Babymetal's Chicago Blitz Weathers the Storm and Ignites The Fox God
Chicago. Just about a few weeks after the sweltering, humid communion with Babymetal at Madison Square Garden, the Japanese sensation descended upon the Windy City. This time, the oppressive heat of New York had given way to a cooler, albeit still charged, Midwestern air. The venue, the historic Byline Bank Aragon Ballroom, a space steeped in a different kind of classic grandeur, served as the setting for another sold-out performance, a testament to the enduring, almost gravitational pull of this genre-bending phenomenon.
There’s a curious intimacy to the Aragon, even when packed to its gilded rafters. The stage, however, seemed to defy this intimacy, rising what felt like a formidable ten feet above the crowd. This elevated perch offered a panoramic view for those in the back, but for many closer to the action, it presented an interesting challenge – capturing the full scope of Su-metal, Moametal, and Momometal’s intricate choreography became a dance in itself, a constant negotiation with angles and outstretched arms. Yet, even through this visual gauntlet, the sheer energy of the performance pierced through.
What became immediately apparent in Chicago was the profound multi-generational appeal of Babymetal. The audience wasn't just the usual cohort of weathered metalheads and curious millennials; it was a vibrant tapestry of families. Parents, some undoubtedly seasoned veterans of countless mosh pits, stood shoulder to shoulder with their wide-eyed children, many of whom appeared to be experiencing their first foray into the joyous chaos of a metal concert. These young devotees, their faces alight with unadulterated excitement, shrieked along to every "Gimme Chocolate!!" and pumped tiny fists in unison during "Headbangeeeeerrrrr!!!!", mirroring the infectious enthusiasm of their guardians. It was a potent reminder that Babymetal's appeal transcends demographic lines, carving out a unique space where youthful exuberance meets the primal roar of heavy music.
The setlist, Identical to New York’s performance, was a calculated assault of their most potent tracks. From the opening surge of "BABYMETAL DEATH" to the anthemic "Road of Resistance" that closed the night, the trio moved with a mesmerizing precision, their synchronized dance routines a stark, almost balletic, counterpoint to the thunderous riffs and relentless double-bass drumming. "PA PA YA!!" sparked a joyous eruption of broken Japanese chants, while the newer material, including collaborations like "Kon! Kon!" with Bloodywood and the electro-metal jolt of "RATATATA" from rock-group Electric Callboy, showcased a band unafraid to push the boundaries of their already audacious sound. The seamless integration of these diverse influences, performed with unwavering stamina, underscored their status as genuine pioneers.
As the final, resounding notes faded and the house lights illuminated the sweat-drenched crowd, a collective exhale rippled through the ballroom. But the night’s drama wasn't over. A sudden, almost biblical, downpour unleashed itself on Chicago, catching many off guard as they spilled out of the venue. The streets outside transformed into temporary rivers, adding a surreal, almost cinematic, post-concert chapter to the evening. Despite the deluge, and a few instances of exhaustion-induced faintings – a testament to the ferocity of the mosh pit and crowd-surfing that defined the general admission floor – a remarkable sense of camaraderie prevailed. The venue staff, often the unsung heroes of such events, moved with an impressive efficiency, guiding the disoriented, offering water, and ensuring safe passage through the sudden urban deluge. It was a chaotic, wet, and undeniably human coda to a night where genre, generation, and even the elements themselves seemed to bend to the will of the Fox God.
*Openers Jinjer and Bloodywood also were amazing, as a side note look them up. Images below.
