So, despite very few new VK bands being formed continuing the trend for the las 5+ years we’re seeing:
An increase in overseas touring (from not touring at all!)
An increase in old band revivals or reunions
Old bands, many times disbanded, officilally uploading their music to streaming platforms
A sensation of the scene becoming healther domestically (oppinions may vary)
Is the general doward trend in VK reversing? What is happening that drives this changes? Do you disagree? Would you add something more you noticed? How concerning is it that this only seem to affect older or stablished bands?
I have the feeling that its becoming that time for many bands that formed around the “peak popularity period” of VK around 2000-2005 that relevant dates that could be celebrations are comming up and theres some nostalgia (or interest in fostering nostalgia depending on the case/how you see it) for some of the acts that become popular or meant something during that era. On top of that there are still bands that are very well stablished that also have some momentum going and can take further advantage of the situation. I don’t think we’re seeing a resurgence of VK since that would require tons of new blood that is certainly NOT entering the scene but more like the “last hurrah” of what was well in development 20 years ago. But I still wonder if this upward trend can result into some expousure that sees the scene continue in some form or another.
Definitely back in a multitude of ways but in ways a bit more different than I’ve expected.
I feel that there are many more bands especially in the 2000s and 2010s bracket (or even some of the older OGs) looked over that could use more hype and love!
But i think in general the burgeoning interest is fantastic. I hope younger fans here will be able to discover the unique and incredible bands as they take on this journey.
Also sorely need vkei bands to come back to my country…
I was surprised to read here multiple times of people who are in the same situation as me - rediscovering VK after a long time of (semi)absence from this kind of music.
I assume it has a lot to do with age. I think most people who are diving back in the music know used to listen to it at the peak in the early 2000s and were probably in their teens or early 20s then.
It’s not uncommon to kind of go “back to your roots” when being a full grown adult and rediscovering things you used to love.
domestically, i’m not so sure the trend is reversing just yet.
There are tons of revivals, but personally I believe they’re targeting people in their late 30s and up because those groups have more disposable income and are more willing to spend money on music from their youth. A lot of these people aren’t generally part of the vkei scene on a regular basis and only come out for their absolute favorites from that era - once those bands retire again, they’ll be gone. They won’t switch to attending other bands’ lives.
Young bands are finding it harder and harder to break out of the “dominor” label. They have trouble gaining fans and playing bigger venues. In the 2000s, you had a few big players that rose to fame really quickly, played lots of shows, and even regular non-vkei fans would’ve heard of them. Now, not so much.
The average age of audiences is getting older as well. If you want something to trend you need teens and stuff to be a regular part of the fanbase, but unfortunately teens don’t have much money these days. Everything’s getting more expensive.
Personally I can’t think of any band that formed within the past 5 years that’s decently popular across the country and doesn’t rely on idol-style marketing tactics and over the top fanservice to make money. (If you can think of any, feel free to drop me some recs!)
The problem with bands only marketing to female fans is that they don’t inspire new generations of bandmen. Host boy-style bands don’t inspire good musicians. (seperate issue, but I think that the scene needs more male fans who are in the culture to grow.)
I’m thrilled about the revival boom though. So many bands I never thought I’d get to see live because they were from a generation before me. Maybe these will inspire more youngins to get into vkei and start bands.
I would agree with @rukarukaruka. I think the scene is treading water right now. It is great that we’re seeing revivals, because the alternative is no revival, but what we really need to reverse the trend is new blood.
You only get hide once in a generation. Some day we’ll get the real thing and not a cheap knock-off cough MIYAVI cough When he blew up he was getting compared to him but we saw where that’s got us.
Well, as someone who’s been an active listener since decades, I’d say there’s definitely a kind of return to the past happening older bands making brief comebacks. But there are a few things worth pointing out.
First off, the impact of the pandemic is still very real in many ways. My impression and maybe you feel the same, is that time seems to be passing incredibly fast, shaped by the modern pace of life and the chaos we’re living through. It’s clear that the feeling of nostalgia and reevaluation of the past, especially during the isolation period (particularly in Japan, where restrictions were especially strict), has created the effect we’re witnessing now.
In fact is, we all know that these revivals are usually for short time. So the question becomes: is this current wave of revivals and returns enough to inspire the formation of new bands on this time with more stability and less of the chaos we saw from 2011 to 2019? Personally, I think it’s reasonable to be hopeful. I actually like the idea of new bands forming at a slower pace, with a more mature outlook (Though of course, there are always a few exceptions that just totally messed things up for themselves, LMAO)
one of the most positive aspects of this whole thing is the steady rise in international tours. That’s a huge win.
Right now, Visual Kei is going through a reawakening, powered by the nostalgic emotions that came out of the global isolation we all experienced. But this time, that nostalgia feels more grounded, more grown-up. newer bands either show up with the clear intent of rebuilding something lasting, or they already have an expiration date, even some we never expected to diband. Sometimes it makes you wonder: “Wasn’t everything fine between them?”
The volatility of newer bands and how quickly they grow or fall apart often comes down to how their members interact and behave on social media. That’s an important factor in shaping the trajectory of these bands today and hopefully, in the years to come as well.
This is absolutely what I was expecting, going for the nostalgia angle.
I don’t know, it depends on the act you follow, maybe? My experienced is very limted since only attended 4 lives in Japan but, when I went to the Metronome and Ensoku 2 man, 80% of the audicence seemed like older high school/university students all lively and young. I later went to a Floppy live expecting the same kind of audience (assuming a ton of crossover with Metronome fans) and I was stunned I stuggled to find someone that looked below 25 (and also one of the least energetic crowds I have ever been a part of, the contrast was wild). But the more concerts I went, the older the crowd was. So, given what you say as a local I have to understand that Meto/Ensoku thing may be an outlier (?)
The depressing thing is when I think of new bands I fastly realiza they are actually past their 10th anniversary so I’m sure, given you’re a local, you’re more in touch with whats new that I…
That’s probably the biggest issue. 2000 era bands popped up because boys saw cool bands in the 90s that appealed to them. They are not reaching that demograhic now at all.
If Vkei is back, can we finally stop crying that VK is dying?
But past that, old bands see the traction VK started to get again and come back, makes sense, doesn’t it?
New blood as in new fans or new musicians?
New fans, they come in from TikTok and other social media. But new fans also means new challenges, suddenly those bands have to deal with foreigners with hunting them down and other dumb stuff.
The western touring might have picked up with new organizers stepping to the plate, but this appears to be rather accidental or maybe private individuals seeing that some acts like Deviloof, Jiluka have crossover appeal (which they demonstrably have proven to have). I’ll eat crow if they’ll have bands still coming over in two years, but I wouldn’t count on it.
Revivals of old acts aren’t anything new. You had these Key Party Matina tier bands and the big stars like Laputa, La’cryma, Pierrot doing one- or two-shot revivals already way back when. I think we’re just kind of excited now that bands from our youth are coming back, so it’s more about optics than anything else. For guys that played in the bands in the early 00s this is literally their last chance of having a bit of fun before getting too geriatric to do it.
Obviously I’m not in Japan, but I haven’t seen anything indicating a recovery from the hit venues and stores took from Covid, nor any new acts that’ve ascended to a level plenty were at 15-20 years ago. Kizu’s made it to the Budokan, sure, but it resulted in bickering here whether it was a flop or not, and no other new band to my knowledge has any business being there besides working the concessions stand.
Artistically things are… the same as ever. I think we’ll keep seeing the pool of prospective talented bandmen dwindle as the amount of famous vk bands decreases and producing electronic/rap music gets easier and easier
wow that’s really surprising considering the age of the two bands. for bands formed in 1998 and 2005 I’d definitely expect the age range of the fans to be early 30s up to 40s. But it’s also quite hard to tell the ages Japanese women at a glance. There are quite a few fans I’ve seen at like deadman and stuff who look barely 30, but then they talk about being there for their disbandment live, which would put them in their late 30s at the earliest.
most vkei fans in general are above 25 nowadays. I heard that bands like denno himeca have lots of teen fans, but i can’t verify that myself. (not that the music is the main draw for them, but still.)
My impression is that live houses suffered more through the pandemic that the VK scene in particular. Maybe some band that could had take off in 2020-22 never got to do so because of it but given the influx and success rate of new bands I can see it being a common case?
I would also love this, but I don’t see any signs of it happening. If you can point me to some exampleas I would be really glad!
Out of all the current situation this puzzles me the most. Don’t get me wrong, I love it… but why now? Its that 2000 kids have adult money to throw around now? Can’t be just that, can it?
People experience a resurgence briefly before dying Maybe this is it for VK
I’d say in Europe this is very much the case, but the touring has increased kinda everywhere, so maybe there’s more to it.
Well, I also went to deadman and the crowd was noticebly more mature there (also much more diverse) so it tracks with what you say and the other couple shows I saw. The attitude of the audience at the meto/ensoku concert was more youthful. I am pretty sure I’m bad at guessing japanese woman ages by how their faces look, but their attitude, energy behavior were completely in the young adult bracket as far as I could tell. So, pretty rare by all accounts I guess.
have you been to lynch.?
the crowd energy is amazing, especially in the middle to the front area. lots of jumping around and really good call and responses. no half-assed movements and they’re mostly 35+!
The total list of overseas tours so far for the last two years are:
Gertena
KAMIJO
HYDE
DEVILOOF
Damned
Kouki/Seth
DazzlingBad
An Cafe
Fukuro
Kaya
Shou x Takeru “youthpit”
Jiluka
Dir en grey
Miyavi
Nightmare
NAZARE
ザアザア
This is a nice mix of bands and styles. Quite a few of these bands (Gertena, DEVILOOF, JILUKA) have made international stops more than once. We had an entire decade where bands were not touring internationally for one reason or another. 17 bands in two years is unheard of. The question is, is it sustainable? I would like to think so, as the visual kei shows I’ve been to have always been packed. JILUKA just last year was a great example!
What I’m saying is that if fans keep turning out to shows and making it profitable (or at least break even), I don’t see why bands wouldn’t come back. It finally feels like the visual kei scene is realizing a way to utilize their international fan base in a way that makes sense.
It’s cool there’s been shows again but I wouldn’t draw too many conclusions on it just yet. We’ve seen some pretty cool American convention appearances semi regularly for a while now, the epic grift karaoke tours I refuse to acknowledge outright, and a big chunk of the rest are either regular visitors (Dir en grey, Miyavi, Kamijo), or accountable to the new crop of organizers and we’ll see how stable those ventures prove out to be. The new German/Swiss shows are definitively coming down to an individual person’s bankroll or connections and that endeavor is definitively not financially motivated, so if they tap out, no one’s picking up the helm and Switzerland is not seeing new shows regardless of the attendance period.
I think the best we can hope for is that these new ones like Killing Daze etc. will undo the damage the organizers did in the 2010s when they booked bands that weren’t hip or cancelled the shows outright. Visual kei bands will never again think they’ll actually break in and get a market share in the west like they did 20 years ago, but if these shows are organized professionally, they would hopefully at least see it as an opportunity for a cool holiday.
For the Japanese market, news outlets and others speculate that it’s due to fans older than 30 having more money. A few JP gya commented on those, saying that it’s not that they have more money but it’s about making it work for the bands that they fondly remember. Different priorities, I suppose.
For the overseas fans coming to Japan, it’s definitely us having more money. And Japan’s weakened yen.
There are some older gya who stick around in the scene, seeing one band or another. I would see some ladies at different shows who looked to be my age or older. But then again, unless someone looks older or is still clearly a minor, it’s hard to tell their exact age. I wouldn’t expect them to guess my age either.
I’d say that the only crowd in which I felt out of place was for Superknova, as their crowd looked quite young.
As for international touring, I’m optimistic that some markets are going back to boom levels of activity, and some new ones opening up (Latin America) at the expense of North America.
Which, hey, I get. America is quite difficult to make work due to visa costs and increasing hostility towards outsiders. And Canada has 12% the population of the US, so many bands may just assume that the market isn’t there. There is a small in person VK community in Toronto, but none of them are actively trying to DIY VK shows in Toronto, tmk.
Being perfectly honest, if you were a Canadian VK enthusiast and you had 15,000 to either try and bring over one band or just go to Japan and see 100 bands…which would you do? You guys know my answer.
Maybe this is it for VK