"Shogun of the blues"
- Clint Eastwood
at Kennedy Center Honors

"Shun Kikuta, an impressive young Japanese guitarist"
- Living Blues (U.S.A)

"Shun Kikuta channels the crying vibrato of B.B.King one minute and the piercing attack of Albert Collins the next"
- Chicago Tribune (U.S.A)

"Shun Kikuta, a fine Japanese guitarist who has the absorbed the classic Chicago sounds and play them with the feel and confidence"
- Blues & Rhythm (UK)

"Shun is a world blues ambassador"
- Blues Asia Network
(Philippines)

*From Birth to the Utsunomiya Years

Shun was born at 11:30 a.m. on September 8, 1966, in Utsunomiya City, Tochigi Prefecture, Japan. He was a large baby, weighing 3,750 grams.

Because his father was a man of many interests who enjoyed playing classical guitar and organ, his awakening to music came early. When he was in the second grade, he was deeply moved after hearing Mozart’s Turkish March in music class, and begged his parents to buy him his very first record. He began playing his father’s classical guitar in the fourth grade. By imitating what he saw, he memorized the positions of the notes and practiced simple études on his own. By the sixth grade, he was able to play the classical masterpiece Romance (Forbidden Games).

”Back then, my right-hand finger movements were slow at first because I had just learned them, but after sleeping one night, I was suddenly able to play smoothly and much faster the next day―it surprised even me. Now I really realize how amazing it is to be young.”

After entering Miyanohara Junior High School, Shun became deeply absorbed in folk music alongside classical music. In the latter half of junior high, he got into fusion, and upon entering high school, he leaned heavily toward hard rock and began playing electric guitar. His first electric guitar was a Greco Stratocaster-type model, which he bought for 37,000 yen, roughly US$150. He was strongly influenced by Eddie Van Halen, Gary Moore, Michael Schenker, Steve Lukather, Randy Rhoads, Masayoshi Takanaka, and Larry Carlton. 

“I was a high school baseball player, so I’d come home from practice, eat dinner, take a bath, go straight to bed, then wake up around 4 a.m. and practice guitar until it was time to go to school. That was my high school life.”

Shun decided to become a professional musician sometime between his first and second years of high school. 

“One day in my senior year of high school, during a career counseling session with my homeroom teacher, Mr. Akihiko Kuroko, I worked up the courage to tell him that I wanted to become a musician. He looked quite surprised, but he listened seriously as I explained how committed I was to pursuing music and how much I loved American music. After thinking for a while, he said―on the condition that my parents would agree―that it might be best for me to go to America and study music there. He told me that was probably the best way to learn the real thing. Until then, I had only vaguely thought about what I would do after graduation, but after that conversation, I began seriously exploring the idea of going to the United States. My mother was opposed at first, but my father, who understood me from the beginning, eventually persuaded her, and my study abroad in America became a reality.”

*Studying at Berklee College of Music and the Encounter with the Blues

After graduating from high school, Shun spent a year in Tokyo preparing to study abroad, and in May 1986 he left for Berklee College of Music in Boston, USA.

“Boston in late May had beautiful weather, with strong sunlight. I still clearly remember how Boston Common looked sparkling as I watched it from the taxi.” 

At Berklee, he majored in Professional Music. At first, he barely understood English and couldn’t grasp what the instructors were saying, but with the help of his dorm roommate Jeff and several classmates, he somehow managed to keep up with his classes. He was often overwhelmed by the high level of musicianship.

“Berklee draws students from all over the world, so the level is incredibly high. Some students were even pulled into their instructors’ bands and went on tour or into the studio with them. I often felt anxious about the gap between their level and mine.”

Toward the latter half of his first year, a senior student recommended him to listen to LIVE AT THE REGAL by B.B. King. Encountering this album would go on to dramatically change the course of Shun’s life. 

“You could feel raw emotions―sadness, joy, anger, compassion―coming straight through the music. It really shook me to the core. The blues are simple but speak directly to your emotions, and that’s incredible. Especially on guitar, I instinctively felt that blues were far cooler than jazz.”

At the time, there were several used record stores around Berklee, and he bought jazz and blues albums one after another, listening to them obsessively and going out to live shows as well. Being able to see hundreds of jazz and blues artists perform live―including Miles Davis, Wayne Shorter, Art Blakey, Joe Pass, B.B. King, Buddy Guy, John Lee Hooker, Johnny Winter, and Etta James―became an invaluable experience for Shun.

While studying at Berklee, he performed with musicians who would later become leading figures and educators in the jazz world, including Roy Hargrove, Antonio Hart, Mark Whitfield, Mark Turner, Masahiko Osaka, Junko Onishi, Koichi Osamu, Hiroshi Kanda and Geila Zilkha. At his Berklee graduation ceremony, receiving his diploma from special guest George Benson remains a memorable experience for Shun. 

In 1989, just before graduating, he visited Chicago, the capital of the blues. He saw Buddy Guy perform live at Buddy’s club, Legends, and at blues clubs throughout the city, many blues bands were playing every night.

“First of all, I was amazed by an environment where blues were everywhere throughout the city. Buddy’s live show was absolutely incredible. And when you walked into a club, the staff would greet you with ‘Hi’ or ‘How are you?’―something that never happened in Boston. I loved that friendly atmosphere too. That’s when I decided that after graduating, I would move to Chicago.”

*To Chicago: The Apprenticeship Years as a Street Musician

Soon after arriving in Chicago, he rented a room in a condominium owned by a Jewish landlord for $200 and began working part-time at a Japanese restaurant. At night, he went out to jam sessions at places like Rosa’s Lounge, Wise Fools Pub, and Blues Etc., sitting in on jams or asking bandleaders at clubs if he could join them onstage for one or two songs. That became his daily routine. However, about two months later, he was fired from the Japanese restaurant. Just as he was struggling to figure out what to do next, Mike, a bassist he had met at a jam session, invited him to play together on the street.

“Mike showed me how to go to City Hall, pay $25, and get a street performance permit valid for one year. For street playing, you also needed a small battery-powered amp, but I didn’t have any money. So I traded one of the two guitars I owned at the time―my first-ever guitar, a Greco that I was really attached to―at a music store and got an amp instead. With my only remaining guitar, a Gibson ES-345, and that battery-powered amp, I started playing on downtown State Street and inside Washington Station. It was right before Christmas, and in just a few hours of playing, I could make about $150 in tips. I thought, ‘This is way better than working at a Japanese restaurant!’ But reality wasn’t that kind (laughs). After Christmas, people really tightened their wallet, and even after playing for hours, I’d only make two or three bucks. I often paid my train fare and then spent what little money I had left on just a single slice of pizza.”

It was around that time that he landed his first gig in Chicago―a paid live performance. Tony Mangiullo, the owner of Rosa’s Lounge, recommended him to join the band of Chicago blues legend guitarist Louis Myers. As soon as the performance began, Louis walked right up to him, shouted, “No, not like that―do it like this!” and started playing the basic rhythm pattern known as “the lump and bump.” Seeing the audience seated in front of him chuckling, Shun felt the blood rush to his face in embarrassment.

“I had this overwhelming urge to just stop playing and go home (laughs). I thought, ‘What a terrible old guy.’ But in reality, I was the one who was still immature and couldn’t properly play the old school Chicago style yet. From Louis’s point of view, he was probably thinking, ‘Why is Tony sticking some Asian kid who can’t even play real blues with me?’ (laughs).”

Despite such a harsh first gig, he wasn’t fired thanks to the goodwill of Louis and Tony, and he continued to play with Louis every Sunday, gradually gaining experience. After a few months, Louis began to warm up to him and even taught him how to play certain chord parts within songs.

One day, Louis’s old friend―legendary harmonica player Junior Wells―dropped by the gig. Junior stepped onto the stage, grabbed a microphone, and suddenly started playing harmonica. Shun was so startled his heart nearly jumped out of his chest, but this kind of spontaneity was exactly what defined the Chicago blues scene. After the set ended and he was sitting at a table, Junior soon passed by him. 

“Our eyes met, and just as I thought I should say something, Junior cut me off and said, ‘Don’t call me Mr. Wells. Call me motherfucker,’ with a grin. Asking someone you’ve just met to call you ‘motherfucker’―I’d never met anyone like that before. I was so shocked I nearly fell off my chair, then burst out laughing, and instantly liked Junior. There’s no one else like him. It was a pretty shocking first encounter (laughs).” 

Junior then added words that Shun still holds as a guiding principle in his life as a musician: “Listen―don’t play just for yourself. Play with the band and with the audience. Do that, and you’ll be fine.”

*A Life of Constant Gigs, CD Releases, and Joining Junior Wells’ Band

Chicago truly lives up to its reputation as the capital of the blues. The city is home to countless blues clubs, with blues bands playing every night. As Shun gradually became part of the local blues scene, gig offers began to come his way. Below is a list of key developments from this period.

1990
On the recommendation of Tony Mangiullo, owner of Rosa’s Lounge, Shun joined the Sunday night performances of the Louis Myers Band. From there, he went on to play with the bands of Johnny Little John, Lurrie Bell, Tommy McCracken, Big Time Sarah, and others.

1991
Participated in the CD CHICAGO BLUES NIGHT (GBW).

1992
Toured Italy for one month with the Chicago Blues Night Band. Performed as the opening act for B.B. King at the Rocce Rosse Blues Festival on the island of Sardinia.

After that, he joined the band of J.W. Williams and, until around 1994, became a regular performer at venues such as Kingston Mines, B.L.U.E.S. on Halsted and Artis’s Lounge playing five to six nights a week. At Legends, he also had the opportunity to perform alongside Buddy Guy. 

Around that time, Shun received an offer from Japan’s King Records to produce an album, and in 1994 he made his debut with FUNKY BLUES.

“Junior Wells agreed to appear as a guest on the album, which led to us recording together. I never imagined I’d get to record with Junior, so I honestly didn’t believe it until he actually showed up at the studio that day (laughs). That experience brought us closer, and the following year, in 1995, Junior invited me to join his band. I took part in a roughly six-month tour across the United States and Canada, where I was able to experience blues scenes outside of Chicago. It was a memorable tour that really reaffirmed Junior’s greatness.”

The following year, his first album as a bandleader, THEY CALL ME SHUN, was released, featuring a guest appearance by Otis Rush, whom Shun deeply admired. 

“For a blues guitarist, Otis is like Mount Everest. Not only was it an honor to have him appear on my album, but he and his wife Masaki were incredibly kind to me both professionally and personally. I can’t express enough gratitude.”

Major highlights from this period include:

1994
Participated as producer and guitarist on FUNKY BLUES (Frank Collier Band featuring Shun Kikuta and Junior Wells) and TRIBUTE TO MAGIC SAM (both released by King Records). Made his major-label debut. Also performed at Chicago’s Soldier Field following the World Cup soccer knockout match between Germany and Belgium.

1995
Released his first leader album THEY CALL ME SHUN (King Records), featuring major figures of Chicago blues such as Otis Rush and Junior Wells. That same year, he joined Junior Wells on a U.S. and Canada tour. Shun later recalled this as an invaluable experience, marking his first exposure to major blues scenes outside Chicago.
In May, he performed at the Japan Blues Carnival.

1996
Released his second leader album CHICAGO MIDNIGHT (King Records), featuring guest appearances by the “Queen of the Blues,” Koko Taylor.
Appeared at the Park Tower Blues Festival in Shinjuku, Tokyo, performing alongside J.W. Williams, Makoto Ayukawa, Fumio Ishikawa, and others.

1997
Released LIVE!! THE 3RD PARK TOWER BLUES FESTIVAL ’96 (King Records). TRIBUTE TO MAGIC SAM was released nationwide in the United States by Evidence Records.

1999
Participated in Otis Clay’s Japan tour, performing in Tokyo, Sapporo, Sendai, Osaka, and Fukuoka. After returning to the U.S., he also joined Otis Clay’s Mississippi tour.

2000
Released HEART AND SOUL (M&I Company), featuring guest vocalist Nellie “Tiger” Travis. Appeared at the Japan Blues Carnival.

*Joining Koko Taylor’s Band: Stepping onto the World Stage, Participating in a Grammy-Nominated Album

Shun’s encounter with the legendary female singer known as the “Queen of the Blues,” Koko Taylor, dates back to 1996, when she appeared as a guest on his second leader album, CHICAGO MIDNIGHT. It would take another four years before they met again.

“One night in 2000, while I was playing at Kingston Mines, Koko came by and sat in the very front row. I recognized her immediately from the stage and played with more intensity than usual. After the set, I went down to greet her, but it seemed she didn’t remember the recording we had done four years earlier―she greeted me as if we were meeting for the first time, saying, ‘Nice to meet you.’ When I handed her my business card, she smiled and said, ‘Alright, I’ll call you. Remember who I am,’ and then headed home.”

About three months later, Shun received a call from Koko. “This is Koko Taylor―do you remember me? I wanna ask you to work with me.”

He ended up playing two shows as a substitute guitarist in her band.

“When the music started, I was overwhelmed by her sheer power―she drove the band forward with a strength that was almost masculine. When she shouted, the force of her voice blasting from the stage monitors felt like a log flying straight at me, making me instinctively lean backward. I’ve never experienced anything like that before or since―only Koko. And yet, once the show was over, she smiled warmly and asked in a friendly way, ‘So, did you enjoy working with me?’ I barely had any room to enjoy myself, but when I said, ‘Yes, I did,’ she replied, ‘That’s good. I’ll call you again. I enjoyed playing with you,’ and I remember feeling a huge sense of relief.”

About two months after that live performance, Koko contacted him again―this time to ask if he would join the band as a full member.

“At the time, Koko owned a club on Wabash Avenue, and she called me into her office and told me she wanted me to join her band. I felt like I was on top of the world. I told her right there how honored I was and accepted immediately. That’s how I became a member of Koko’s band, the Blues Machine.”

From that day on, Shun spent nearly ten years performing with Koko.

Joining Koko`s band dramatically expanded Shun’s career onto the global stage. Through her, he appeared at many major festivals and clubs around the world.

Some of the most notable include: Lucerne Blues Festival (Switzerland), Notodden Blues Festival (Norway), Tremblant International Blues Festival (Canada), Legendary Blues Cruise (Mexico and the Caribbean), Air Jamaica Jazz & Blues Festival (Jamaica), U.S. Presidential Inauguration (President Bush), Star Plaza (with B.B. King and Bobby “Blue” Bland), Gijón Blues Festival (Spain), New Orleans Jazz & Heritage Festival (New Orleans, USA), B.B. King Blues Club, House of Blues.

In 2007, Shun participated in Koko Taylor’s album OLD SCHOOL, released by Alligator Records. The album was nominated for the 2008 Grammy Award in the category of Best Traditional Blues Album. 

In the same year, RISING SHUN (Yotsuba Records) was released, featuring guest appearances by Koko, Billy Branch, J.W. Williams, Gerald McClendon, and Jamsbee, among others.

“Since joining the band, it had always been my dream to play on one of Koko’s albums, and I really wanted to make it happen. But Criss Johnson, the arranger and guitarist, had been deeply involved in Koko’s recordings for many years, so I had half given up, thinking I might never get the chance. That’s why I was truly happy when, thanks to Bruce Iglauer, president of Alligator Records, the opportunity to participate in OLD SCHOOL finally came my way.”

*Performing with B.B. King on a Television Program

October 23, 2003 became a particularly shining and unforgettable day in his musical life. A PBS television program titled An Evening with B.B. King was produced, exploring the life of B.B. King, and Shun was invited to serve as the bandleader for the performance. 

The program was hosted by Isaac Hayes, who interviewed B.B. King as the show progressed. On the screen, footage of B.B. King’s early-1970s stage performances was shown, with B.B. singing “The Thrill Is Gone.” When Isaac asked him, “I think everyone here would love to hear you play―how about it?” B.B. replied, “Well, OK,” picked up Lucille―the beloved guitar Shun had handed him―and began playing with the band. 

When the performance ended and the audience erupted in applause, B.B. first said, “Thank you. Please give a hand to this wonderful band,” praising the musicians. Then, turning to Shun, he added, “That young guitarist is just like B.B. King. If I ever make an autobiographical movie, I want you to play the young B.B. King.”

Later, backstage after the show, B.B. found Shun and motioned for him to sit beside him. Holding his hand, B.B. said with a laugh, “You really know B.B. King. You’re a very good guitar player―a light-skinned B.B. King.” Feeling the warmth of B.B.’s large hands, Shun experienced one of the greatest moments of his musical life. 

“B.B. King wasn’t just the King of the Blues to me―he was the person who first taught me how wonderful the blues could be, and the mentor who gave me the motivation to play blues in Chicago. Meeting him and playing together had been a distant dream, one I never thought might actually come true. And yet it did. It’s no exaggeration to say that it was the greatest day of my musical life. I remember his words and the warmth of his hands as if it were yesterday. He was such a warm and generous person. Being encouraged by Mr. King and spending nearly ten years in Koko’s band―being recognized by both the King and Queen of the Blues―gave me tremendous confidence. I feel nothing but gratitude.”

*Appearing in The Blues, Directed by Martin Scorsese

THE BLUES MOVIE PROJECT is the largest blues documentary film project ever made, created to commemorate the 100th anniversary of the birth of the blues by seven renowned directors, including Martin Scorsese and Clint Eastwood. The series became a major topic of discussion among blues fans worldwide. Shun appeared with Koko Taylor in Episode 6, Godfathers and Sons.

“I had no idea it was for a movie. When I went to Koko’s club, ‘Celebrity,’ there was already a TV crew there, and the lighting and camera setup were nearly finished. The place was packed with filmmakers, music industry people, and blues fans―so full you could barely move, and the atmosphere was electric. A few months later, while I was on tour, the film aired on television. I saw myself on the screen and only then realized it had been a movie shoot (laughs).”

*Seriously Injured in a Major Accident While on Tour

In August 2008, while touring with Koko Taylor, Shun was involved in a serious car accident in Black River Falls, Wisconsin. He was thrown from a tour van that crashed into a concrete wall at a speed of approximately 75 mi/h. He miraculously survived, despite suffering four fractures to the left side of his face and a dislocated right hip.

After undergoing reconstructive surgery on the left side of his face and extensive rehabilitation, he returned to performing two months later. The accident became a life-changing event that profoundly altered his outlook on life. Koko was not in the van and was unharmed, but all of the band members suffered serious injuries, and ultimately, two of them were never able to return to the band before Koko’s passing the following year.

“I hit my face so hard that the bones were fractured, and my right leg was pulled out of its socket―yet I had no damage to my brain, neck, or nerves, and no lasting aftereffects. I really felt like something was protecting me. I was able to return to performing like this, so it truly feels like I was given a second life.”

*Appearing at the Kennedy Center Honors and Receiving the Title ‘Shogun of the Blues’

In December 2008, Shun appeared at the Kennedy Center Honors, the prestigious year-end event often described as “where New York’s money, Washington’s power, and Hollywood’s charm come together.” Among those in attendance were then–President George W. Bush and First Lady Laura Bush, Secretary of State Condoleezza Rice, former Secretary of State Colin Powell, and an array of leading figures from politics, music, and film, including Aretha Franklin, Quincy Jones, Clint Eastwood, and Denzel Washington.

Shun was selected as guitarist and bandleader for a mixed ensemble of legendary blues artists, including Koko Taylor, Honeyboy Edwards, Pinetop Perkins, and Willie “Big Eyes” Smith. Serving as the evening’s MC, Clint Eastwood introduced each band member over the microphone. When it came to Shun, he said:

“Traveling the world and continuing to perform―the Shogun of the Blues, Shun Kikuta.” 

“Mr. Eastwood is deeply knowledgeable about jazz and blues and has made films centered on music. To be introduced by such an extraordinary actor and director as the ‘Shogun of the Blues’ was truly an honor. Since then, I’ve used ‘Shogun of the Blues’ as my personal tagline.”

*The Passing of Koko Taylor and Turning His Focus Toward Asia

In June 2009, Koko Taylor passed away peacefully at the age of 80. Shun, along with her family and band members, was at Northwestern Memorial Hospital in Chicago to see her off. Koko had been like a mother figure in the blues world to him, and they had worked together for nearly a decade. Her passing, combined with personal struggles he was facing at the time, gradually shifted Shun’s gaze beyond Chicago.

Through his annual visits to Taiwan and with the support of Tom Colvin, organizer of the Blues Asia Network, Shun began to focus seriously on expanding his activities throughout Asia.

These opportunities marked the beginning of his full-scale commitment to working in Asia.

“If Koko was still alive, I would without a doubt still be living in Chicago. But after she passed away, it left a hole in my heart. At the same time, through my continued appearances at the Taiwan Blues Bash since 2005, I was gradually becoming captivated by Asia. I had lived in the U.S. for many years and traveled extensively throughout North America, Europe, and Central America, but outside of Japan and Taiwan, I had no experience performing elsewhere in Asia. I could feel the blues scene in Asia slowly gaining momentum, and I felt that by sharing what I had experienced in Chicago, I might be able to contribute something meaningful. That’s why, starting in 2011, I decided to devote myself seriously to activities in Asia.”

*Expanding Activities Worldwide, with a Focus on Asia

After establishing Asia as his primary base, he began performing regularly at festivals and long-established live music venues across the region, while also launching new projects with newly formed units. Notably, he expanded his activities beyond Asia as well, becoming a regular performer at the Chicago Blues Festival and undertaking extended tours of France, thereby building a solid foundation for his career as a solo artist.

The main highlights from this period are outlined below.

2011
Shun received the Chicago Music Award as a member of J.W. Williams & the Chi-Town Hustlers.
He performed at the Japan Blues Festival held in Aomori, CCP Jazz Festival in Manila, Philippines and Jakarta Blues Festival in Indonesia.
He also performed at Legend of Masterpiece at Yokohama Blitz, sharing the stage with Kaname Nemoto (Stardust Revue), Susumu Nishikawa, and Jikki. 

2012
He performed on the main stage of the Chicago Blues Festival. He also appeared at the Beijing Blues Festival in China, performing alongside Funky Sueyoshi, Koichi Osamu, and Kaori Mishina.

2013
Shun released the album BEST OF SHUN’S BLUES through King Records. Formed Legend of Rockers with Nobuhiko Shinohara (Flower Travellin’ Band), George Wada, Okoshi Shimizu (Naniwa Express), and vocalist Shuto Kenichi. Guest musicians included Kyoji Yamamoto (BOWWOW), Hideto Kano (Gedo), ROLLY, and GAKU. Legend of Rockers released the album POWER IN MY ARMS through King Records.
He also provided songs and produced an album by Sasha, a Golden Melody Award–winning singer from Taiwan.

2015
Shun participated in Legends of Blues featuring Henry Gray and Eddy Shaw, performing at Fuji Rock Festival and Blue Note Tokyo.
Toured Japan with Jimmy Burns and appeared at the Japan Blues Festival for the sixth consecutive year.
He also participated in an album by Golden Melody Award–winning Taiwanese singer Ilid Kaolo, contributing arrangements as well.

2016
He appeared in the “Tribute to Otis Rush” set on the main stage of the Chicago Blues Festival playing with Jimmy Johnson and Mike Wheeler. 
He also conducted a nationwide tour with Charlie Love.

2017
Two books were published by Rittor Music: SEKAI NO BLUES YOKOCHO (a comprehensive guide to blues scenes around the world) and HOW TO MASTER LIVELY BLUES (introducing blues guitar techniques and practical knowledge).

2018
Shun released the solo album RISING SHUN PLUS (Yotsuba Records).
Taveled through Mississippi in the US and performed with Jimmy “Duck” Holmes. 

2019
He embarked on his first France tour as a solo artist. 
He was appointed Visiting Professor at Southern Taiwan University of Science and Technology.
Toured Japan with Toronzo Cannon and Nora Jean. 

*Blues Company, Funky Trio, and Kikuta Brothers

Shun’s current main band, Blues Company, was formed in 2015. When organizers of the Aomori Japan Blues Festival asked him to back Jimmy Burns and Katherine Davis, who were appearing from Chicago, Shun assembled a special lineup for that occasion. The band features drummer Marty Bracey―originally from Chicago and known for his long career supporting major Japanese artists such as Monta & Brothers―keyboardist Lee Kanehira, one of Japan’s leading blues pianists and winner of the 2018 Chicago Blues Piano Contest, and bassist Atsushi Katano, a multi-talented musician from Kikuta’s hometown. 

“When we played together, everything just clicked, and we decided to make it a band. Marty kept calling me ‘Boss,’ so I started calling him ‘regular employee,’ and that’s how we ended up with the totally unoriginal name Blues Company (laughs).”

Since then, the band has collaborated with major artists from Japan and abroad, including ROLLY, KONISHIKI, Yoshiro Kanao, Nellie “Tiger” Travis, Mike Wheeler, Toronzo Cannon, and Nora Jean. They have toured extensively throughout Japan and also appeared at the Gunsan Blues Festival in South Korea.

Funky Trio is a three-piece group featuring Atsushi Katano on bass and drummer Yoshikazu Seki, who is also widely known for his work with major artists such as Arashi.  

Additionally, in 2020, Shun launched the acoustic duo Kikuta Brothers with his younger brother Koki on cajón, touring the Kanto and Chubu regions of Japan.

*Founding Rising Shun Records

In January 2018, Shun established his own independent label, Rising Shun Records. The label’s first release was Blues Company’s debut album, BLUES COMPANY.

“I had released albums through major labels like King Records, and I always wanted to have my own label someday. Forming Blues Company gave me the opportunity to launch Rising Shun Records with that album as the starting point. The biggest advantage of owning a label is holding the master rights and being able to protect and control your recordings.”

The following albums have been released on Rising Shun Records (for details, please refer to the music page):

BLUES COMPANY (2018 – the debut album by Blues Company)

GOOD TIMES ROLL (2019 – by Blues Project)

LIVE IN FRANCE (2020 – live recordings from the Hall Blues Club in Pelussin, France)

IN A ROOM (2021 – an acoustic album recorded in his home studio during the COVID-19 lockdown)

LIVE IN CHINA (2024 – live recordings from the 2023 China tour, recorded in Guangzhou)

BLUE AND ALONE (2025 – his first instrumental album, featuring all original compositions)

BACK IN THE WINDY CITY (2026 – recorded in Chicago to commemorate the 30th anniversary of his major-label debut; scheduled for release in September 2026)

*Activities During and After the COVID-19 Pandemic

In 2020, the COVID-19 pandemic swept across the globe, having a major impact on Shun’s musical activities. His planned China tour was canceled, and all scheduled performances from April onward were wiped out.

“Since moving to Chicago in 1990, there had never been a single month in 30 years without live performances, except for a two-month recovery period after a touring accident in 2008. Experiencing this kind of complete halt for the first time in three decades was deeply unsettling, and I honestly felt anxious and even discouraged at first, wondering if I would be able to continue my career at all.

But at the same time, suddenly having complete freedom to use all the time and energy I had previously devoted to touring and live shows felt like an unexpected creative opportunity. Once I realized that, I switched into full creative mode. I spent most of my days shooting videos, writing songs, and recording. In a way, this was a positive side of COVID ― it gave me an incredibly rare period of time. The acoustic solo album IN A ROOM was born out of that experience.”

Even during the pandemic, he conducted nationwide tours within the limits of what was possible. Despite restrictions, he felt his bond with fans and venue staff grow stronger than ever. Entering 2023, the post-pandemic atmosphere intensified, and touring both domestically and internationally resumed in full. Major highlights include:

2023
He appeared as a guest in Gerald McClendon’s set at the Chicago Blues Festival.
On his first China tour in four years, he performed in ten cities ― including Blue Note in Shanghai and Beijing, as well as Chengdu, Chongqing, Guangzhou, and Shenzhen ― receiving an enthusiastic welcome. 
Blues Company 8th Anniversary show, featuring Lithuanian violinist Židrė, singer Yoshiro Kanao, and Toshimi Matsushita as special guests was held at Blue Mood in Tokyo.
He headlined the Sakai Blues Festival and the Saga Blues Festival.

2024
He performed at the Gunsan Blues Festival in South Korea.
Continuing from the previous year, he toured seven cities in China, appearing at Asia Blues Guitar Hero Live in Shanghai and Beijing.
During a three-week France tour, he performed at 13 venues across 10 cities, including Maison du Blues and Hall Blues Club.
He also toured Thailand, Taiwan, and Hong Kong.
He participated in Yoshiro Kanao’s YUME KARA SAMETARA as producer and guitarist.

2025
He conducted a nationwide four-city tour commemorating the 10th anniversary of the formation of Blues Company.
For the second consecutive year, he appeared at the Gunsan Blues Festival in South Korea, as well as the Seoul International Blues Festival.
He also actively carried out overseas tours in the United States, Hong Kong, Taiwan, and the Philippines.

2026
He recorded an album in Chicago to mark the 30th anniversary of his major-label debut, scheduled for release on September 8.
He is also scheduled to perform at the Utsunomiya Blues Bash (held for the first time in his hometown of Utsunomiya), as well as the Hakata Blues Festival, Kobe Shinkaichi Music Festival, Sakai Blues Festival, Hamamatsu Blues Festival, and the Hong Kong Blues Festival.

*Work as a Music Writer and Guitar Instructor

As a music writer, Shun has contributed regular columns for many years to publications such as Guitar Magazine, Blues & Soul Records and Q Magazine. He has also published two books through Rittor Music: BLUES ALLEY OF THE WORLD and HOW TO PLAY THE LIVELY BLUES.

He has also been active for many years as a guitar instructor. Beginning with the instructional video CHICAGO BLUES released by Rittor Music (later published worldwide by Hal Leonard), R&B GUITAR PHRASES (DVD), BLUES GUITAR TECHNIQUES (DVD), BLUES GUITAR JAM SESSION (Book with CD), BLUES GUITAR JAM SESSION R: THE LEGEND RETURNS (Book with CD), and THE ART OF EMOTIONAL CALL & RESPONSE (DVD, AlphanoNote).

He was appointed Visiting Professor at Southern Taiwan University of Science and Technology, and since 2020, he has also served as a guitar instructor at J. F. Oberlin University in Japan.

*Tochigi Future Ambassador and Public Speaking Activities, Starring in a film

In the fall of 2010, Shun was appointed Tochigi Future Ambassador by Governor Tomikazu Fukuda of Tochigi Prefecture. The business cards issued by Tochigi Prefecture feature the region’s famous strawberries, leading many recipients to affectionately refer to him as the “Strawberry Ambassador.”

He also gives lectures at junior high schools, high schools, and temples under themes such as “Dream Big” and “A Way of Life.”

“Especially for younger generations, I want to share the beauty and joy of the blues, and through my own experiences, show that there are many different paths in life. I learn so much myself by interacting with so many people, and I hope to keep deepening my music through these encounters. I want to continue traveling the world and gaining new experiences.”

Shun appeared as one of the main subjects in the 2026 documentary film “How the Blues Came to Taiwan.” The film includes interviews as well as footage of his original songs “LOVE LOVE LOVE” and “CHICAGO MIDNIGHT.” 

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