UlasanAnime.com – After a hiatus of several years due to the COVID-19 pandemic, the author had the opportunity to attend a Million Live solo concert once again. Their previous attendance included stops at the 3rd, 4th, 5th, and two stops of the 6th Live events.
Significant changes have occurred since the 6th Live. Notably, IDOLM@STER now features an official fan content team responsible for creating post-concert review and talk streams. These streams offer an informative way to relive the event and often highlight notable aspects of each performance, whether it’s the performance itself, its significance to the character, or historical references. These resources are valuable, though quite extensive.
Another notable development is the availability of live streams for these concerts, enabling immediate post-event reviews. These streams are also accessible as archives for a limited time. The author intends to provide their impressions, drawing from tweets, articles, and personal opinions. Before diving in, the author recommends reviewing these supplementary resources:
- Day 1 setlist, official announcements, official uchiage stream
- Day 2 setlist, official announcements, official uchiage stream
- Time lapse stream for stage buildout, ML 9th P no mi stream
- It is suggested that listening to a playlist of MS2 while reading this article would enhance the experience. Examples include playlists from Youtube Music or a trailer version.
The article is structured as follows:
- Nostalgia from 4th Live…or not?
- Untz Untz Untz – the Remixes
- M@STER SPARKLE 2 series
- The Updating
- Stepping into 10th
The 765Million Stars held their solo anniversary show at Nippon Budokan, a venue holding significant meaning for Million Live, particularly due to the impactful lyrics of “Thank You!” and the memorable 4th Live. The author finds it interesting to observe how those who did not attend the 4th Live perceive the 9th Live, noting that less than half of the audience raised their hands when asked about their experience at the 4th Live during an MC segment. While the 9th Live is enjoyable for newcomers, the return to Budokan carries immense weight for those who experienced the 4th Live, including the cast members. The 9th Live also directly references the 4th Live, not only in terms of the performers’ emotional investment but also by reprising several key songs from that event.
For some members, the 9th Live represents a form of redemption. For Million Live as a whole, the return to Budokan serves as a testament to their growth over nearly six years. The author is particularly impressed that all thirty-nine cast members remain integral to the series, even if not all were present at this specific show.
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Although every song performed at the 9th Live was technically new, the older songs were presented in “remixed” versions. For instance, instead of “Flooding,” attendees heard the ChoruSparkle mix. ChoruSparkle, as explained, refers to the sparkling stage and songs enhanced by the chorus of voices from the cast. Significantly, every “old” song featured in the 9th Live setlist had also been performed at the 4th Live, albeit in remixed forms. Even “Thank You!” made a return to Budokan, presented in its Million Radio mix.
To be direct, KO3’s remixes, like many remixes of beloved classics, were a mixed bag. Fan reactions varied, with even the official fan representative, AP Kassy, expressing reservations about some. The author, with a personal bias towards EDM, found some remixes particularly compelling. The runway model-esque rendition of “Diamond Days” and the transformation of “Hanabidan” into “Paripdan” were highlights. The upgraded bassline in “Hanazakari Weekend” was a fitting addition, though not strictly necessary. Similarly, “Primula” didn’t require enhancement, but the remix was appreciated. “Etahamo” could have benefited from a remix, but not in its entirety, as some arrangements of older songs are beginning to show their age. Conversely, some songs, like “Eien no Hana,” felt like missteps in the remixing process.
On the other hand, the absence of a dance remix for “No Sweet Sweet Soul” was a significant oversight, as it’s a song ideally suited for such a treatment. The author believes JUNGO missed an opportunity here.
The remixes served multiple purposes. Firstly, in a no-calls-allowed setting, altering the timing or beat of familiar songs helped suppress the audience’s instinct to sing along. This was particularly challenging for songs like “Eternal Harmony,” where the chorus remained intact, making it difficult to refrain from joining in. The author questions whether they could have resisted the urge to sing along.
The second primary purpose was to refresh and revitalize older songs. As anticipated, the spotlight at the 9th Live was firmly on the Master Sparkle 2 (MS2) series, as indicated by the event’s title.
The MS2 series proved to be a collection of powerful tracks, featuring modernized hits like Konomi’s “it’s me…” and songs that explored “another side” of the idols, providing them with slow songs or upbeat pieces if they lacked them. Many idols significantly benefited from these additions, with notable improvements seen in the performances of Tamaki, Sayoko, Nao, Miya, Reika, Yuriko, Kana, Subaru, Mirai, Tsubasa, and Serika.
Additionally, there were exceptional songs from Anna, Mizuki, Roco, Karen, Megumi, and Emily. The author particularly wants to highlight Emily’s song “Ebamoyo,” their favorite from MS2, and was eager to see it performed. The song beautifully encapsulates Emily’s growth by comparing it to layering threads to create a kimono. It’s a fittingly “weeb” yet nuanced representation of her character, reflecting a detail-oriented and emotionally considerate approach that transcends typical “weebness.” It also touches upon an idol approaching ten years in the series, with a need for further character development, having only four solos in that time—an average of one solo every two and a half years.
Surprisingly, the stage design at the 9th Live was equally impressive. In terms of stage direction and artistic design, the 9th Live surpassed the 4th Live, which, in some aspects, felt more like a circus than a proper idol concert. Perhaps as a form of artistic revenge by JUNGO, the 9th Live focused heavily on developing character songs, and the MS2 series proved to be the strongest batch, arguably the best since the LTH series that powered the 3rd tour and 4th live—an era the author considers the franchise’s peak, largely due to the strength of those songs.
On day one, the author eagerly anticipated performances of “Koi no WA WO N,” “Kimagure Humorusque,” and “Spotlight Mirrorland” (which felt like an anime opening). Day two featured “Play GO Round,” “Reach the Sky,” “Moonrise Belief,” “Yue ni Nandesu,” “Beautiful Believer,” and “Perfect Game.” Comparing this to their impressions of the ML5th live, which served as a precursor to the 9th Live, the author notes that despite still enjoying many MS songs, the MS2 series is so superior that it commands attention away from other elements.
[The author humorously recalls referring to Arisa as the “Elon Musk of idols.”]
The 9th Live showcased the diverse personalities of the idols. The characters are beyond their initial “sophomore” stage but not yet “seniors.” The need for a fourth character song solo series was evident. The 5th Live marked an awkward transition period between games, while the 9th Live served as a similar transitional event, occurring just a month before the 10th anniversary and following a year of disruption due to COVID-19. The author speculates that the booking of Budokan years in advance might have been for the 10th anniversary, especially with MOIW happening only a few weeks prior, suggesting that the 10th anniversary celebrations would span throughout 2023.
Indeed, the upcoming anime and the Million Live 10th Live, a four-stop tour (potentially five, though unlikely given the final stop is slated for a stadium still under construction in Yokohama), will coincide. This realization meant the author left the 9th Live with a considerable to-do list, as they were unaware of the full extent of activities planned for 2023.
Focusing on the 9th Live rather than the 10th, the author shifts to a bullet-point format for conciseness, although they admit this is not their usual style.
- The 10th Tour is planned with 4 Acts, with Act 1 covering the 1st to 4th events and Act 2 covering the 5th to 9th. Kasshi has alluded to this, drawing a parallel to CG 10th, but the exact nature of the final show in February 2024 remains unknown.
- The author expresses frustration with the movie’s pre-screening schedule in August and September before its official October 2023 release. While not begrudging those who see it early, the author finds the three-month data disparity problematic in the age of social media. Furthermore, global distribution issues are expected for the anime, with a likely binge-release on a streaming service, which will inevitably lead to immediate leaks. Despite this, the author plans to watch parts of it if they can return to the country.
- The author questions if anyone else finds April 29th to be an excessively early date.
- The author enjoyed the food during the 9th Live weekend, particularly a Yakiniku restaurant run by a semi-celebrity chef, which served a hybrid of A5 beef grease and meatiness. Another A5 wagyu place visited for the uchiage was also good, though perhaps not the best value for money.
- The stage, lighting, and overall presentation of the 9th Live were exceptional, ranking among the author’s favorites within Million Live. While Million Live concerts typically draw appeal from the cast’s charisma and the songs themselves, the 9th Live, with its focus on new MS2 songs, featured a striking asymmetric stage design that utilized Budokan’s vertical space, complemented by extensive LED displays that created a vibrant spectacle from afar. The author laments that videos do not fully capture the visual impact, which was particularly noticeable for certain songs, while others remained more traditional in their performer-centric focus.
- Regarding
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