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Die en grey Concert Review: Going into the NYC stop on Dir en grey' s first headlining US tour, I honestly did not know what to expect. Judging from the lines that wrapped the block, in spite of the biting cold, and the bold, red "SOLD OUT" stamped over their name on the Marquis, I think I may have underestimated the band's American fanbase. In the days of their first handful of albums, the band was almost completely unknown on the states, save for its fiercely dedicated core of fans on the internet. Like many other "Visual" bands, CDs and band merchandise were a rare commodity, available only through scavenger hunts through the Japanese bookstores, or from online japanese music stores through which the cost of shipping would at cost roughly as much as the CD itself. However, things have changed since then, and with the surge in popularity of many things Japanese, so too has Dir en grey's international popularity arisen. After a wildly successful European debut last year, the band turned its attention to the US, where they played a few packed shows throughout major cities. After featured as a main stage act in Korn's "Family Values" Tour and landing video of the year on MTV's "Headbanger's Ball," the band has made their presence well known on this side of the Pacific. Perhaps one of the most interesting things about the band, at a glance around Times Square's Nokia Theatre, is that their dedicated fanbase still reflects this sudden widening of their western fandom. A group of girls in their mid-teens to mid-twenties in full visual regalia, some in full lolita costumes, stand next to a group of typical “metalhead” twenty-something men with hair to their waists and black band t-shirts. My favorite had to have been the smallest demographic, though: the beleaguered parents who watched in slack-jawed horror from the stadium seats as their high school-aged children raged on in the pit below. For those who haven't been, the Nokia Theatre, in the heart of Times Square, is divided into three tiers: the pit, the balcony, and the stadium seats. The theatre is very clean and well-run, and although the interior; dark with purple and green lights reflecting across the chandeliers, looked like The Riddler's den, the acoustics were perfectly capable. At no point during any of the performances was any sound quality lost; I definitely wouldn't mind returning here for more shows. After the fans slowly piled into the pit from the tremendously long coat-check line, the show finally started rolling with the first act, Bleed the Dream. While neither of the opening acts really shared a lot in common with Dir en grey's feel or sound, they were able to hold their own. Bleed the Dream is an up-and-coming band with a solid sound and good stage presence. While their music may have not been to the taste of the audience present, they were engaging enough to keep a good bit of energy throughout the venue. With a set list of only six songs, however, they were off stage fairly quickly. The following act, Fair to Midland , seemed to have more dedicated fans in the audience, as some fans in the balcony surrounding me chattered excitedly for their performance. The band had a very unique, distinct sound. Musically, each member of the band knew what he was doing; particularly impressive was the vocalist's powerful range, from high falsetto to low growls. With a celtic influence woven in with their harder guitar solos, it made for an appealing experience. Visually, however, the band left much to be desired. Despite all of their work to create a solid sound, the band seemed to have very little charisma. Each member operated in a vacuum, barely acknowledging the audience as they powered through their songs. The vocalist, in particular, had a bizarre habit of flailing about in a fit of violence, as if fending off a swarm of invisible bees, and then huddling in a ball next to the drum set to sing the remainder of the song, almost invisible from the balcony. At most, this performance seemed to only elicit a reaction of confused laughter from members of the audience. As Fair to Midland finished their set and cleared their equipment off the stage, the crowd's anticipation quadrupled. Dir en grey was next, and the fans were anxious. Setup for the main set took quite a while; enough time for a few false starts as cheers exploded for a figure stepping on stage, only to halt as the crowd realized it was just another roadie checking the mics. Heavy metal piped through the speakers as the chant, “Dir en grey! Dir en grey!” echoed through the audience; then finally, after some time, the cover was removed from a massive drum set with a flourish, and the show was ready to begin. The screams resounded as the band members poured in from the wings and took their respective places on stage and became deafening as Kyo, the vocalist, stepped up to center stage, clasped his hands together like a monk and took a bow. Immediately, they sprang into their first song with a screaming ferocity. Dir en grey's Toshiya has always been a very capable bassist, and this concert was no exception; the heavy, powerful bass pounded through the venue like a punch in the chest. Die and Kaoru, the band's guitarists, can rock with the best of them, although they stayed largely stationary throughout the show. The same goes for Shinya, although understandably, he was behind the behemoth drum set for the show. Although each member has his constituent of fans, the biggest attention fell on the visceral Kyo. The front man held the audience spellbound as he clawed himself bloody and screamed like a wounded animal. From guttural growls and shrieks to his haunting singing in ballads, his voice is as powerful as always. Much of the hour and a half playlist featured songs from the band's upcoming CD, Marrow of a Bone, but also held many fan favorites from more recent additions to their library, including the award winning “Saku,” for which and many others the music video was projected behind the band. Woefully absent to older fans of the band, however, are any of the old classics from their vastly different sounding earlier CDs. It's understandable, though, as the softer, more melodic “visual” direction the band once held is now almost completely absent. In fact, the band has filled their newer, grittier role quite aptly. (Click on the images to see it full-sized) |
