UlasanAnime.com – The Animelo Summer Live 2010 event, a significant anison (anime song) concert, offered a comprehensive viewing experience for fans, especially with its transition to a two-day format. This shift, while requiring a more planned approach for home viewers, provided an extensive showcase of talent, spanning over 10 hours at the Saitama Super Arena.
A notable development for the 2010 release was the inclusion of all footage for purchasers, a feature that seemed surprisingly overdue. This move was seen as a positive step, allowing fans a more complete taste of the event and hopefully setting a precedent for future releases.
The reviewer found Day 1 to be generally superior in terms of average act quality, though Day 2 performers likely appealed to larger fan bases. In the anison genre, the focus often leans more towards the passion and connection with the music rather than strict vocal perfection.
Special duets in 2010 were considered somewhat lacking, with only “Get Wild” and “Unchain World” on Day 2 standing out. Day 1 had fewer memorable collaborations, and the reviewer felt that Kurinoko’s participation in the opening JamPro song shouldn’t be counted as a significant duet, contrasting it with Aki Misato’s performance the previous year.
The article proceeds with a non-chronological review of individual artists, acknowledging that other sources offer more detailed breakdowns and that the release itself is now widely accessible.
Minami Kuribayashi was noted for her strong performance, coming just before a period of increased popularity. Her consistent stage presence and fashion sense were highlighted as reliable assets for Day 1.
Yuuka Nanri was praised as the best-dressed performer of the event. She was described as a complete package, possessing the look, style, voice, musical genre, and seiyuu skills, making her a perfect fit for her early slot on Day 1.
Jam Project delivered a tight set, with their “group karaoke” approach seen as a natural evolution from their usual intense performances. The choice of “Gong” performed at a slower pace was particularly effective, providing a strong end to Day 1.
Yukari Tamura, while perhaps not taken entirely seriously by some, shone in the omnibus format. Her cuteness stood out, and the crowd’s enthusiastic participation, even from those not exclusively her fans, was evident. Her strong fanbase was clearly in attendance on Day 2.
The performance of “You & Me” was humorously noted, with a specific observation about Motsu’s shirt.
Halko Momoi, another Day 2 act, was described as uniquely weird or cute, depending on the viewer’s perspective. A potential cross-pollination with Yukarin was suggested, though their core appeal was seen as similar. Her performance of classic songs was deemed suitable for long-time Animelo attendees, and it was fitting that she preceded a more visually striking act.
Ali Project, fronted by Arika, was awarded the title of the “weirdest” act. Their performance blended classic and new elements, with song choices and a motif that worked well, especially in contrast to some other acts. Arika’s role at Animelo was seen as consistent, appealing to a specific fanbase.
Fripside ranked second for “weirdness,” primarily due to their magician-like stage antics. Yoshino Nanjo’s appearance was noted as cute, and the performance sparked speculation about potential collaborations, such as with “Qwaser.” It was described as an unusual start to Day One.
Chiaki Ishikawa showed an improvement from the previous year, with her attire making her appear significantly younger. Her performance emphasized composition and vocals, with solid song choices for a year that was otherwise less eventful for her.
Chihiro Yonekura appeared more in line with her age and delivered her signature songs. However, the reviewer noted a lack of new material, questioning why she wasn’t exploring new musical avenues.
Her pairing with Naomi Tamura for an epic 90s anison song was a highlight, with the suggestion that a three-way duet or a medley would have been even better.
Lia provided a pleasant contrast, appearing “mom-ish” and delivering her songs with excellent English enunciation, a standout on a day with considerable “Engrish.” Her mix of new and old songs made Day 1 more memorable for the reviewer, who had recently been revisiting her older CDs.
She was deemed a perfect convention guest, though likely focusing on family life in the near future.
Elisa, another Day 1 guest, was viewed more as a comedic element, despite being beautiful and a competent singer. Her humor was seen as an added charm to an otherwise capable but uninspired artist. Questions were raised about how her “Kaminomi” songs would be performed.
Faylan was credited with redeeming the first disc of Day 2. After a shaky but promising performance the previous year, she was spot-on in 2010, displaying a winsome smile that placed her among the top performers of the day.
Nana Mizuki, the reigning Queen of Anison, delivered an awesome and distinct performance that evoked memories of baseball stadiums. While impressive, her act wasn’t seen as a massive leap forward compared to other performers like Ayane.
Her duet with Makkun was highly praised, with Makkun’s outfit compared to a K-ON music video. The reviewer noted Makkun’s natural harmonization skills, contrasting it with the less cohesive duet between Minorin and May’n on Day 2.
Minori Chihara, described as the “Porcelain-skinned Goddess,” maintained her appearance and performed a song the reviewer particularly liked on Day 2.
Motsu, though not a formal act, significantly enhanced the encore performance on Day 2, with his involvement highlighted by a lift intro.
Crush Tears, featuring Yu, was noted for Yu’s best singing occurring during the encore. While a cute addition to Day 2, there was disappointment that Kobayashi wore pants. The performance still generated significant crowd reaction.
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Lisa & Marina, intended as comedic acts, proved to be strong performers on Day 1. Lisa’s CD sales were boosted, and Marina, while slightly different from expectations, performed well, as did the accompanying bassist and guitarist.
A three-way collaboration on an Aoi Tada piece was considered great, with the implication that the collaborators might have surpassed the original artist.
May’n was lauded for her youthfulness and professionalism, earning the second-most winsome smile. Her increased stage time on Day 2 was well-utilized, and her performance of “Universal Bunny” was more engaging than a previous live viewing. Her MC segment, which touched on international performances, was contrasted with Yukarin’s approach.
KOTOKO, though no longer as young, remained professional and delivered a powerful performance that felt almost out of place but undeniably captivating. Her absence from the encore was noted, likely due to time constraints.
Masaaki Endou‘s performance was expected to be more outrageous but was considered suitable for Day 2. His solo work was seen as filler, but his collaboration with Makkun outside of Jam Project was acknowledged.
Masami Okui was consistently praised for her awesome performances, despite aging. The reviewer suggested she should have a dedicated act with the Animelo band and noted the inclusion of “Koihime Mousou” clips during her song.
Ayane impressed with her high-energy, Elements Garden-esque performance. The duet was fun, though not particularly memorable for a non-fan. Her dance choreography was well-executed, and her act was favorably compared to Yui Sakakibara’s from the previous year.
Milky Holmes, a fun group, was perceived as better experienced live than on video, described as the “deer-in-headlights” group for Day 2.
SPHERE received a similar “deer-in-headlights” label for Day 1, though the reviewer was pleased they performed three songs, with “NowSka” being a pleasant experience. Their behind-the-scenes footage was notably absent. In contrast, Milky Holmes’s dancing abilities were considered superior.
Milktub‘s hat was a notable accessory. The reviewer preferred their 2011 songs and looked forward to future performances. Their duet was well-chosen and matched YUFFY effectively, though Milktub’s performance was described as straightforward.
Psychic Lover‘s “Shinkenger” song was deemed awesome, though the reviewer felt sympathy for the performer’s exertion during the song.
Angela‘s performance was characterized by a fluctuating appreciation over the years, with 2010 being a strong year due to their associated anime. “Aoi Haru” was a highlight, and “Alternative,” with Atsuko’s unique outfit, was also enjoyed.
Naozomi Takahashi‘s performance was described as not bad, a good Day 1 choice as the “cool dudes” were predominantly on Day 2.
Kanako Itou maintained a “freaky” appearance, even among the uniquely dressed performers. Her singing was strong, adding to the “weird quotient” of Day 1. Her intense stage presence was particularly noted.
nomico & Masayoshi Minoshima‘s performance of “Bad Apple” was considered “bad ass,” tapping into the “NND meme” phenomenon. Seeing an internet personality perform live was interesting, and nomico’s encore line was described as cute, further contributing to Day 1’s appeal.
GOMBAND was considered the worst act of Day 1, feeling like a group assembled for a marketing scheme rather than a cohesive musical unit, despite being musically adequate.
Granrodeo‘s “Rose-hip Bullet” was catchy, but the reviewer expressed a preference for Psychic Lover. While not bad, Granrodeo wasn’t to the reviewer’s personal taste but served their purpose on Day 1.
In final thoughts, the reviewer suggested that Animelo lives were at a turning point, with spin-off events like Shanghai and Girls Night indicating a direction for growth. While this expansion showed promise, logistical and financial challenges were acknowledged as potential hurdles.
The festival’s role as a premium stage for new and smaller acts was seen as strengthening, with artists like Faylan, LiSA, and May’n benefiting. The reviewer also hoped for increased “meme-farming” from Nico Nico Douga and a broader lineup with more fresh talent, noting a perceived decrease in this aspect compared to previous years.
Finally, the need for more seiyuu ensembles was emphasized, with the “Zetsubo Sensei” act cited as a past highlight, suggesting that more such collaborations would be welcomed.
The article concluded with anticipation for Animelo 2011.
