JQ Magazine: Concert Review – This Is Your Brain on YOASOBI
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Story and photos by JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Justin has written about Japanese arts and entertainment for JETAA since 2005. For more of his articles, click here.
Yesterday (Aug. 6), gloomy skies gave way to a candy-colored world inside Radio City Music Hall as J-pop sensation YOASOBI made their New York debut with a sold out performance at Radio City Music Hall just days after appearing at Lollapalooza in Chicago. As the packed crowd settled in to the intro music of “I Bet My Life” by Imagine Dragons, composer Ayase, vocalist ikura and their tight four piece band took the stage and would not let go for the next 90 minutes.
On a massive horizontal high def screen behind them, a CGI storybook opened to whimsical music and purple spotlights launching into a full light show, bringing an arena-ready feel to the nearly 6,000 in attendance.
“We are YOASOBI from Japan!” proclaimed ikura, as the group unveiled their opening statement of “UNDEAD” (their latest song, appearing in anime MONOGATARI Series OFF & MONSTER Season) and “Shukufuku.” “We came ready to rock the stage. Are you ready to sing? Are you ready to dance?”
The crowd certainly was, as the tune “Seventeen” featured slap bass, dazzling projections and countless green lasers that beamed all the way to the ceiling. “Halcyon” received thunderous applause, with this upbeat ballad spiked with acoustic guitars and a disco chorus giving way to “Suki Da.” “Okay everybody, let’s rock together!,” commanded ikura, prompting synchronized handclaps by the crowd to some very animated lyrics onscreen.
“For the next song, I want to see a sense of unity, so everyone light up your phones.” This introduction to “Tabun” did just that, with the entire crowd up on their feed and swaying their arms in unison, phones aglow.
As if the show wasn’t visual enough up to this point, the audience was provided with special POP UP glasses, treating them to a universe of 3D effects for the next several songs, the first of which (“Biri-Biri”) conjured up CGI pitched somewhere between Avatar and Space Harrier behind the band, crescendoing with a galaxy of fireworks as ikura danced rings around the stage.
The tune “Mister” upped up the ante, displaying what looked like the inside of a the most psychedelic computer server you’ve ever seen, with a variety of impressive spinning microchips and machines front and center. More than a gimmick, the POP UP glasses provided a crystal clear image, at times upstaging the band with their razor sharpness.
Next came “Moshimo Inochi ga Egaketara,” this time displaying the Japanese lyrics in 3D amid streaming sakura and flowing liquid effects, marrying Japanese images to a tinkling piano melody and beat reminiscent of Dua Lipa. For “Yasashii Suisei,” ikura’s platform rose up to the center of the screen as she was surrounded by thousands of twinkling stars and propelled by AssH’s ripping guitar solo from the stage.
Heading into “Tsubame,” ikura encouraged everyone to “all fly together along the vast sky.” This birthed an abstractly colorful winged creature soaring through space in time with the music, bringing an uplifting end to the 3D portion of the set.
Next it was Ayase’s turn as MC. In a heartfelt statement (also in English), he said that YOASOBI they wasn’t sure if people would come, with his apparent amazement that the show sold out. “New York is a wonderful city, one of my favorites so far. I guess I really like big cities. Enjoy the show to the fullest; let’s all sing and dance and make it a big night!”
Two of YOASOBI’s biggest songs followed. “Idol” from anime smash Oshi no Ko featured cameo appearances on the screen from the titular Ai Hoshino as the crowd pumped a multitude of glow sticks and shouted at all the right spots. This was paired with “Yuusha,” the original opening theme to Frieren: Beyond Journey’s End, which also connected the fans.
“New York! We are getting close to the end. Are you still with me?” asked ikura as the band dropped “Kaibutsu,” another anime theme, this time from Beastars. Bathed in a sea of reds and blue lights, the glowsticks followed with the music and visuals. ikura then shared a story from her childhood in which she first came to New York for a performance: “It feels like a dream to be back in New York in this amazing theater in front of all these fans…thank you so very much!” The set then wrapped up with exuberant performances of “Gunjou” and “HEART BEAT,” the latter displaying the affectionate lyrics in between the duo, cementing their connection with the song: “I can feel your heartbeat. Thank you so much!” said ikura, as the group left the stage to an onscreen credit roll.
With the audience (loudly) demanding one more song, Ayase and ikura returned, bantering in Japanese about their love of New York City food — pizza, bagels, spaghetti, and Chinese. After some gushing band intros the crowd was treated to “Yoru ni Kakeru,” YOASOBI’s very first single. Based on a short story by Mayo Hoshino, the song and story depicts a man who is fascinated by a personification of death, Thanatos. Despite the dark subject matter, this went down as a total J-pop banger. “Everybody jump!” yelled ikura, and everyone in attendance did, literally bringing down the house.
Formed in 2019 and now one of the most popular bands in Japan in streaming and ticket sales (they launch a stadium tour at home this fall), YOASOBI dominated New York last night with songs and production that easily eclipsed other contemporary J-pop acts that have already played here multiple times like Kyary Pamyu Pamyu and Hatsune Miku. The variety of the effects, the earnest MC spots in English and the masterstroke of the POP OUT portion of the show was something that even top American acts haven’t come close to attempting. YOASOBI wraps up their visit to the U.S. with another sold out performance at Boston’s MGM Music Hall at Fenway Park on Aug. 8; catch them now so you can say you saw them on the way up to global pop domination.
View the complete setlist here. For more JQ articles, click here.
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