Otakon 2007

AAA Concert

July 20, 6:50 p.m.

We're about to witness history. Attack All Around is, I'm told, the first Japanese pop group to perform at an anime convention in America. We've seen plenty of Japanese artists, of course, but AAA's act is all about singing and dancing—seven performers and not an instrument in sight.

The crowd cheers as “Sunshine,” one of AAA's music videos, runs on the video screens in a converted basement exhibit hall. The venue is better than I expected: instead of settling for the ballroom upstairs, Otakon has draped two cement-roofed rooms in dark blue curtains. With perfect lighting, it could pass for a small arena. As it is, only the gigantic restroom signs detract from the ambience.

Chants of “Tri-ple-A” fill the hall at 6:59 but fall away within a minute. Purple stage lights fade on and off every twenty seconds. The video screens indulge a fan holding a sign: “[phone number] 4 single male.” Shadows backstage catch the crowd's attention.

7:09. “Hello, ladies and gentlemen, and welcome to Otakon 2007. This is the voice in the dark, the voice of Otakon.” The disembodied voice reminds us not to take video or photos and reveals that the room will not be cleared before the Anime Music Video contest. “Lucky you!”

“Please welcome, for their first performance in America, AAA!” Chugging guitar (over the speakers) welcomes seven figures in red kimonos from stage right. The two girls in the back, Misako and Chiaki, arrive with red and yellow folding fans. After a brief dance number, lead singer Shuta opens “Dragon Fire” with smooth R&B spin. A crew-cut Naoya joins in but gets only a few seconds in for a duet before the catchy disco chorus. With a live brass band, this would be pretty awesome.

Misako takes the second verse. She's fine but seems to lack Shuta's vocal chops. The real highlight is the series of synchronized somersaults that the group pulls off during the bridge. They revisit the refrain once more, and Mitsushiro ends the opening number with a nice backflip.

Shuta takes the lead again for “Let it Beat!” but now he's flat. Naoya, on the other hand, handles the transition better in his second chance of the night. Mitsushiro's up next with some decent angry rap. In what will probably a theme tonight, the chorus demands little range of the group but has one addictive phrase. This time, it's the title times three. Another backflip excites the otherwise passive crowd of perhaps 2,000. The song wraps with the group in flight formation, hands behind their backs and heads bowed.

An electronic beat introduces a dance interlude accompanied by a healthy dose of fog. Shuta and crew make robotic motions across the stage. The others step aside Naoya takes stage left to show off his dance moves. They take turns in time with the ever-changing music, but no one can hope to top Takahiro's hand standing and break dancing. Though lining up to do the thousand-handed Budda thing while yelling “Get your hands up!” is a clever culture clash.

Three minutes later, we're into the third song. The kimonos come off, revealing white vests. With their white pants and white shoes (and, in Naoya's case, white fur), they look like spiced up leisure suits. The crowd seems to approve: finally, everyone is standing. To this point, the dances have been good, but the hand-over-hands and half-twists lower the bar considerably. Then there's the limp wrist move—air guitar, I hope? Swimming and spinning breaks up the call and response among the band, and the crowd cheers to the end.

“Konnichiwa! AAA!” The arena lights up, and Misako steps up. “Are you enjoying yourselves? Our name is AAA, and we came from Japan. So—” She's interrupted by cheers. “Okay, let us introduce ourselves. My name is Misako Uno! Let's have a nice time together.”

“My name is Chiaki Ito! Kyo wa minna san tanoshinde kudasai!” She and Misako leave the stage.
“Hi, my name is Shinjiro Atae! Yoroshiku onegaishimasu!”
“My name is Shuta Sueyoshi!” Wild applause. “Shuta, shooter, du-du-du-du! Okay? Do you like Dragon Ball?” Mild applause. “Do you like Dragon Ball?” There we go.

Shuta and two others put their palms in ‘fireball’ position. “Haaaaaaaaaaaa!” Only at Otakon.

“I'm Mitsushiro Hidaka! I'm so glad to see you! Thank you. I'll try to speak English. Forgive my poor English.” His English is just fine.

Hellooooo! My name is Takahiro Nishijima! My nickname is Nishi. Please call me Nishi!” The females in the crowd oblige.

Shuta: “Please call him Nishi!”
Nishi: “Yoroshiku onegaishimasu!” He blows a kiss, and the girls faint.

“Naoya Urata!”
Nishi and Shuta point to him: “Leader!”
Naoya: “Do you know AAA?” Cheers. “Have you ever seen AAA? By the way, is this your first time seeing AAA? Hajime mashite. Nice to meet you. I love you.”

In Japanese, Shuta says the next song is very interesting. “Do you know kimono? Do you want to see kimono? Okay, let me show you kimono!”

Misako and Chiaki return as the other four hurry off stage. Chiaki's in a purple kimono, Misako in red. “Kimono Jet Girl” is the song. It's annoying but kind of funny, with the odd “Hai!” in the background evoking images of “Kung Fu Fighter.” The hand gestures are just a quirky, with alternating fingertip-to-elbow moves. They lean forward and bob their heads; the crowd imitates. Chiaki makes the best of a poor harmony line at the end of the song. In fewer than three minutes, they retreat backstage once more, swapping places with the five men.

There is barely a break before “Soul Edge Boy.” Naoya opens poorly. Seconds later, Shuta blows him away. If there's one thing to take away from this concert, it's that Shuta is a legitimate star. There's a heck of a solo career waiting for him if he wants it. Naoya improves for the second verse, but once again he has the unfortunate luck of preceding Shuta, who soars on the first vocal flourish of the night. The chorus, accented on the fourth beat, is trite but, yes, catchy. A squealing crowd celebrates the end of the song. Squealing teenage girls are loud.

Piped in drums and flutes signal Misako and Chiaki's return for “Samurai Heart.” They enter a call and response with rapper Mitsushiro. He's good, they're shrill. Even prerecorded, the electric guitar after the chorus is effective. But I'm getting ahead of myself: the chorus is more developed than that of most AAA songs, with an understated harmony under a dynamic vocal line. This is a good song.

AAA spins on the last note of the chorus, leading Chiaki into an assisted backflip. Taking the cue on stage, most of the crowd joins the chants of “What?” and waves with the beat. As if the finger guns throughout the song aren't funny enough, the song wraps with those finger guns “holstered,” which is goofy but sort of creative.

Shuta: “That was Samurai Heart. Do you know samurai? Do you know Bleach?” Is this an anime convention? “Yes, like that!”

Misako: “I will you, do you know that famous Hollywood movie, The Grudge 2?” Cheers. “I played the part of Miyuki.”
Shuta: “She's a Hollywood star! A movie star!”
Misako: “Did you see the movie? So, The Grudge 2 DVD is on sale.”
Takahiro: “Wow!” Ha.
Misako: “So please check it out.”

Takahiro asks if there are any Japanese fans in the audience. He gets a few cheers. “Usotsuki!” Misako says she's glad to see them.

Takahiro: “I want to come back.” The audience approves. “I want to live in Baltimore!”
Misako: “Uso!” [Lie!]
Shuta: “Do you know ninja? Naruto?” Huge applause. “Do you know One Piece?”
Takahiro: “He's a big fan of One Piece.”
Shuta: “I love Luffy.”
Takahiro: “Luffy's our fan. Do you like Japan? Japanimation?
Shuta, muted: “Sugoi.”
Takahiro: “I love you!”

A few fans scream, “Aishiteru,” and Shuta returns the favor.
Takahiro: “Please remember our name, AAA!”
Misako: “We have three more songs. First, Get CHUU!!”

That's the title of the song, and also most of the song. It sounds like Hanson, which I guess is the sound they want, but it's rather disconcerting. Actually, it's a nice arrangement that plays to each member's strengths, even if half of the lyrics are “chuu.” After a few rough songs, Naoya is back on target. Shuta still rocks. Misako leads the final chorus, her first solo chance all night, and she shines.

Chants of "ii jan" open the next song, an unremarkable number made cooler by Shuta and company diving over each other. I hate to rag on Naoya, but he's in a tough spot having to sing right before and after Shuta all the time. Chiaki and Misako turn away from the stage as the others sing, and then they alternate. A sustained “Hey” chant works to perfection. And suddenly it's time for the last song.

“Baltimore, thank you!” Shuta introduces “Blood and Fire” and gives way quickly to Mitsushiro's rapping. Man, we really needed more of him. The transition to Misako is jarring but only for style; her performance is good enough. The stage goes orange—it's been neutral for most of the concert. Takahiro steps onto three other members, who create a center stage staircase on the fly.

Shuta: “Everyone, throw your hands up!”

This song gets better as it goes. The leapfrogging and running split kicks don't hurt, either. I guess the best thing I can say about the dancing is that it has kept the crowd entertained in long instrumental sections, which is quite a feat when they have no live band to support them.

The clock strikes eight, and it's over! Leaving the stage, Shinjiro shouts, “I'll be back!” Chants of “Tri-ple-A” fade after another disembodied voice tells us about the upcoming autograph session. Well, that was fun. It wasn't mind blowing, but I hope we'll see AAA again soon.