Reflecting on the phrases displayed on the curtain—Not Living For Anyone and Where Is Love—it became evident when the show ended that the answer lies in living for oneself
Petit Brabancon kicked off their BURST CITY tour, named after the striking artwork of their second EP, Seven Garbage Born of Hatred, which was released on August 7 (2024). The tour’s title conjured images of a powerful, almost apocalyptic force, hinting at a performance designed to disrupt and devastate, as if laying waste to a city’s infrastructure. Such a bold promise drew fans to Tokyo’s Spotify O-EAST, where anticipation ran high for an unforgettable and intense experience. The crowd was ready to see if the band could live up to their explosive moniker.
The show kicked off with a simple yet striking visual—a curtain emblazoned with the band’s logo, featuring a dog’s head and the phrases: Not Living For Anyone and Where Is Love. As the band took the stage, the crowd responded energetically, clapping in rhythm with the opening track fittingly titled move. The first song, surely, was marked by a dark, ’80s-inspired goth beat, with guitarist Miya’s robotic movements setting a compelling tone. As the evening unfolded, the performance’s intensity soared. Guitarist antz (Tokyo Shoegazer) became increasingly absorbed in the music, reflecting the band’s growing dynamism. Vocalist Kyo (DIR EN GREY/ sukekiyo) and guitarist Miya (MUCC) moved to the front of the stage, blending their distinct personas perfectly. Kyo further energized the crowd by stepping down to interact with fans, encouraging crowd surfing, circle pits, and walls of death. He pushed the audience to let loose, challenging them to match his intensity and keep up with the escalating energy. During BATMAN, Miya drew the audience’s focus with a commanding solo performance at center stage, following a groovy drumming by yukihiro (L’Arc-en-Ciel/ ACID ANDROID). Known for his unconventional drumming style, yukihiro once said, “I may be destroying standard styles in my approach to drumming […] but I don’t want the listener to stop the way their body’s grooving“, reinforcing his status as a top-tier drummer.
As the night continued, the band’s energy intensified to a frenetic pace, moving with a wild, unstoppable momentum similar to a gremlin splashed with water. During Gankou, Kyo orchestrated a circle pit (when the crowd runs and jumps in a circle, pushing and bumping into each other) during the song’s bridge, then called for a wall of death (moshing in which the audience members divide into 2 halves and run toward each other) transforming the venue into a whirlwind of crowd surfing, intense pits, and unrestrained energy. The dynamic interaction between Kyo, Miya and antz with the audience further amplified the show’s intensity. Bassist Hirofumi Takamatsu (The Novembers) maintained a more controlled and refined presence at the edge of the stage, providing a steady foundation as the guitarists escalated the intensity.
As the show neared its conclusion, Kyo’s intense presence and direct engagement with the audience created an unyielding atmosphere. The performance surged with unrelenting energy, eschewing breaks or an encore for a continuous barrage of intensity. The audience was pushed to its limits, delivering their utmost in a single, high-octane experience that left no room for respite. With the crowd’s ears, necks, and bodies thoroughly tested by the frantic energy, the show exemplified a powerful display of endurance and passion. The tour is set to continue, bringing its explosive force to other cities across Japan. Fans are advised to secure their tickets and witness this high-energy spectacle firsthand.
Reflecting on the phrases displayed on the curtain—Not Living For Anyone and Where Is Love—it became evident when the show ended that the answer lies in living for oneself. After witnessing people move freely and passionately, it was crystal clear that true love and fulfillment come from within, found when you embrace and live according to your own passions.
Notes:
Petit Brabancon will release a new photo book titled The Howling of Underdogs -2025-, capturing the band’s activities from the past year. This marks the start of an annual tradition, with a commemorative photo book planned for each year the band remains active. Additionally, they’ve announced the tour CROSS COUNTER -01- —a series of live shows featuring both band battles and solo performances. Over three consecutive days, the tour will hit venues in Tokyo, Nagoya, and Osaka. As the name suggests, these performances promise intense clashes between the bands, making for a high-energy experience.
Mandah FRÉNOT
(c) VMJ
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Petit Brabancon | Live-Report @ Spotify O-EAST [JP] (2024)
opening move
01 surely
02 Miserable
03 Ruin of Existence
04 dub driving
05 BATMAN
06 Kodou (孤動)
07 Shuchou ni Te wo Nobasu Shura (主張に手を伸ばす修羅)
08 Kawaki (渇き)
09 OBEY
10 Gankou (眼光)
11 Isolated spiral
12 Loser
13 a humble border
14 Mickey
15 Don’t forget
16 Gion (疑音)
17 Vendetta
Photography by CAZROW AOKI &YUKI KAWAMOTO
