There is something that seems slightly cultish about a BABYMETAL show, though not necessarily in a concerning way. Perhaps it’s because their fans have the fervor of idol stans and the ferocity of metalheads, which makes for a uniquely intense combination that involves cute hand signals and also moshing and crowdsurfing. Or perhaps it’s the quasi-spiritual lore that prominently features the Fox God, a symbol of trickery and protection often linked to Inari, a Shinto deity. Whatever it is, it has garnered them immense popularity that is still strong even 14 years into their career. BABYMETAL filled up the 2000+ person House of Blues in Anaheim for three straight days, with the original two-night show selling out and growing into three due to high demand.
A dramatic video introducing BABYMETAL lore played on the stage screen, and the ending question, “Are you ready to headbang?”, elicited deafening cheers from the crowd. Clad in futuristic, regal dresses covered in iridescent fabric that reflected the multicolored lights, the three members (Su-metal, Moametal, and Momometal) strode onstage with fierce expressions and the confidence of royalty.
Their opening track, “BABYMETAL Death” was a fast-paced song in which the three members introduce themselves and spell out their band name. Throughout the song, they kept making the kitsune hand signal, a reference to the Fox God as well as an homage to the rock-on gesture. It was quite amusing to see the audience copying this sign and creating a sea of wiggling fox-heads. “Distortion” is a prime example of BABYMETAL’s distinctive J-pop-meets-metal style, and Su-metal, the main vocalist, seamlessly switched from higher-pitched vocals to low growls. In “PA PA YA!!”, an uplifting track with a splash of EDM, the band swung around black handkerchiefs like lassos, and the audience followed suit, whirling merch and other clothing in the air while vigorously hopping up and down.
KAMI band, the fantastic band that elevates BABYMETAL from an interesting genre experiment to a reputable metal group, showcased some virtuosic solos over the koto backing track in “METAL!!” Catchy hooks, heavy pop, and EDM influences abound in BABYMETAL’s music, but so do ferocious choruses and thunderous instrumentals characteristic of power metal and death metal. There’s also the occasional nu-metal and punk influence, and even a nod to traditional Japanese music, like the sampling of “Sakura” in “Megitsune.” Su-metal’s vocals were piercingly clear and well-supported even while dancing, though she didn’t showcase much variation in vocal timbre which would have added more emotional depth.
The girls’ dance moves were crisp and tightly synchronized, but some of the most enjoyable moments were when their “idol” veneer came off momentarily, like when Moametal and Momometal made eye contact with each other and shared mischievous looks, or when they all broke into huge grins after seeing something funny backstage, all while flawlessly executing choreography. This youthful, slightly impish energy created a special type of allure when combined with the intensity of metal.
They closed off their set with two encores, “Headbangeeeerrrrr!” and “Road to Resistance,” and the audience made the most of these tracks to jostle around, headbang, and mosh. There was an air of celebration and gratitude, and whatever skepticism I had initially about the cultish energy dissipated into the bittersweet feeling of having to bid farewell to the band.
