us a bit more about your business?
I basically started Dead Foxx as a brand to promote live music in Texas, and then eventually migrated to Japan. While initially starting with hardcore music and other metal elements (as a promotion brand we hosted Hawthorne Heights in 2011-the first “big artist” I booked), but I then later branched out to all other forms of rock.
I tend to specialize in mathrock. Booking gigs with artists like Tera Melos, Tricot (Japan), Toe (Japan), Lite (Japan), Mothercoat (Japan), Dillinger Escape Plan, and many others.
Eventually I found footing on the Japanese music scene and was lucky enough to host Chon for a two week run and The Fall of Troy for their first ever Japan tour.
I’m also proud that I continue to represent Thomas Pridgen from the Mars Volta and his many solo projects and clinics that he brings to Japan.
I offer services to independent and underground bands (and even small labels) that want to tour Japan – and I am able to help carve out a promotional tour for them as a service, so they can gain new fans abroad. Megafauna (from Austin) came here in 2017 and played with Tricot (JP) and Chai (JP) – who were hugely popular at the time. Some artist may benefit from my previous working relationships and experiences. A band called Slept All Day (Austin) just left here, and we were able to meet members of Hoobastank! That was neat.
My team and I book bands of all genres and happy serve anyone looking to explore the Japan music scene.
Can you talk to us a bit about happiness and what makes you happy?
It really makes me happy to see artists witnessing a new country for the first time in their lives. That never gets old.
The concept of cultural exchange really keeps me going and wanting to perpetuate this never ending music culture. Creating new relationships, forging friendships, growing communities. That’s what it’s all about!
Pricing:
- $100-$200 per gig to tour manage.
- $300-$500 per show to book venue, rent gear, secure local support, and to promote the show.
Contact Info:
