kein’s PARADOXON DOLORIS Tour: A theatrical triumph in Tokyo (Shinjuku LOFT)
On the climactic night of their PARADOXON DOLORIS tour, kein returned to Tokyo’s Shinjuku LOFT, for a show that will undoubtedly remain etched in the minds of those fortunate enough to have seen it. Beginning on November 23, the tour spanned three cities Aichi (NAGOYA JAMMIN’), Osaka (Yogibo META VALLEY) and Tokyo (Shinjuku LOFT), with two consecutive performances at each venue. Despite being a brief tour with only six shows, the final performance made it clear that this band is undoubtedly moving toward their next chapter.
As expected, the tour focused on their latest EP, PARADOXON DOLORIS, released on November 20 (2024). The songs from this EP formed the backbone of the setlist, with all five tracks performed during the night. Impressively, these tracks have already evolved beyond their “new song” status, showing deeper expression and growth. The set began with Anno Domini, an atmospheric, tribal-inspired track that set the mood perfectly. One by one, the band members appeared on stage, each met with rising excitement, until vocalist Maco stepped out. His commanding presence sparked the crowd into action, and his opening cry of “Welcome!” reverberated through the venue, electrifying the atmosphere in one second.
Maco’s performance was nothing short of hypnotic, the music seemed to exorcising some seriously evil spirits out of him. With puppet-like, horror-inspired movements, he brought an eerie theatricality to the stage, blurring the lines between performer and character. In stark contrast, guitarist and bandleader Reo began the night with a measured, almost stoic demeanor. As the performance progressed, Reo’s restraint gave way to dynamic intensity, his expressive gestures mirroring the escalating fervor of his playing. Guitarist aie bridged the gap between stage and audience, frequently positioning himself at the edge of the platform and kneeling to interact directly with fans, fostering a sense of intimacy and connection. Meanwhile, bassist Yuki anchored the performance with eye-pierced gaze and groove-heavy basslines, stepping forward often to engage with the crowd and inject vitality into the rhythm section. Drummer Sally, though partially obscured from view due to the venue’s compact layout, was an audible thunder, driving the band’s sound with unwavering energy.
The audience, packed shoulder to shoulder, showed no sign of tiredness. Gestures synchronized to the music transformed the crowd into an extension of the performance itself. Highlights of the night included Danro no Kajitsu elevated the room’s energy further, with Yuki’s relentless bassline leading the audience into perfectly coordinated motion, creating a kinetic, communal atmosphere. Another standout moment was Spiral, a track defined by its heavy instrumentation and an electrifying call-and-response sequence between Maco and the crowd, culminating in a climactic crescendo that left the room spellbound. While the performance was consistently eye-catching, the limitations of Shinjuku LOFT’s capacity posed a challenge. A larger stage would not only address these logistical issues but also allow kein to further amplify their artistic vision and audience engagement.
PARADOXON DOLORIS, released one month ago, not only represents kein’s latest work but also marks their major debut (CLICK HERE). Despite their initial short-lived success in the underground scene with a distinctive worldview that set them apart from typical visual kei, the band disbanded after only about three years. Their reunion after a 22-year hiatus was surprising, and their 2023 summer release of Hakaito Souzou, their first full-length album, seemed to signal their intention to accomplish what they couldn’t in the past.
The finale of kein’s PARADOXON DOLORIS tour was yet another proof of their evolution as musicians and performers. Far from resting on nostalgia, the band affirmed their creative vitality and relevance, leaving their audience eagerly anticipating the next chapter. As their momentum continues to build, a transition to larger venues feels not only inevitable but necessary to accommodate their growing reach and ambition.
⩺ PARADOXON DOLORIS EP | NTERVIEW
Mandah FRÉNOT
(c) VMJ
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– kein | Live-Report @ Shinjuku LOFT [JP] (2024) –
Puppet
an Ferris Wheel
Zetsubou
Mr.
Color
Toy Boy
Amaoto no Kioku
Danro no Kajitsu
Uso
Spiral
People
Rose Dale
Kimi no Shindenzu
Grammy
Refrain
– ENCORE 1 –
keen scare syndrome
kranke
– ENCORE 2 –
Puppet
Spiral
⩺ https://kein-official.jp/
⩺ https://x.com/kein_official_
⩺ https://king-records.lnk.to/paradoxon_doloris
