Babymetal Bring Their Kawaii Metal To The O2 Arena

Few bands in recent memory have redefined the Metal genre quite like Babymetal. Their unlikely fusion of J-Pop and Power Metal has birthed an entirely new subgenre by the name of Kawaii Metal, adding them to a long list of greats who have fundamentally altered Metal as we know it.

Babymetal – Bambie Thug – Poppy

The O2 Arena, London – 30 May 2025

Words And Photography: Matt Pratt

The Japanese icons have not only challenged our expectations sonically, but they have blazed a trail for many other phenomenal acts of under-represented demographics within the scene, such as tourmates Poppy and Bambie Thug or recent breakout artists like Bloodywood and Hannabie.

It is not overselling things to say that Babymetal have already achieved legendary status within the heavy music community, and tonight’s sold-out show at the iconic The O2 Arena is the perfect validation of this.

The last time Babymetal landed upon our island, we were left wishing for more. Their Download Festival main stage set was cut short thanks to the ever-reliable East Midlands weather, offering only a teaser of what we had hoped to experience.

These unfulfilled appetites only fueled the early afternoon atmosphere, with eager fans ransacking the pop-up merchandise shop before finding their place in the growing queue, seeking prime front-row real estate.

To describe a Babymetal gig as nothing more than a live music performance would be to do them an injustice. Their show is a carefully arranged display, with every interlude, special effect, and movement diligently programmed to portray the band’s story whilst still delivering their brutal and vibrant brand of heavy music.

The theatrics were quick to kick in as the narrator bellowed: “A long time ago in a Heavy Metal galaxy far, far away,” leaving you half expecting some sort of lightsaber duel.

Whilst there was no Jedi combat, to my nerdy disappointment, there was an abundance of special effects throughout, with so much pyrotechnics that the front row will be thankful to still have their eyebrows.

The inferno was not only found in the flurry of flamethrowers, the trio’s boundless energy and ferocious setlist had the spirit of the enormous arena ablaze.

Babymetal’s presence within the Metal community is often brought into question by the traditionalists of the scene, and whilst I can appreciate that they are a far cry from the likes of Black Sabbath or Iron Maiden, I find it laughable that you could deny the bloodcurdling instrumentation and even occasional growl from lead vocalist Su-Metal as a textbook example of what Metal is.

The show was suitably stacked with hits old and new, with the band keen to pay respect to every era of their evolution. Whether it be the whirlwind of shirt twirling to PA PA YA!! or the chirpy Tu-Tu’ing to the opening beats of RATATATA, the crowd could not have cared less whether you considered these orchestrators of chaos heavy enough.

Recent releases from the Japanese juggernauts have typically shared one thing in common, they have collaborated with other artists. This is a theme that we already know will continue into their upcoming release, and it highlights their ambition not just to become an industry leader themselves – which I would argue they have already achieved – but also to inspire and cultivate an entire new generation of diverse and complex music that alters the Metal landscape just as they have.

Following an indulgent pre-encore wait, through which the crowd exhaustlessly chanted “Bay-bee-meh-tal!”, the three-piece returned to the stage with the familiar face of Poppy to deliver a face-melting rendition of ‘from me to u’ as the band paid respect to the rapidly soaring talent who has been an integral part of this all-female touring machine over the last month.

Following this vivid meeting with the modern face of Babymetal, the night was closed out with a trio of hits that we will fondly remember from the breakthrough performances of the band as they crashed into the UK touring scene, KARATE, Ijime, Dame, Zettai and Road Of Resistance.

A rare moment of reflection was offered during KARATE as Su-Metal encouraged us to wave our phone lights as projections of awe-filled supporters were displayed on screen.

The final song was a perfect closer, with all the anthemic might of a fanfare combined with both walls of death in the crowd and walls of fire on the stage.

As the triumphant icons took their leave, wrapping up their UK and European tour, Su-Metal made sure to recognise the British fans for their continued support since their first show on our shores at Sonisphere 11 years ago, a landmark moment in the remarkable success of this still-young band.

We do not know when or in what capacity Babymetal will return to our shores, but I am certain we have not seen the last of them. With only one UK date on this tour, other cities will be clamouring for a slice of the action next time around and with Andy Copping present, you have to wonder how close they are to joining Metal immortality by headlining the illustrious Download Festival?

I know I want it. I am sure this crowd is desperate for it, and it is only a matter of time before the Fox God demands it. 

So why not get ahead of the curve, Andy? Bring the Metal Forth.

Bambie Thug

Few artists complement Babymetal’s expectation-defying style quite like Bambie Thug. The Irish artist burst into mainstream consciousness as they took on Eurovision, a competition known for its hyperpop and dance music, with a much darker identity and sound than most viewers anticipated.

Whilst heavier acts are not uncommon at the Eurovision Song Contest, Lordi having notably won the coveted trophy in 2006, Bambie Thug’s style caught plenty of attention and provided a platform that has allowed them to land spots on the main stage of the Download Festival and a coveted position in tonight’s line up.

A Bambie Thug show is equal measures spooky and engaging. Joined by nothing more than two tentacled backing dancers, they had the monumental task of entertaining the cavernous venue and did so with ease.

Offering thick basslines, aggressive vocals and poignant lyrics, it was obvious that Bambie Thug have not rested on the fame that Eurovision has granted them. This was a well-oiled touring machine.

The singer gave us a taste of what was to come with a sneak preview of their new single, Redrum Rave, which they described “as a song for change and a song for rebellion.” This poignant message was emphasised in the song’s climax as Trans Pride and Palestinian flags were unfurled behind Bambie. 

The short but impactful performance was wrapped up with their best-known hit, Doomsday Blue and the brutal Tsunami (11:11), sending energy levels through the ceiling and setting an electric tone for the rest of the evening.

Poppy

Poppy has been thrust into the limelight this year. Her controversial appearance on Jimmy Kimmel Live alongside Knocked Loose may not have been universally praised, but it certainly created some traction around the eerie and brutal works of one of heavy music’s hottest prospects.

Though to many, Poppy will be a new name on their playlists, the unique artist has been inventing and reinventing herself for well over a decade and has worked alongside huge names such as Fever 333, Grimes and Diplo.

Poppy might feel like a fresh face to some, thanks to the difficulty in trying to strap her constantly evolving sound to any one genre. Her back catalogue has spanned the modern pop, electronic and rock spectrum and while her current body of work closely aligns with Metal, who’s to say how long it will be before she pivots to freeform jazz or Mongolian throat singing?

Given her pop background, Poppy has an unsettling way about her modern performances. She can seamlessly switch between the bubblegum presentation of mainstream music and the scolding barbarism of her deafening growls, creating a powerful atmosphere of unease that you might experience watching a horror film.  

The singer had a tough job on her plate trying to take control of an enormous stage with limited production or lighting. Despite the challenge, Poppy dominantly asserted her presence through virtue of her powerful vocal performance, utilising the cavernous, dark venue as more of a prop to her creepy show than as an obstacle.

The short set included a whistle-stop tour of the in-demand artist’s heavier work, such as Scary Mask (yes, with an actual scary mask), I Disagree, and closing out with New Way Out.

The final song felt as though it was really building up some energy, so when it abruptly finished, we were left with an empty stage, wishing for more. If we want to hear more, we will have to catch her at Download Festival in a few weeks or hold out hope for a headline tour this autumn, where we can experience the full scale of a headline Poppy appearance.