UlasanAnime.com – This article delves into the personal reflections and experiences of attending the CG7th Osaka Rocks live event, focusing on the atmosphere, musical performances, and seiyuu interactions.
Rather than a straightforward recap, the author aims to capture the immediate thoughts and feelings from the live performance. The intention was to publish this post quickly, but it was acknowledged that delays might have made the content even less timely.
Big picture/general thoughts
The author expresses dissatisfaction with the Kyocera Dome venue, finding it less comfortable than other stadiums like the Metlife Dome, with small seats and limited common areas. The main entrance, connected to an Aeon mall, felt crowded, especially on a rainy Sunday. The author would prefer returning to Nagoya or even Jingu Stadium.
The only redeeming feature of the Kyocera Dome, in the author’s opinion, is the open-to-public space beneath the venue, which functions as a mall. An amusing observation was made about the Orix Buffaloes merchandise shop within this mall, featuring items related to Adam Jones, a former Baltimore Orioles slugger. This was noteworthy because the author has followed Jones’ career closely.
Another point of interest in the Orix Buffaloes merchandise was related to Wakatsuki Kenya, the husband of Cinderella Girls seiyuu Tachibana Rika. The author mentions that if more time had been available in Osaka, a visit to the famous Koshien Stadium would have been considered for the “ballpark tour points.”
The author admits to not closely following Cinderella Girls lately, noting that after attending the 6th live event, they realized they only cared about half the songs. However, for the 7th Osaka event, the author studied the setlist by genre. It was discovered that the Osaka setlists heavily featured older Cinderella Girls songs, which the author knew and enjoyed, leading to a more positive experience than anticipated.
Categorizing the tour into pop-dance-rock genres significantly enhanced the experience. While the author always appreciated the high production value of Cinderella Girls lives, this genre-based approach made the concerts feel less theatrical and more focused on the music itself. The author contrasts this with other character shows that can lean towards musicals or character-centric events where the animated characters come to life, a quality that varies across IDOLM@STER branches but is generally strong for Cinderella Girls, though it can sometimes detract from the musicality.
Having only read about “Comical Pop” and “Funky Dancing,” the author couldn’t compare them in person. However, “Glowing Rock” sounded particularly appealing for re-engaging with Deremas. The author realized that what was hyped during the live was a shared sentiment among attendees, but not being fully immersed in the franchise meant less personal “payoff” or disappointment.
A notable aspect of this trip was interacting with newer Cinderella Girls fans. The author expressed happiness in meeting new people and highlighted how attending these events from overseas, even from nearby Singapore, places individuals in a unique, select tier. The shared experience of overcoming the challenges to attend these events provided emotional fulfillment. The “uchiage” (post-event gathering) on the first day was enjoyable, despite not connecting with everyone at the table. Trading cards and following some attendees on Twitter, including someone the author had playfully teased in a previous post about an “Awesome IDOLM@STER Concert,” was a positive outcome.
The live band, and IDOLM@STER
As a side note, the author attended LisAni Live in Makuhari the week before traveling to Osaka. LisAni, a music magazine focusing on anime and game music, hosts festivals that are typically artist- and music-focused, with extended artist sets and post-performance interviews. A key feature of these festivals is the provision of a live band for the artists, which is not always common for anime song acts.
The IDOLM@STER 765Pro All Stars performed at LisAni Live, and similar to previous IM@S appearances, their music was rearranged. Live arrangements often differ from studio versions, especially when transitioning to a rock arrangement from pop or EDM. This mirrored the approach taken at CG7th Osaka.
In some instances, the arrangements were so distinct that they felt like entirely new songs, with “Pallette” being a prime example. In other cases, the live instruments and performance added a unique dimension, with slightly altered arrangements. “Fascinate” stood out in this regard. Many songs already had a rock-oriented feel in their original recordings, so the live band and performance amplified this effect. The “Heart Beat” version of “Over” was particularly praised, as it was clearly designed to be performed with a live band.
The most impactful use of live instruments with IDOLM@STER was during an acoustic segment featuring Takki (keyboardist and bandmaster) and Makino Yui performing a rearranged medley of Mayu’s solos. The author was moved to tears, describing it as a perfect embodiment of Makino Yui’s talents, channeled through Mayu as a singer-songwriter-pianist, in front of a large audience. This performance was deemed powerful and unforgettable, especially for those who have followed Makino Yui’s musical career.
Acknowledging personal bias, the author also pointed out “In Fact” on day one and the natural synergy between a rock band and Syuko’s songs. These performances were exactly as expected, suggesting that the recorded versions were merely suggestions, with the Osaka performances being the definitive renditions. The decision to conclude with “Kurenai,” the most rock-oriented of Syuko’s songs, was considered bold.
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“Kurenai” is described as a cultural phenomenon and somewhat dated, having been popular when the author was in high school or college. The author found it amusing to observe the muted reaction from younger overseas producers who were unfamiliar with the song. The opportunity to rock out to a major X Japan hit in a Japanese dome was seen as a perfect meta-homage and a showcase cover, connecting to a distant glory from decades past.
Seiyuu performances
Following the live event, the author was so impressed by “Fascinate” that they purchased it from Mora. In contrast to the live experience, the M@STER version was considered a pale imitation of the Osaka performance. The author humorously noted that having a fellow fan explain certain aspects enhanced the understanding.
“Fascinate” was an event song from 2019 that introduced Chitose and Chiyo, which initially drew criticism from fans concerned about the lack of voiced characters. However, it barely registered with the author at the time due to not following the series closely. As it had no physical release, it was absent from the author’s preparation for the live, making its impressive live rendition all the more striking.
The author also highlighted the performances of the newer seiyuu at Osaka, including Sekiguchi Risa, who voices Chitose. Sekiguchi Risa’s nervousness and occasional blanking during MC segments were found to be amusing, drawing a parallel to the character Mei from Shiny Colors, who appears cool but might have a blank mind on stage.
Another notable newcomer was Hoshiki Sena, the voice of Riamu. During day two’s MC, Hoshiki Sena delivered a rapid, out-of-character word dump that perfectly captured her character’s vibe, which the author found to be great. Nakazawa Mina, another new seiyuu, behaved more like a typical fresh seiyuu, which was also seen as adorable.
The author was highly entertained when Hego performed “Hot Limit” on Day 1, with Uzuki doing her best to emulate TM Revolution’s classic hit. While the performance was straightforward in terms of singing and outfit, the use of a fan to blow air and fluff her hair added a comedic element.
For fans of Miho/PCS, hearing Tsuda perform “Junjo Midnight Densetsu” to conclude each day was comforting. The song is described as a great rock track, and its inclusion was considered essential. Tsuda’s performance was noted for its energy and looseness, making it enjoyable to watch.
Many other compelling songs were performed, including those that didn’t feature a rock band. Ranko’s songs, for example, showcased a flustered Marei and the usual cool “Maou” persona. A more direct confrontation occurred during day two’s “Gaze & Gaze,” where the performers engaged in a prolonged stare-down. Naobou’s performance was described as aggressive. The author mentioned seeing Hanai Miharu in person for the second time, noting her increased presence and impact at the Osaka event compared to her solo performance in Nagoya.
The cross-over nature of the songs in the latter half of the show, involving different performers, created interesting chemistry. Aachan’s “tsukkomi” (straight man) role when she joined in “Max Beat” was a notable example. The arrangements of “Absolute Nine” and “Valkyria” were considered purposeful and unusual, offering various levels of enjoyment for the audience.
Wrapping up
The author finds it challenging to write a standard review for this concert due to its highly performative nature. They expressed hope that the home video release will allow others to experience it, calling it a “concert for the ages.” The author thoroughly enjoyed this event as one of the most fun Cinderella Girls concerts they have attended, citing numerous reasons. These include the re-enactment of Dereani-era songs with live instruments, the quality of new songs, the meme moments, and even the new ED song for the Princess Connect Re:Dive collaboration event, which the author actively plays.
A postscript highlights Osaka as a great food destination, with the author enjoying takoyaki and okonomiyaki, as well as a next-level “uchiage.”
A further postscript notes the fortunate timing of the event, narrowly avoiding cancellations due to the coronavirus pandemic, which led to the cancellation of many large events subsequently.
An additional postscript mentions that Makino Yui discussed the live event extensively on Music On Radio that month with guests, who were the live band members themselves. Takizawa, the bandmaster, and IMAJO, the guitarist, were guests, and Mutsuki Shuhei, another guitarist, was scheduled to appear. All three have contributed songs to the IDOLM@STER franchise. The author points out that Mutsuki wrote both “Fascinate” and “Shinsou Mermaid,” encouraging readers to check out these radio appearances if possible.
The author expands on their history with Makino Yui, recalling their first live performance in 2012 at NYAF in NYC. They watched her perform early-era tracks and even high-fived her on stage. The author has seen her perform as Mayu several times and recalls her solo performance at Otakon. Makino Yui is described as having mastered the solo singer-songwriter-seiyuu role, with the author finding it interesting that she hasn’t written a Cinderella Girls song yet.
The acoustic set at the live event evoked a surge of nostalgia and emotion. It was described as powerful and amazing, perhaps even too powerful for Mayu, but it allowed Mayu to transcend and reveal her true self, which had previously been less visible.
