Formed in Fukuoka, Japan, Paledusk has rapidly become one of the most exhilarating and unpredictable forces in the international heavy music scene. Comprising vocalist Kaito, guitarists Daisuke and Tsubasa, bassist Akira, and drummer Seiya, the band effortlessly smashes the boundaries between metalcore, hyperpop, electronic glitch, and industrial rock. Known for their explosive, high-octane stage presence and chaotic studio production, they are completely rewriting the rulebook of modern alternative music. Fresh off their massive arena run supporting Japanese rock royalty ONE OK ROCK on the DETOX Tour, Paledusk has returned to Europe to claim the spotlight for themselves. We sat down for an exclusive chat with frontman Kaito backstage before their monumental headline concert in Berlin to talk about the 2026 European Headliner Tour, shifting from openers to leaders, and the invaluable lessons learned from their musical mentors.

The 2026 European Headliner Tour

The “Super Natural” Atmosphere: For this 2026 headliner run, you’ve brought along a heavy hitting lineup with Knosis, Greyhaven, and Headwreck. How did you curate this specific “vibe” for your first major European headline tour, and what kind of atmosphere are you trying to build for the fans?

To be honest, since this was our very first European headlining tour, we started out with a lot of anxiety because we just didn’t know how many people would actually show up for us. Because of that, more than anything, I was just incredibly happy that Knosis, Greyhaven, and Headwreck decided to join us on this run.

Ultimately, about half of the shows on the tour ended up completely selling out, and even the ones that didn’t sell out were packed with people. We are so proud of that. Sometimes it still feels like I’m dreaming, but it’s real—seeing so many people buying merch, singing along with every single band, and just enjoying the show is amazing.

As for the atmosphere we wanted to build, the live Paledusk experience is something you can only get at a Paledusk show—it can’t be replicated anywhere else. It has heavy parts, pop parts, fun moments, and deeply emotional, sad moments. I wanted to create an ensemble space built on those raw emotions where everyone could connect and experience it together. I really feel like we are achieving that on this tour, and it makes me incredibly happy.

Stepping into the Spotlight: You’ve spent a lot of time opening for massive acts like Bring Me The Horizon and Polaris. Now that you are the headliner in cities like Paris and Berlin, how has your stage production or “mindset” changed compared to being the opening act?

In the past, when we acted as the opener or support band, our main goal was to introduce Paledusk to the headliner’s fan base. We focused entirely on proving who we were so that the audience would want to come back and see us the next time we toured.

But for this tour, we are stepping into rooms filled with people who already know exactly who Paledusk is. On top of that, the other three bands on the bill are putting on absolutely amazing performances every night, so we have to bring our absolute best to ensure we aren’t outshone. While our core mindset of going out there and completely blowing the roof off the place never changes, I feel a much stronger sense of responsibility as the headliner now. We have to clearly show the crowd why Paledusk is the headlining act of this tour and leave them thinking we were the most incredible band of the night.

The Setlist Puzzle: With so many layers of hyperpop, industrial, and metalcore, which song from your discography has been the most difficult to translate into a live setting for a headline-length set?

There are a few different ways to look at this, but for me, songs like “I’m Sorry” and “Hagus” are the most difficult.

“I’m Sorry” is a major challenge because it’s a rock ballad. When I started this band, I always considered screaming and shouting to be my main weapons; I wasn’t originally the type of vocalist who sang emotional, quiet ballads. However, our guitarist keeps challenging me by proposing more experimental ideas, and I refuse to back down—I want to fight to match his vision. Trying to execute something that relies so heavily on clean melody and quiet emotion has really forced me to spend a lot of time facing music in a deeper way.

On the other hand, “Hagus” is difficult for a different reason. We know that so many fans, especially our newer listeners, are coming to the show specifically to hear that song. Because of that pressure, we feel a massive responsibility to deliver it perfectly. We don’t just want it to sound like the recorded version; we want the fans to leave thinking, “Wow, ‘Hagus’ is a great track on the album, but the live version is so much better.”

Supporting ONE OK ROCK (DETOX Tour 2025)

The Arena Challenge: Supporting ONE OK ROCK means playing massive arenas like The O2 in London and the Accor Arena in Paris. How do you adapt Paledusk’s intimate, high-octane energy to reach the person sitting in the very last row of a 20,000-seat stadium?

Back home in Japan, we naturally adapt to different sizes of venues. On our headlining runs we might play rooms for 2,000 to 3,000 people, and on the weekends we frequently play massive festivals for 20,000 or more, while still playing tiny clubs during the week. Because we shift back and forth so often, transitioning to a massive European arena wasn’t a jarring shock to our system.

However, looking at it strictly from a vocalist’s perspective, my approach has evolved. When we play tiny venues, it’s easy to just move violently on a cramped stage and focus purely on delivering raw, aggressive energy. But when you are standing on a massive arena stage, you have to realize your territory has expanded. Conveying emotion and making direct eye contact becomes vital. It sounds simple, but I make a conscious effort to look all the way to the back of the arena. I physically check to ensure the people in the very last rows have their hands up, and I actively call out to them—asking if they can see me and hear me. I do everything I can to make sure no one gets left behind.

The “Senpai” Influence: Taka and the rest of ONE OK ROCK are legends of the Japanese export scene. What is one piece of advice or one specific “pro move” you’ve observed while watching them perform every night that you want to incorporate into your own career?

They are phenomenal musicians who taught us so much about music, but the biggest takeaway for me actually comes down to basic human connection and team dynamics.

In Japanese culture, people can sometimes be a bit too polite or overly strict about age hierarchies and seniority. But watching ONE OK ROCK, the most impactful thing I saw was the profound level of mutual respect within the band. They genuinely care for one another and support each other, and that applies to how they treat their crew and staff as well. It sounds like a very simple concept, but seeing legends at their level prioritize that every single day taught me that genuine mutual respect is the absolute foundation of delivering a great live show. Implementing that mindset has become incredibly important for us as Paledusk navigates our own headlining tours.

Elisa Cutullè