While some of us were pulling on leg warmers and pushing “Jane Fonda’s Workout” into the VHS player, Kōsh Shioya and his band, Tsunami, were opening for Metallica.
The heavy metal band formed in San Jose, Calif. had quite the reputation in the early 1980s. Kōsh Shioya, known professionally as KŌSH (pronounced koh-sh), shared the stage with many national and international acts such as Kid Rock, Poison, Heart, Billy Squier, Lover Boy, Starship, Sammy Hagar of Van Halen, Cheap Trick and more.
Their first single “The Runaround” from their 1983 self-titled album hit the Billboard charts at No. 60 and was heavily played on almost 200 radio stations nationwide. The band also had several other songs, such as “Fade to Black” and “Firewater,” riding the 1980s airwaves.
With a 30-year career spanning private, intimate settings to stadium arenas, KŌSH’s guitar and vocal skills gave him a coveted spot in the music industry — something countless musicians strive to achieve.
Now at age 55, KŌSH is content playing local venues in his new hometown of Coeur d’Alene.
“The rock ‘n roll life on the road looks glamorous, but it is one of the hardest things you can do as a performer,” KŌSH said. “As a working musician, the best thing I’ve achieved is being able to sleep in my own bed.”
KŌSH’s discovery of a nice mattress did not lack difficulty.
Born in Southern California to a Japanese traditional dancer mom and a music teacher dad, KŌSH grew up in a “hobby entertainer” family.
Passionate about music throughout his childhood, KŌSH joined the heavy metal group, Tsunami, fresh out of high school.
“I was 19 and playing for a national touring band,” KŌSH said. “I auditioned and got in. Most people think of the heavy metal, hard rock stereotype of drugs, alcohol, the fast life. And it was totally that.”
The band was signed to Enigma Records, the record company that hosted Mötley Crüe, Motörhead, Red Hot Chili Peppers, Slayer, Sonic Youth and others.
“After three years of bustin’ butt… Tsunami received major airplay on some 50 radio stations throughout the nation,” read Tsunami’s 1984 fall newsletter. “Charted at #32 in the nation…the band [has]all the force and fury of a genuine tsunami: the only TIDAL WAVE of rock.”
His early 20s were spent hitting the Billboard charts, opening for other chart-topping bands and living out of buses and mediocre hotels. It may have sounded glamorous, but KŌSH really didn’t “hang out in that scene.”
He wanted to know what the famous groups were like, but producers would push his band off stage before the really big names came out. It was disappointing, but he knew he had a great opportunity.
“It truly was the ‘era of debauchery,’” he said. “I touched fame, but never really had fame. The limelight was there, it just wasn’t mine.”
The limelight faded when the Tsunami’s original members broke apart in the late ‘80s. New members came and went, the original band only getting back together once in 2015. Eddie Trunk, a metal histor-ian and VH1 radio host, called the Tsunami “a Bay Area favorite” as thousands of fans reunited with the sounds of their youth.
In the ‘90s, KŌSH got married and decided it was time to “settle down.” He cut his long hair, quit music and focused on having kids. He started a real estate business to support his new family, but part of his life was missing. After a 10-year hiatus, he grew his hair back, picked up his guitar and joined a new group.
Within a few years, KŌSH found himself in a hard rock cover band playing the wedding march at one of Kid Rock’s three wedding ceremonies to Pamela Anderson — and not just any rendition of the wedding march. Kid Rock requested “a rock version that sounded like Jimmy Hendrix’s rendition of the national anthem at Woodstock,” KŌSH said.
Then 2008 happened.
The stock market crash. KŌSH and his family struggled to get by in the California Bay Area, so he and his wife Suzan “dumped everything for Coeur d’Alene.” Instead of an ocean, they had a lake. Instead of big freeways, they had country roads.
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Still wanting to pursue music and without a band to support him, KŌSH realized he would have to rehearse more to make it as a solo artist.
“I had become a lazy guitarist and singer because I always had great, talented groups to back me up,” he said. “Without my move to Coeur d’Alene, I would have never focused on myself, as an individual musician and artist.”
After playing at a Century 21 holiday party, KŌSH got his fi rst North Idaho gig on the Coeur d’Alene Resort Golf Course Floating Green. He realized golfers and vacationers would probably rather hear James Taylor covers than heavy metal, so he turned his focus to acoustic music.
“As a long-haired Japanese man, a lot of my new audience thought I was Hawaiian and encouraged me to play ‘island-style music,’” he said. “I was definitely influenced by that and now have a more laid-back set of music.”
These days KŌSH has played at nearly every popular Coeur d’Alene venue, receiving raving reviews from frantic brides, old fans, corporate parties and more.
Now a 10-year Coeur d’Alene music veteran, KŌSH has released self-produced solo CDs, built his website at koshmusic.com and spread his love of music to the Coeur d’Alene community.
With his online presence, KŌSH has gained fans from more than just locals. Even President of Motion Picture Music at Paramount Pictures Randy Spendlove “loves” KŌSH’s music, calling his singing voice “so versatile.”
Today, he and Suzan share a real estate business and spend their time with grandchildren, daughters and son Keanu, a fellow professional musician in a popular Northwest metal band, Plague Shaman.
The Shioyas are a musical family that give each other a lot of support. During the day, KŌSH and Suzan spend time together making home sales. At night, KŌSH performs for an audience that sometimes includes his own family members.
“As I count my blessings, I am full of gratitude every day,” KŌSH said. “I never thought I would find a community this welcoming. I never thought I would be performing this much.”
KŌSH plays in smaller venues in the Coeur d’Alene area, like the Coeur D’Alene Casino, Black Rock, the Hayden Lake Country Club, Seasons, Anthony’s and other local businesses. At the end of the day, he goes home to his wife and to his own bed.
“I’m glad I don’t live out of a bus anymore,” KŌSH said. “I’m 55 now and I have certain comforts.”
As an older musician, KŌSH said he is lucky to still be able to perform. He hopes his music serves as encouragement for aspiring musicians in an industry obsessed with youth.
“Even if you leave music alone for a while, you can always come back,” he said.
Does KŌSH miss playing in a big group, opening for Metallica and Heart? Does he miss audiences of 2,500 people? Not really. With over 200 paid performances a year in a relaxed lake town, he couldn’t be happier.
“Going from a musician people pay to see to a background, ambience performer was definitely humbling,” he said. “Instead of playing only my own music, now I play songs people recognize, popular music from other artists. Less heavy metal, more pop and jazz. Not every audience member is engaged, but there’s always a few people actively listening. And I’m ok with that.”
In KŌSH’s mind, he has made it big as a musician. He doesn’t pursue big performances any more, but serves the community with his music. He plays music with his son, who started out playing Guitar Hero on Xbox until KŌSH brought out the real instruments. He gives out his original music for free, sharing his passion for writing with his fans. He and his son are even trying to get a family heavy metal tribute band together, reminiscent of the past.
“If you are a working musician who gets paid and has gigs every month, I think you made it,” KŌSH said.
“All working musicians live their lives like rock stars, even if it doesn’t look like it. If you want to be rich and famous, don’t get into music. Focusing on fame and money forces you to lose your passion for the music.”
KŌSH is often invited to return to California and pick up where he left off. He recognizes the phone number, but doesn’t answer the call.
“I prefer to stay home.” N
By Rosemary Anderson
Photography By Joel Riner
