With a headache that was spoiling my third day in Tokyo, I went with Akiko to the Ghibli Museum on a Friday morning. It was her first time going there, too. Before I even set foot in Japan, I had to ask her to book tickets for us, since there was an admission schedule we had to follow. The scene replicas from the anime was a treat, among all else. I wonder why this wasn’t the sort of place I see people on my social media rave about.
Later that day, I was in line for another show at Zepp Diver City. Akiko went with me, and thankfully so, since it looked like navigation from where we were to the venue wasn’t easy to manage. Once I settled, I was by myself, along with a hundreds of idol fans, and not the sort with capes and light sticks, but in the trendy, streetwear inspired garb peddled by management, often with puzzling, sometimes crude text on it.
My entry number was 232, which did cost me more when I was liaising with a specialized for-foreigners service, that will join ticket lotteries for you. This time, I had them get me a ticket for a sold-out concert from auction sites. The lower the ticket number, the sooner you enter, the nearer you are the stage.
As before, I looked for an obvious foreigner, to find out if they knew more about the event than me. Found one, and despite being a white, blonde dude, when I told him where I was from, he started conversing with me in Tagalog.
The hotel I settled for was near the Hatagaya metro station, and was away from what I expect a feverish Tokyo city vibe would have. The room was more than satisfactory, and I had my mini-tub. There was a reason to hurry just after checking in though, as I needed to figure out how to go to an idol show that weekday December evening.
The map lead me to a building around Taitō-ku. I found the concert from a Twitter post, and there were a handful of idol groups slated to perform. The venue was at an upper floor, and when elevator doors opened, I had seen something that had me re-assess if I was at the right place: a 50-something salaryman, a divine smile stamped on his face, was speaking to a young teenager wearing a very short, sparkling gold costume. Went back down, checked my reference tweet, checked my location, and yes, I was where I was supposed to be. This was the Tokyo Kinema Club. I went back, purchased my ticket, and marveled at the venue’s grandness. This was an old, dimly-lit space, that had stage curtains I would like to think had seen cabaret shows in its earlier days. There were about a hundred men, eager to partake the same air as their favorite idols. I’ve been to events like this before in Shanghai, but this feels so different there was unease, but so familiar.
The group I wanted to see was NECRONOMIDOL. They were popular with my online social circle who share this niche interest, even in idol. They sang heavy metal songs, they sang songs you can dance to. I knew they were all set for a US tour that time.
When Yennung handed me over my gig ticket last Sunday, the big relief that came wasn’t the overwhelming sort, maybe because the physical fatigue I’ve went through to be there (spent the night at the airport for an early morning Shanghai to HK to Taipei flight the day before) was still very present. More than a week ago, Yennung was an internet stranger who heeded my call when I showed interest in going to a concert in Taipei by posting on a Facebook fanclub. I wasn’t asking for anything specifically, but about 2 days after we chatted, I was looking at a photo of an electronically printed piece of paper that, figuratively, had my name on it.
World’s End Girlfriend November 5, 2016
QSW Culture Center
When news of World’s End Girlfriend playing here got around, there wasn’t any hint of hesitation that I just had to go, though, sure, I’ve only seen a handful of music videos, maybe played a song or two, but there was no legitimate big fan tag to pin with legitimacy on me. Should it matter, though? There’s that admission, and there was this opportunity that this -to put it bluntly- will be just like any other weekend gig I go to, except that it was a Japanese band that has appealed to the discerning music fans outside of their country for some time.
There were too many gigs to specify and put on the post title, hence a “big four” reference came to mind. There was no intent to be definitive at all using it, and sure, it is a slight overreach, but, see, I just saw these giants of Japanese modern instrumental rock for the last quarter of 2016, in my immediate neighbourhood: Mono, World’s End Girlfriend, te’, and toe.
I’ll start with Mono -a band I’ve already seen twice- and toe, another band I’ve seen once before, and they also chose a Shanghai show that falls on my birthday.