On Monday, September 23, a national holiday in Japan, Tokyo’s Ariake Arena was the stage for an epic night. Just when the cool breeze made it seem like the long summer had finally ended, Sammy Hagar, along with former Van Halen bassist Michael Anthony and a stellar lineup, brought the heat back with The Best of All Worlds Tour. With legendary guitarist Joe Satriani, powerhouse drummer Kenny Aronoff, and Australian Rai Thistlethwayte on keyboards, the party was set to begin.
I arrived early, but the 15,000-seat arena was already buzzing with excitement. Fans were ready for a show to remember, eagerly awaiting what Hagar would bring to the stage. This Tokyo gig marked the final stop of the tour, and I couldn’t believe how lucky I was to capture it.
After a hugely successful North American tour, Hagar and his crew brought their incredible energy to Japan. It felt like Van Halen all over again, especially with Michael Anthony holding down the bassline and delivering those classic high-pitched harmonies we all love. His vocals were as powerful as ever—nobody else can sing Sammy’s high parts like Michael.
Originally, Jason Bonham was the drummer for this tour, but when family issues pulled him away, Kenny Aronoff stepped in—and wow, what a replacement! Hagar mentioned that Aronoff learned the whole set in just 24 hours, and honestly, his drumming was so tight and powerful that he might’ve been the night’s biggest surprise. With three bass drums and precision in every beat, Aronoff blew us all away. Oh, and did I mention he’s 71 years old?! Unreal.
The setlist was a dream come true, focusing on Van Halen’s Hagar-era songs but also including some David Lee Roth-era classics and tracks from Hagar’s solo career. We were treated by 21 songs and more than two hours of pure rock heaven.
From the moment the lights dimmed at 6:30 pm and “Dreams” from 1986’s 5150 album was played as an intro, the energy in the arena exploded. Kicking off with “Good Enough” from the same album, followed by “Poundcake” off of 1991’s For Unlawful Carnal Knowledge (complete with Joe Satriani using a cordless drill for the intro), the crowd went wild. By the time Hagar launched into “There’s Only One Way to Rock” from his solo album 1982’s Standing Hampton, it felt like the entire place was on fire.
The audience responded passionately when Hagar got them to shout along during “Panama” from the 1984 album. Then “5150” from 5150 was played, and the crowd’s nostalgia was palpable, with the album cover displayed on the big screen. Satriani even threw in some Japanese, and the place erupted with applause.
Satriani, known for his technical mastery, stayed true to Eddie Van Halen’s iconic guitar lines while adding his own flair, except when playing his own song like “Satch Boogie” from 1987’s Surfing with the Alien. It was amazing to witness him play these legendary Van Halen songs, especially when he brought out the famous Frankenstein guitar, a signature model created by Eddie Van Halen, later in the show.
One of the highlights was when Hagar told the crowd, “This isn’t just a concert; it’s a celebration of the music.” That sentiment hung in the air throughout the night. From “Best of Both Worlds” onward, the show became a string of hit songs, and I truly felt the meaning behind Hagar’s words.
Kenny Aronoff’s explosive drumming on “The Seventh Seal” from 1995’s Balance gave us chills, while the powerful visuals during “Right Now”—featuring Japanese captions—added a local flavor that really connected with the audience. “Why Can’t This Be Love” had the entire arena singing along with Hagar, and the positivity in the air was contagious.
Towards the end of the set, “Eagles Fly” from Hagar’s solo album I Never Said Goodbye (1987) brought a moment of calm before “Mas Tequila” from The Waboritas’ 1999 release Red Voodoo turned the arena into a full-on party. Hagar, in true rock-star fashion, poured tequila into cups for fans and even drank the last bit straight from the bottle. The energy hit another peak during “Heavy Metal” and “I Can’t Drive 55,” with the crowd roaring along.
For the Tokyo finale, the band delivered a special treat with “Can’t Stop Lovin’ You,” a song especially beloved by Japanese fans. As the night closed with “Jump” from the 1984 album, many were teary-eyed, including myself. It was a tribute not only to the music but to the legacy that Sammy, Michael, and the rest of the band have carried on after Eddie Van Halen’s passing.
And as much as I hate to talk about age, it’s impossible to ignore the fact that Hagar, Anthony, and Aronoff are all in their 70s—Sammy is 76! Yet, there they were, rocking harder than ever. Sammy still hits those high notes, moves around the stage like he’s decades younger, and keeps the crowd engaged with his infectious energy.
The Tokyo stop may have wrapped up this leg of the tour, but if Sammy Hagar announces more dates in other regions, don’t miss it. As he said, this isn’t just a concert; it’s a celebration of life, music, and the joy that comes from it. Trust me, you’ll walk out feeling happier, healthier, and more alive. In the end, isn’t that the true magic of music—to move your soul and remind you what it means to really live?
Band:
Sammy Hagar–Vocals
Michael Anthony – Bass
Joe Satriani – Guitars
Kenny Aronoff – Drums
Rai Thistlethwayte – Keyboards
Set list:
Dreams (Van Halen song) (intro, song played from tape)
1. Good Enough (Van Halen song)
2. Poundcake (Van Halen song)
3. Runaround (Van Halen song)
4. There’s Only One Way to Rock
5. Panama (Van Halen song)
6. 5150 (Van Halen song)
7. Summer Nights (Van Halen song)
8. Ain’t Talkin’ ’bout Love (Van Halen song)
9. Top of the World (Van Halen song)
10. Best of Both Worlds (Van Halen song)
11. Satch Boogie (Joe Satriani cover)
12. The Seventh Seal (Van Halen song)
13. Right Now (Van Halen song)
14. Why Can’t This Be Love (Van Halen song)
15. Eagles Fly
16. Mas Tequila (Sammy Hagar and The Waboritas song)
17. Heavy Metal
18. I Can’t Drive 55
19. Can’t Stop Lovin’ You (Van Halen song)
20. Jump (Van Halen song)
21. When It’s Love (Van Halen song)
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Aki is a published and award-winning concert photographer based in Tokyo, Japan. Her musical preferences are deeply rooted in the 70s. However, she also loves to see and capture new bands. You can find her work in magazines, newspapers, online and galleries.
