Musician Continues Fringe Shows After Instrument Theft

The music and the moment

Mikawa expressed that while she was heartbroken over the theft—losing an item that held memories of her father—she felt the need to continue because cancelling the shows would mean losing money and momentum. She stated, "It has been really horrible but what I need right now is a really good vibe." The theatre reported that the trumpet and a vintage melodica, along with other technology, were taken from the venue on Monday, August 10th, along with six laptops and an iPad. Mikawa noted that the stolen trumpet was one of the few items to survive when her family lost everything during the 2011 Tōhoku earthquake. She explained that while she had bought a new melodica to continue, she had to cut the act featuring the trumpet because she could not locate it in time.

The musician Sachie Mikawa opted to proceed with her performances at the Edinburgh Festival Fringe following the theft of her treasured musical instruments, choosing to focus on the experience despite the loss.

"It has been really horrible but what I need right now is a really good vibe."

I decided to do the three shows left because I’ve already lost so much money and momentum by cancelling three shows but I feel better knowing I’ve done everything I could to locate the trumpet."

The context of the theft is framed by Mikawa's broader experience as an artist facing obstacles; her show, *Egg*, addresses the difficulties artists face in belonging. The decision to perform is tied to her feeling that the energy of the audience will help her overcome the emotional difficulty of the situation.

Mikawa decided to perform the three remaining shows, although she had to cut the act involving the trumpet as she could not locate it in time. She subsequently purchased a new melodica to continue her work.

Mikawa cancelled performances at the Edinburgh Festival Fringe after her treasured instruments, specifically a trumpet gifted by her late father and a vintage melodica, were stolen from the Rotunda Theatre.

The items were stolen on Monday, August 10th, and Mikawa decided to proceed with her remaining shows.

The theft occurred in Edinburgh, Scotland, and the subsequent decision to perform relates to the Edinburgh Festival Fringe.

Mikawa stated that continuing the shows was necessary because cancelling them would result in a loss of money and momentum, and she felt the experience would be uplifting despite the hardship.

Additional context

The decision by Sachie Mikawa to proceed with her remaining performances, despite the emotional toll of the theft, highlights a resilience often observed in the arts when faced with material loss. This choice underscores a commitment to the artistic process over material possessions, suggesting that the intangible value of the performance and the connection with the audience outweighed the tangible loss of instruments. Furthermore, the context provided by Mikawa’s background—having survived immense personal tragedy, including the 2011 Tōhoku earthquake—suggests an inherent capacity to navigate profound adversity. This resilience is further illuminated by her statement that the energy from the audience was what she needed most, implying a reliance on communal support to rebuild momentum rather than dwelling on the absence of specific objects. The investigation into the theft, which involved not only musical instruments but also technology like laptops and an iPad, points toward a broader concern regarding the security of artistic assets in public performance settings. While police are actively pursuing leads, the ongoing nature of the inquiry means that the immediate focus shifts from the event itself to the systemic issues surrounding venue security and artist protection. This situation raises questions about the vulnerability artists face when performing in public spaces and underscores the need for enhanced security protocols at cultural events. Moving forward, the narrative surrounding Mikawa’s experience connects the specific incident with the larger theme of artistic struggle detailed in her work, *Egg*. The act of continuing to perform can be interpreted as an assertion of artistic autonomy against external pressures. As authorities continue their search for the stolen items, the focus remains on the immediate recovery, but the long-term significance lies in how this event shapes the ongoing relationship between artists, venues, and the public, particularly concerning the safeguarding of creative tools.