Chicago Tribune wrote a very interesting review about the BABYMETAL show at House Of Blues in Chicago, Illinois in United States as part of the BABYMETAL World Tour 2015. BABYMETAL performed at House Of Blues with sold out tickets in front of approximately 1300 fans. Read below the great review by the Chicago's newspaper. (Show notes here)
Chicago Tribune reviews the BABYMETAL show at House Of Blues
There are things more awesome than Babymetal. What if Lemmy of Motorhead was driving a chariot filled with shredding guitarists, and the whole thing was on fire?
In thinking about Babymetal (no, not metal for babies), the viral, global pastiche that drove a sold-out House of Blues crowd to devil-horned distraction, it all comes down to a very simple question: Can metal be adorable and still rock?
If you don't know this high-energy Japanese import, Babymetal is a rather controversial sensation that combines J-Pop, idol pop and heavy metal. But because metal is a genre that takes itself rather seriously, there are questions galore about whether this trio of teenaged girls is metal. And if Babymetal isn't metal, then just what the heck is it?
Exceptional was one modifier that came to mind as Babymetal opened its Thursday nite set with the group's signature anthem, "Death." Suddenly the debates about who or what is metal didn't matter. Double kick drums hammered, strobes flashed and martial power chords from funny-shaped guitars assaulted the senses. It sounded like metal, even as you wondered about the shrill-voiced cheerleaders running the show.
Babymetal -- a real band with chops galore -- is presided over by a trio of Japanese teenage girls, Su-Metal, Moametal and Yuimetal. The spectacle is as contrived as can be, perfectly choreographed and costumed, remarkable as it disarms you. "Megitsune" combined EDM and metal, a breathless run through sonic influences as the trio hopped, danced and went through a series of arm waves that wouldn't be out of place at a Britney Spears concert.
It rocked. And without question, it was metal even as it was also catchy and entertaining. Frontwoman Su-Metal has the strut and style of a veteran rocker, a mass of contrasts in a red and black costume that combined ballerina, anime character and rock goddess. She belted and howled, and it worked. If there were any metal snobs there on a lark, the irritation levels must have risen as song after delightful song was slammed home by the irrepressible charm of the lead trio. "Gimme Chocolate?" Rocking out to a song about the guilty pleasure of chocolate, chirped by smiling maidens? Yep.
"Head Bangya" did, and the overwhelmingly male crowd wasn't just there for one of those weird Japanese things. A mosh pit formed as the majority sang along, mouths working to form the Japanese words along with Su-Metal. "Onedari Daisakusen" percolated with a hip-hop shimmy, presided over by the sidekicks, Yuimetal and Moametal.
At the end of each song the trio would march off the stage like a trio of gymnasts, always perky and perfect. Even the fox sign they make is charming, a story with roots in the misinterpreted metal tradition of devil horns.
It was fun. Lots of fun. Metal is a lot of stuff -- picky, serious, bit rarely fun. Even the backing band, greasepainted would-be beasts that had more to do with Kabuki tradition, let smiles crack their serious veneer as they shredded. And you return to that question: Can metal be adorable? Why can't metal make you smile?
