Creepy orchestral music—overlaid with soprano vocals—slowly filled the Aragon Ballroom. Instrumentalists in horned silver masks filed onstage: two faceless guitars, a drum, and a bass. As the music shifted into a minor key, a booming voice-over began, “in a Babymetal galaxy far, far away.” Three young Japanese women stepped onstage, wearing black pleated skirts underneath gold armor. The lead singer, Suzuka Nakamoto, assumed her position center stage, flanked by backup vocalists Moa Kikuchi and Momoko Okazaki. As the opening song, “Babymetal Death,” built into a heavy metal drumbeat, the women began to dance. Their choreography often mimicked guitar- or drum-playing movements. A rough male voice chanted “death,” and on the occasional pause in instrumentals, the artists alternately shouted “Su-Metal,” “Moa-Metal,” and “Yui-Metal,” their stage names.

For the 2023 Babyklok tour, Babymetal teamed up with heavy metal band Dethklok. Babymetal is often categorized as “kawaii metal,” a genre that integrates heavy metal and J-pop; there’s an interesting tension between their heavy instrumentals and their feminine vocals and frilly outfits. Dethklok was formed to create the songs for a fictional band featured on Adult Swim’s Metalocalypse. Dethklok has a more traditional heavy metal sound, with guttural vocals and screaming, but, linked with Adult Swim, has its roots in animation. The visuals broadcast on the screen behind the performers, while depicting violence and bloodshed in a hellscape, allowed Dethklok to retain a fantastical element that complemented Babymetal.

Babymetal’s duality is best exemplified by their second song, “Gimme Chocolate!!” The song began with a deep male voice demanding, “Give me chocolate,” at whose cadence the women erupted into movement. Bathed in red light, they bounced to crashing drums, heavy guitar riffs, and reeling electronic notes. The singers then added in cutesy-sounding lyrics, which roughly depicted the conflict felt by a woman who wants to eat sweets but worries about gaining weight. Babymetal’s songs are catchy in a way that most metal isn’t, which has allowed the group to attract fans of both metal and pop. There were, of course, the hardcore metal fans being pulled out of the pit—but there were also a few children, and an all-black outfit didn’t seem to be mandatory.

Keeping the energy high, the group moved into “Pa Pa Ya!!” With similar electronic riffs and heavy drums, “Pa Pa Ya!!” was notable for its intricate choreography. From their hands to their feet, the women’s movements were intentional and in constant flux. Unlike their other work, “Pa Pa Ya!!” featured Thai rapper F.Hero, whose rap increased the energy in a way distinct from Babymetal’s typical drums and guitar.

The trio performed a string of favorites including “Distortion,” which is closer to traditional metal, “BxMxC,” which is more electronic and autotuned, and “Maya,” which centers around Nakamoto’s airy vocals. With the staccato opening notes of “Metali!!,” the artists started to build the show into a close. The song and its dance draws on elements of traditional Japanese culture, as much of Babymetal’s work does. Toward the middle of the track, the singers motioned for the crowd to sit down. While we were kneeling, Momo performed kabuki, a traditional form of theater with a distinctly wavering voice and complementary writhing movements. After Momo’s last, questioning “metali?,” the beat dropped and the crowd sprang to their feet. The band maintained the energy through their top hits “Megitsune” and “Headbangeeeeerrrrr!!!!!” which both expertly combine classic Babymetal guitar riffs, Nakamoto’s light lyrics, and the group’s intricate choreography. Listening to Babymetal’s music offers a window into the trio’s unique sound, but it pales in comparison to their presence and movement on stage.