Live review: BABYMETAL, London The O2

It’s been 11 years since BABYMETAL first touched down on these shores. Having first planted their flag in the UK on the main stage of the much-missed Sonisphere festival (a slot that was upgraded due to overwhelming interest) back in 2014, the kawaii-metal warriors have since transformed from chocolate-loving internet curios to a globe-straddling juggernaut that still shows no signs of slowing down.

Almost two years after their festival debut they headlined Wembley Arena, breaking the venue’s merchandise sales record in the process, and that feverish fandom has only continued to grow, with queues snaking inside and outside of The O2 long before the doors have opened.

There’s an unmistakable buzz of anticipation and exhilaration in the air, for tonight isn’t just BABYMETAL’s biggest-ever UK show (and sold out, of course), but it’s the first time we’ll witness the new METAL FORTH era in all of its shimmering, kaleidoscopic glory.

Before that though, there’s something much darker descending on London. With their very metal logo plastered across the enormoscreen above the stage, Bambie Thug emerges with two comrades, sporting leather masks with dreadlocks in ‘Arm The Gays’ and ‘Arm The Dolls’ shirts, to unleash some bass-heavy bedlam on the already impressively-full crowd. Constant touring has turned the Bambie Thug experience into a well-oiled, choreographed and quite menacing machine, as they power through hex so heavy and Egregore, although does feel slightly swamped by the size of the stage without a live band.

Bringing a definite edge to the night with the likes of Bye Boy (you’re not going catch BABYMETAL singing about ketamine), the Irish enigma is all attitude – even their post-song giggling sounds like their plotting something. Introducing the bombastic blast of Red Rum Rave (bolstered by a Nookie-esque bounce) as “a song for change and a song for rebellion” Bambie and their entourage raise trans pride and Palestinian flags to a huge ovation, before unleashing Doomsday Blue – complete with slow-motion dancing that results in Bambie seemingly possessing and killing one of their dancers – and the gabber-like intensity of Tsunami (11:11). Clearly leaving Eurovision in the rearview, it’s a short but sinister glimpse into the next phase of everyone’s favourite witch.

“Hi, shall we begin?” comes the disembodied voice as Poppy’s spiky-knuckleduster logo appears overhead. Like Bambie Thug before her, it seems neither support can use the screens or giant walkway to their advantage (which, it must be said, lessens the impact of both sets), but Poppy takes it all in her stride as she bounds onstage to tear through have you had enough?. With her masked band lurking in the shadows, there’s a roaring heaviness that whirrs the first pits of the night into action, which show no signs of abating. A singer that once existed on their own genreless island, Poppy has since become one of the most in-demand artists in alternative music, working with the likes of Knocked Loose, HEALTH and Bad Omens, the latter of which she salutes tonight with the glitching cacophony of V.A.N., and a Meshuggah-level light-show only adding to the sensory onslaught.

Breakthrough hit I Disagree takes things up a notch, and as Poppy asks “can you give me a circle pit for this next song?” three instantly erupt across the floor for cute-yet-crushing Concrete. Taking the physicality further still by orchestrating two walls of death to new way out, Poppy is truly a commanding presence, but suddenly it’s all over, like we’d just hit top speed only to slam the brakes on. As Poppy skips away into the blackness, there’s confusion and disappointment as the set never properly capitalises on the crescendo, but like they say, always leave them wanting more…

And if you want more, BABYMETAL will give you more. More of everything, it seems, as no expense has been spared to bring this spectacular production to London for the final night of their European tour. Giant screens. Elevated stages. Laser beams. A raging inferno. Precision-perfect dance routines. This is BABYMETAL and it is bloody brilliant.

As the Star Wars-like intro video beams out across the arena, taking us back to a heavy metal galaxy far away, the lore of the Fox God continues to expand with METAL FORTH. And then it begins. SU-METAL, MOAMETAL and MOMOMETAL emerge from the smoke as thousands of vulpine disciples throw their kitunes to the sky for the pummelling BABYMETAL DEATH. Pyro and jets of fire explode across the stage but the trio don’t even flinch, as de facto leader SU-METAL stoically surveys her kingdom. For the next 90 minutes, this arena belongs to them.

With Megitsune and PA PA YA!! lifting everyone to their feet, thousands are positively lost in the moment, mesmerised and enraptured by one of the most unique and utterly joyous live shows they’ve ever seen. Did we mention how much fire there is?

Now a decade and a half into their careers, BABYMETAL have made some famous friends along the way, who appear onscreen throughout the night to lend a helping hand, from Tom Morello’s shredding skills in METAL!! to Bloodywood lending a hand on vocals for Kon! Kon!, to the legit banger RATATATA with Electric Callboy. All adding distinct flavours but keeping things unashamedly BABYMETAL, intensity levels never dip below maximum, with the pummelling Kami band belting out bulldozer heaviness alongside SU-METAL’s soaring vocals. Bringing things into the METAL FORTH era, the epic Sunset Kiss receives its world premiere, and just-released Song 3 is simply pulverising, with towering flames blasting down the runway as the band count to three – you don’t get that on Sesame Street.

By the time OG hit Gimme Chocolate!! Rolls around, it feels almost quaint by comparison, considering what BABYMETAL are now capable. Naturally it’s still a massive singalong, but acts as a mark of celebration and reflection on just how far the band have come since going viral on YouTube all those years ago. One of the most unlikely success stories in metal it may be, but equally, how could they not become superstars?

New bestie Poppy joins the band onstage for a barbarous from me to u, to kick off the confetti-filled encore of Ijime, Dame, Zettai, Road Of Resistance and perhaps their best song, KARATE. As they return with branded flags at the climax, SU-METAL addresses London directly, and the bond that exists between the band and the UK. “Thank you so much for your continued faith in BABYMETAL,” she enthuses, with huge smiles plastered across the faces of everyone onstage and the thousands in attendance, all sharing this moment of triumph together. 15 years ago, these fox-worshipping soldiers started the fight for heavy metal, and all this time later, there’s still nothing quite like it. Where will they go next? Only one person knows for sure…

Read this next:

• A deep dive into BABYMETAL’s KARATE video
• BABYMETAL: “We plan to start a new journey… I can’t wait to see what the future holds”
  
• “Sleep Token’s atmosphere has something in common with us – they’re comrades”: Why BABYMETAL love Vessel and co.