UlasanAnime.com – The Japan Super Live event at Anime Expo 2017 offered a more relaxed atmosphere compared to other fandom-centric events, yet it was equally exhilarating. The author recounts a day filled with interactions and anticipation, capped off by a prime Row A seat.
The setlist unfolded largely as anticipated, with a clear understanding of which artists would perform and for how long. Nevertheless, the show managed to deliver unexpected moments.
The concert commenced approximately 30-40 minutes past 8 PM, featuring a live band that was a welcome addition. The surprise element truly came with the collaborations that unfolded when Konomi Suzuki and angela took the stage in the dim light. The following setlist and photos were provided by Resonance’s PR.
Konomi Suzuki
Zankoku na Tenshi no These (Special Collaboration with angela)
This game
Blow out
Redo
Konomi Suzuki’s performance was solid, particularly her rendition of “Redo,” which the author thoroughly enjoyed live. Despite the absence of typical fan calls, a common challenge in her songs due to the need for rapid tempo shifts, the audience responded with enthusiasm. Suzuki appeared somewhat nervous during her English MC segment, which seemed to affect her delivery. The author humorously recalled her “cycloning” during “Cruel Angel’s Thesis,” suggesting it might be best avoided in the future.
Mashiro Ayano
vanilla sky
NEWLOOK
ideal white
Mashiro Ayano’s performance was noted as being less “sexy” than a previous appearance in Taiwan, but she demonstrated improvement. Her set was deemed competent, though the author felt her appeal had already been established.
GARNiDELiA
ambiguous
grilletto
SPEED STAR
Yakusoku -Promise code-
Sorairo Days (Special Collaboration with Mashiro Ayano)
Following Mashiro Ayano, GARNiDELiA’s presence was signaled by the setup of their synth equipment. The author enthusiastically joined in the “cycloning” during “ambiguous,” a move they also performed during a previous encounter. GARNiDELiA was described as a consistently reliable act, with their dancing providing a dynamic contrast. The performance of “Sorairo Days” evoked a strong association with Sony, leading to a wish for Trysail’s inclusion.
ALI PROJECT
Boukoku Kakusei Katharsis
Yukyou Seishunka
Seishoujo Ryouiki
Rara Eve Shinseiki
ALI PROJECT’s performance was an enjoyable experience for the author. Their penlight joke during the MC was particularly well-received, acknowledging the group’s unique status as a challenging act for traditional penlight choreography. While the author felt their performance at Anime Boston might have been stronger, hearing classic songs that resonated with the audience was a positive aspect.
Minori Chihara
Paradise Lost
TERMINATED
Beyond the Boundary
Celestial Diva (Special Collaboration with ALI PROJECT)
Hare Hare Yukai
Freedom Dreamer
The collaboration between Minori Chihara and ALI PROJECT on “Celestial Diva” was preferred over “SELF PRODUCER,” as it offered an interesting duet between the songwriter and the singer. The author expressed a strong emotional response to “Paradise Lost” and found their first live experience of “Freedom Dreamer” to be excellent, despite its age. The “furicope” during “Hare Hare Yukai” was also highlighted as a fun moment, aided by ample aisle space.
angela
Boku wa Boku de Atte
Asu he no brilliant road
SIDONIA
KINGS
Shangri-La
angela’s inclusion of “SIDONIA” was highly appreciated, though it strained the author’s voice. The group’s comedic “Manzai” segments were more prominent in this show, likely due to the ease of incorporating jokes related to Fripside, which would have been difficult if they were performing solo. Their performance captivated the American audience, a notable achievement. The author maintained their streak of attending every US angela show, recognizing the group’s enduring “senpai status” among overseas live-goers. A friend was humorously called out by Katsu to be his wife and angela’s “Lion Friend,” described as a “nice house tiger.”
Atsuko’s a cappella rendition of the opening bar of “OneShang” was also praised.
Regarding overseas performances, the author pondered the degree of “localization” required for acts. Language barriers are a primary concern, but the unifying power of anisong often transcends them. As wota culture gains traction in North America, other cultural barriers may also diminish. The author believes the key lies with the performers themselves; delivering a genuine performance is highly valued. angela serves as a prime example, effectively bridging the gap even when a majority of their jokes might not translate directly, by focusing on the elements that resonate universally. This approach was seen more effectively at AWM 7/1 compared to AWM 6/30.
While a more uninhibited performance would be ideal, there remains significant potential for improving engagement with overseas audiences, as evidenced to some extent at AWM 7/1. The author emphasized that the music and the context are the core strengths of anisong, and Japanese producers should prioritize these elements while implementing necessary localization.
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PS. The VIP hi-five event was an interesting experience, especially interacting with Arikasama’s team. Wearing the angela hat led to extra time with the duo, who complimented the hat and the “manzai.” The event moved quickly due to the ushers’ assertive guidance.
