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Two-Hit Combos: hololive EN 4th Concert “Serendipity”

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For the past four years, I had been lucky enough to attend the first three hololive English concerts in person. This year, things did not pan out so favorably. Between the relatively late announcement and my having already gone out to California in February for Drawn to Dawn, it was inevitable that Serendipity would end up being an online experience for me. 

hololive English 4th Concert Serendipity took place on July 3 and 4 at the Shrine Auditorium in Los Angeles. It was the second full EN Concert held in LA, after the inaugural Connect the World back in 2022. This year’s special focus was on duos, with some being established fan favorites, others relatively new, and one inevitable trio (FUWAMOCO + Raora Panthera). To say that this was shipper fuel would be an understatement, but even setting that aside, it was still an opportunity to see some fun combinations mix things up a little. I for one was excited to finally see BaeRyS on stage together.

A part of me regrets not being able to witness those moments in person, but I’m also well aware that there are a lot of benefits to watching the stream, not least of which is the immersiveness. hololive has done a lot to improve the theater experience, but the flat screen can still compromise some viewing angles, and it can be hard to concentrate on the performances with everyone around cheering. Watching online is less a consolation and more an alternative, and I appreciate that. 

Performances

I am not trying to sound like a cheerleader when I say that Serendipity was just packed with fantastic and memorable performances, whether it was the solos, the duets, or the bigger group numbers. Some went all out with recent originals, others paid beautiful homage to other members of hololive, and there was just a general sense that everyone had some real experience under their belts at this point and were ready to show how much they’ve improved.

Because there are so many talents involved, I try to think of the best way to discuss the concert within a reasonable length of space. To that end, I think focusing on the signature pairs makes sense.

BaeRyS

Hakos Baelz and IRyS were each in the free sections on separate days, and individually showed why they’re among the premier performers of hololive. “Snake Eyes” can truly be described as Bae’s biggest hit ever, and I found myself desperate to try to not miss a single moment of her exciting and challenging choreography while also admiring the increasing comfort with which she sings. IRyS’s “Be My Flame” saw her continue her Eurobeat journey, and it conveyed to me both her complete embrace of the genre and the way her deceptively powerful voice suits it so well.

Individually, the two are great. Together, they were one of the top acts across both days. I know they’re historically one of the most popular ships, but for me it goes beyond simply pretending that they’re in love or whatever. They have such a wonderful dynamic, and their strengths as performers have always complemented each other beautifully. Even their MC section came across as the unvarnished bantering of two close friends, the kind who finish the other’s sentences half the time, and then get it wildly wrong the other half.

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Since their very first interactions, Cecilia Immergreen and Gigi Murin have been one of the best combos in hololive. Their chemistry comes from how they build on each other’s improvisational energy while also shoring up the other’s weak points, and this applies even to their abilities as idols. “CCGG Madness” is their first original song together, and its lyrics describe the way their joint efforts can quickly veer off whatever bare tracks they might have laid down. Cece also has a very controlled voice and a ladylike elegance to her movements, while the energetic and nimble Gigi has a voice that always feels like it’s on the edge of breaking but somehow never falls apart.

Gigi’s choice for her solo song, an original called “Enough,” spoke to the remarkable depth in her heart and mind that she often tries to hide by playing the buffoon. It was one of the few performances that utilized a projection of background dancers, and was the most creative among them by displaying the “outward” facade that masks her doubts. Cece meanwhile covered a song from hololive’s Nakiri Ayame, incorporating both a folding fan and her signature violin for a classy and elegant experience.

Bloodraven

Of all the pairings in hololive, none have been as embraced on most fronts as that of Elizabeth Rose Bloodflame and Nerissa Ravencroft. It’s baked into their starcrossed VTuber lore as starcrossed rivals and songstresses, there’s always a steady stream of Bloodraven fanart, and the ladies themselves two love to play into it, whether it’s in audio dramas, streams, or other media. That was the case here too, as they did a shared MC with a Liz on bended knee at the start, a couple near kisses, and even a flustered exclamation of “I LOVE YOU!!” from Nerissa that felt like it came right from the depths of her soul. While their song of choice together wasn’t quite romantic, the classic “Cruel Angel’s Thesis” was fantastic coming from them. They just worked very well together while sporting similarly theatrical yet tonally different singing styles. It’s also fitting that their first cover together was also from a trippy anime of the 90s, Utena.

In terms of solos, Nerissa went with the English version of her original “Oyome Holic,” as opposed to the Japanese one she performed at 7th fes. The song was intentionally designed to have official lyrics in both languages, and I’m impressed that it manages to convey such a similar feel across both. Liz came in with a direct strike on my heartstrings by actually covering “ChikuTaku.” Amelia Watson is my favorite from Myth, and I was overjoyed to see members still celebrating her legacy. It was also cool to see a vocal powerhouse like Liz tackle a song that was made for a more limited range like Ame’s, and give it her own spin.

Rocku Wawa

Aside from a mutual love of the 6-7 meme, I see Koseki Bijou and Takanashi Kiara as being quite different from each other. Biboo first made a splash in hololive thanks to her gaming skills, but has really dedicated herself to grinding her singing and dancing. Her voice has become noticeably fuller and richer, whether she’s singing Hoshimachi Suisei’s “Ghost” or her parts in the Advent song “Rebellion.” Wawa, on the other hand, made her idol qualities known well before she ever got a 3D model to show them in full, and has grown only more comfortable and confident over time with her streaming and yapping while also pushing her singing and dancing to the next level. You could see the fruits of those efforts in her performance of “Martyr.”

I get the impression that both Biboo and Wawa have strove to become complete packages in VTubing, or at least develop skills they didn’t have before. Their performance of “Tententengokujigokugoku” is where they met in the middle, and their efforts resulted in something where both stand out while not necessarily outshining the other.

BFF

As the only designated Serendipity trio, BFF (Beeg, Fluffy, & Fuzzy) inherently brought a different experience. Their choice of song, “Inu Neko Seishun Massakari” by Wasuta, was clearly picked because of the matching dog and cat motif, but Raora Panthera, Fuwawa, and Mococo are all powerful otaku, albeit with different influences and nerd origins. The conventional poppy idol feel of the song was a nice way to sync up the bouncy energy they all possess.

FuwaMoco always perform at least twice together at every event, which gives them a bit more freedom. Here, between their tried-and-true introductory song “Born to be ‘BAU’dol” and their more recent and harder-sounding “Demon’s Residence,” they got to show off their range and versatility. Raora went with her second original, “Draw,” and gave a far different impression from her first (“Gacha Gacha Adventure”). The lyrics reference the way that making art has enriched her life, making for an emotional song that was even more touching on stage than in the official release.

Last Writes

Cool ladies and dorks are in no short supply in hololive, but two of the simultaneously coolest and dorkiest are Calli and Shiori. Both individually and collectively, they brought some of the most spirited performances of the concert, notably their unit cover of Man on a Mission’s “When My Devil Rises” from Jujutsu Kaisen. The song fit their respective images, and they maintained the intensity needed to make it work. Their closing transition, where they both ran past each other while disappearing, was a first for 3D live performances in the company. 

Similar to Liz, Shiori also sang something from one of my favorite hololive talents: “Red Heart.” Haachama has had a difficult year, and while I don’t know if Shiori was sending a message specifically to the Worldwide Traveling (née Strongest) Idol, I still feel blessed to have witnessed two faves get their songs. Calli, who probably has the largest discography in all of EN, performed a medley that gave a taste of how extensive her ourney has been and how much she’s come into her own as a musician and songwriter.

I also think it’s important to mention Shiori’s MC sections, which were filled with ribald shenanigans. She seems to be collecting more and more kisses from her peers, and while she claims she’s going to stop, I feel like we might get something even more eye-popping in the future.

Octo Clock

Ninomae Ina’nis and Ouro Kronii are both members who did not specialize in singing but have put in the work to create a surprising amount of music during their time in hololive. Their choices thus reflected their respective journeys. Ina, coming hot off “Drawn to Dawn” challenged herself with a song from one of the company’s best former vocalists in Amane Kanata. Kronii performed “Way 2 U,” the main single from her EP, a pop song showing gratitude for her fans with a notable amount of unguarded sincerity.

Despite not being a “singer” duo like some others, their performance was one of the most memorable of the weekend: a cover of “Bad Apple.” The callback to a certain period of weeb culture, as well as the Touhou fandom that feels in many ways like a progenitor of VTubers. Truly they know ball.

Guests and Group Songs

The solos and units were not the only performances at Serendipity. 

Four guests from outside of EN made appearances: Ookami Mio and Tsunomaki Watame from hololive Japan, as well as Vestia Zeta and Kobo Kanaeru from hololive Indonesia. All of them are well known for being excellent performers, and it was great seeing them included in group numbers for both their own songs as well as others. Zeta is the standout to me because I feel like she’s criminally underrated, and seeing her in both “Make It Break it” and “Break It Down” (naming coincidence?) really brought home how skilled she is on stage.

We also saw all four EN generations do current full-gen performances. Myth did a medley of some group songs (included a favorite of mine, “The Show Goes On!”), Promise had their own medley featuring original individual songs they sang as one, and both Advent and Serendipity sang group originals. The latter two also made a deep impression at the start of Day 2 by having an Advent performance of “Rebellion” immediately followed by Justice on “Above Below.” It was functionally just two songs done back to back, but the transition was so smooth and surprising that just watching that part alone is weirdly satisfying. 

It’s also where, thanks to having so many prior performances of both songs, you can really hear the work all the girls have put into their singing: Biboo and CC especially brought new fire to their voices, while Shiori’s voice sounded more comfortable (and situation generally in the middle) compared to previous performances.

A few other interesting combos and some full-EN performances to close things rounded things out. All three ENigmatic Recollection songs were great, whether it was a new and mellower rendition of “Start Again,” an opportunity to bask in the classiness of “MOSNTER,” or a chance to see some really nice choreography thanks to “Freaky Deaky Love.” The concert’s namesake song is also impressive for the way it makes singing the word “serendipity” sound a lot less awkward than expected.

Miscellaneous Notes

Watching online and watching in person are significantly different experiences, and a big part of that is what you do (and don’t) get to see. At a live performance, the eyes are allowed to wander and observe things that aren’t necessarily the thing meant to be focused on. It’s a double-edged sword, as it then creates more missed opportunities that a dedicated camera can focus on. However, there are plenty of instances, including at Serendipity, where the camera actually missed something vital. 

One change I saw to the online experience was the greater use of wide-angle POVs that can capture the entirety of a group performance without pulling the camera all the way back, though at the expense of some visual distortion. There are many examples I could find where having the camera on one person misses the cool moments of another, and this solves the issue in a fairly satisfying manner. It’s one of my favorite developments for hololive concerts.

Another thing I have to give kudos about is the graphics. Unlike all past concerts (including JP and ID), the girls popped on stage with their name logos appearing first, as opposed to a generic symbol or flash of light. This meant that you could easily identify who was coming next and figure out what you wanted to do in response to that information. Similarly, the special videos showing off the next guest performer or Serendipity duo were all really great for building hype and anticipation. I really hope they keep this idea going forward.

Final Thoughts

I said this last year too, but I really wouldn’t mind the concert being somewhere besides LA and NYC, if only to give more fans the opportunity to experience these without costing them an arm and a leg. 

Despite the odd timing of the concert and my inability to attend in person (as well as my struggle to stay awake during an eventful July 4 weekend), I consider Serendipity to be a real success in terms of performance and presentation. The pairings that made up this year’s “gimmick” worked in terms of both celebration and experimentation, and whenever the blu-ray for this comes out, I predict I will be watching certain performances over and over again. Also, a part of me felt that if I actually went this year, it would make me feel compelled to attend every concert in person from this point forward. My wallet thanks me, even if my FOMO does not.

The free sections are available for everyone to watch, and the paid VODs are still available for about another week. I, for one, think it’s worthwhile.

Thoughts on mekPark, the Newest hololive Experiment

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As one of the biggest names in VTubing, hololive has done a great deal of growing and expansion in recent years, and part of that process has involved experimentation. Some things have worked out after some bumps (such as the musical performance–focused DEV_IS branch), while others have been canceled or downsized for better (the holoEarth metaverse) or worse (Holostars). One of the latest projects goes in a new direction: a kind of preliminary branch called mekPark, where the talents are not technically part of hololive proper but have a visible and public path to there. 

Recently, the two inaugural groups announced for mekPark back in May—Unit A (aka ACHRORA) and the still unnamed Unit B—finally all debuted. Given that, I wanted to give my thoughts on the endeavor thus far. 

The Perils of Being at the Top

The size and fame of current-day hololive can be a double-edged sword. As with so many forms of entertainment, there is something charming and special when the stakes are lower, things are less polished, and there’s fewer expectations overall. A lot of moments become beloved memories because things aren’t perfect, and what’s missing in “refinement” is made up for in entertainers and audiences willing to bridge that gap and give some grace. I will sometimes watch the first and second hololive fes concerts, and they feel like they come from an entirely different era in a good way. 

I think there’s a magic in such times that can be hard to re-capture once something becomes too big and professional, and some talents even try to fight against this. Gawr Gura was especially good at maintaining that amateur feel, and Gigi Murin revels in purposely allowing “scuff” into her streams as opportunities for laughs.

Returning to Basics

I find mekPark to be an attempt to re-create the relatively humbler roots of hololive and VTubers, albeit in a way that’s relatively safe for its company, Cover Corp. None of the girls involved have full models, which can feel unfair to them, but it also means that they can’t rely too heavily on the magic of more thoroughly rigged and animated VTuber models. Essentially, mekPark seems to be a relatively low-risk space to try new ideas and technologies, while also a way to put the focus on the talents’ personal qualities. In many ways, it reminds me of the developmental programs found in pro wrestling, whether it’s the Young Lions of New Japan Pro-Wrestling or WWE NXT. They’re given fewer resources and are allowed to do less, but they ideally learn the ropes. 

Nijisanji has something similar called the Virtual Talent Academy, but one key difference seems to be that mekPark places a far greater focus on group cohesion. ACHRORA and Unit B are explicitly presented as small teams, with one channel shared by the same members of a unit, and I suspect this is because hololive has noticed how much they benefit from making sure genmates have rapport and that they feel they’re in this together. Both Advent and Justice from the English branch have mentioned actually spending time together in real life (including in Japan!) prior to their debuts.

The mekPark Girls

As for the mekPark units themselves, there’s a very clear difference in philosophy behind each one. Unit B (which actually debuted first) is made up entirely of people who have backgrounds in music and performance, but very little in streaming. Neon is a singer with a personality that’s extroverted in a way that extends to her offline life (sort of like Matara Kan). Lyra is a singer-songwriter with a passion for composing. Mira is classically trained in piano, and has been playing since she was very little on account of her parents both being pianists too. 

In contrast, the ACHRORA girls clearly have experience as streamers because they convey a sense of ease that’s almost impossible to have if you’ve never done it before. Sayana has a unique voice that comes across as honed without being forced. Rirara banters with chat and her fellow unit members very smoothly. Hinami’s gentle voice (reminiscent of voice actor Hayami Saori), silly sense of humor, and debut preparation have all stood out.

Essentially, Unit B and ACHRORA represent the two paths that hololive talents tend towards, where you’re basically either a musical performer who streams sometimes (e.g. Hoshimachi Suisei) or you’re a steamer who does musical performance on the side (e.g. Inugami Korone). Both are valid paths, but in the context of mekPark, it’s going to be interesting to see how the two sides develop in comparison to each other. A music-forward approach has greater potential to appeal across language barriers, but we’ve also seen that making a human connection through activities like chatting and gaming can be crucial for getting more people to tune into you in the first place, like with AZKi and GeoGeussr. At the same time, having a less “broadcast-ready” voice can come across as more natural.

Closing Thoughts

As mekPark continues to move forward, a couple questions come to mind. First, can something as big as hololive really evoke that smaller feel it seems to be aiming for? Second, if one or more talents are faltering and floundering in some way, what will happen, especially if cutting them might be the best solution? While I really believe all six girls (and presumably their less visible managers) are doing great so far, I have to wonder about bad or awkward scenarios.

For now, I’m still optimistic, and I hope that remains the case.

Four hololive Dancers, Four Twists

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Todoroki Hajime of hololive held her 3D birthday concert in June, and one of the biggest moments was a group performance of the song “Kokkara” featuring her, Hakos Baelz, Isaki Riona, and Mizumiya Su. As expected, they all showcase why all four of them are almost inarguably the best dancers in hololive, but one thing that really stood out to me is how they were given opportunities to show off their unique dance personalities.

While the most clear example of unique expression is when they each perform by themselves, one thing that really caught my attention is how they each move during the chorus. There’s this pivot/twist move that they do, and if you look closely, you can see that they each perform it differently. I don’t know enough to actually fully make sense of their individual approaches, but to me it looks like:

Hajime has her hands in different positions every time, with weight on one leg and both knees bent. It reminds me of a C-walk, but also feels like she’s drilling down with her body.

Bae also has her weight on one leg, but the other is more extended, she’s bent lower at the waist, and her arms are out like she’s doing the classic Twist. To me, it comes across almost like a sit spin in figure skating and has a clearly different silhouette from Hajime’s.

Riona does more of a shuffle in place with less of a clear twisting motion and more hip movement, and she ends with a very pronounced kick to the side. Her hands are also moving in vertical circles, like wheels.

Su seems to shift her weight back and forth between each leg, though I might be getting fooled by the fact that her left leg is really crossing over her right as she pivots. It gives the impression that Sue is very light on her feet, even compared to the others. 

Additionally, in the first chorus, the four backup dancers do the choreography as well, and they also each have their own take on the move!

Incidentally, Hajime gave their names during the concert, but given her particular speech quirks, I couldn’t fully decipher them. I think they’re Hajime’s personal crew from her backup dancer days, so I think it’d be cool if someone could figure out who each of them were in other performances, including but not limited to the birthday concert.

The Next Step Towards World Conquest: Secret Society holoX Live 2026 First Mission

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Ever since their debut in 2021, I’d been looking forward to the day that one or more members of hololive’s 6th generation—Secret Society holoX—would get a dedicated live 3D concert. Then, last year, they made the big announcement during their anniversary: a full-gen holoX concert would be set for April 2026.

Now that I’m on the other side of the event, titled “Secret Society holoX Live 2026 First Mission,” I can say that it was one of my all-time favorite VTuber concerts I’ve watched online. Some of it comes from my clear bias and favoritism towards the talents themselves, but there also a lot in terms of presentation that both elevated the whole endeavor and made it feel unique. 

In its current form, holoX is a roster of four: the diminutive alien leader La+ Darknesss, the mature hawkgirl XO Takane Lui, the energetic coyote scientist Hakui Koyori, and the cute/cool samurai bodyguard Kazama Iroha. A fifth member, the orca intern Sakamata Chloe, has moved on from hololive and did not appear (More on that later). Lore aside, each of them also have different tastes, histories, and approaches to music and dance. Thus, First Mission was an opportunity to experience their particular flavors both alone and together, and with a live audience that is normally absent from their online-only anniversary concerts.

La+ Darknesss

As holoX’s strongest dancer, La+ has the best stage presence in her generation despite being literally the smallest member of hololive, on top of a wonderful singing voice that swings between boyish and girly. She’s one of my absolute favorites in VTubing for those reasons and more. Getting to see her different choreographies across her original songs all in one place was a real treat—the last time was years ago with the Nissin collab, and she was just recovering from a severe illness that affected her physically and vocally. Here, she really showcased her musical leanings, which is basically aggressive Kpop, idol music (both real and fictional), and cool and complex Vocaloid fare. 

I did notice a couple things about her dance routines. First, I finally got why she steps in place with her arms stretched out during a part of “Love Bug.” She’s talking about “sense of distance” and is mimicking backing away in order to not get too emotionally attached. Second, her dance for her first original, “Aien Jihen,” was simplified in some places compared to previous performances, with other flourishes added elsewhere. I assume these were adjustments made for the live concert format and the fact that she had to keep coming back on stage. Overall, I am a satisfied La+ fan.

Takane Lui

Out of everyone in her generation, Lui has made the biggest push into a singing career. She may not have the conventionally dulcet voice of a Hoshimachi Suisei or an AZKi, but what she does have going for her is a distinct sound and a wonderfully eclectic mix of genres in her original songs. That variety—I would say the greatest in hololive—was on display at First Mission, between the Latin inspiration of “Evil Eye Wink” and , and she hit every performance exuding a sense of confidence that pairs well with her husky voice.

Hakui Koyori

Since the beginning, Koyori has been one of the most prolific and consistent streamers in all of hololive, while balancing that with a variety of projects that include idol aspirations. More than any other member of holoX, her music and dancing are both conventionally energetic and poppy. While I still believe she’s vocally strongest when using a deeper voice and a more “rock” feel, I could tell that she is pretty close to hitting that sound while also still delivering with songs in the former vein. 

Kazama Iroha

If all the other girls are like waves crashing down and making big splashes, Iroha is like a gentle current that still has the power to erode its surroundings. Her voice is both mellow and vibrant, her reputation as the most athletically fit member comes across in how stable she is when dancing, and her songs tend to have a calming Japanese aesthetic that plays into her samurai motif. Iroha’s sweetness is one of her defining features, and it’s amazing how much it comes through in every performance. 

All Together

With each member of holoX being quite different from one another, one new element for this concert that really unified their particular styles was the presence of DJ fu_mou. He became the bridge between each performance, and the flair he added to each song also made them sound new and unique compared to the original songs, as well as past birthday and anniversary concerts.

There were also some really great visual transitions. Whether it was the use of smoke to bridge a medley between the four or a glitching holoX logo slowly coming into view before revealing the next performer, it was one of the smoothest presentations I’ve ever seen for a live VTuber concert. The main exception might be NePoLabo’s Twinkle 4 You, where the girls actually remained in the background even for the songs in which they weren’t the focus.

Together with their multi-person songs, whether it was in the form of duets or full-gen numbers, holoX ended up feeling like a really cohesive unit. The way they contrast with each other has always worked well aesthetically, and here they got to show off their individual strengths and help create something greater than the sum of its parts. I also have to call attention to their cheeky fakeout, where the encore seemed to be another instance of “Our Bright Parade” like so many other in-person concerts, only for it to be another awesome holoX medley.

The Elephant (Orca) in the Room

I alluded to this earlier, but there is something that I think needs to be addressed: the looming question of whether Sakamata Chloe would make an appearance. While she is indeed no longer considered an active hololive talent, Chloe has actually appeared once before post-graduation, in Murasaki Shion’s own graduation stream—a benefit of her “affiliate” status. Given that Chloe was the best singer in holoX, as well as someone actively working towards having enough of a repertoire of original songs to someday have a solo live of her own, I (and apparently many others) held some hope that the orca who had swam out to sea would make her way back for this special moment.

That didn’t happen in the end. Moreover, the girls made mention of an “intruder” at the venue, but that turned out to be not Chloe and instead the jester-like Japanese comedian Gorgeous (seen most recently in hololive at Inugami Korone’s 6th Anniversary). While I had hoped she would be there, I understand that having a talent who left come back immediately for the next major event sets a somewhat bad precedent. Not only does it feel it diminishes the importance of the members who remained, but having the VTuber alumnus show up at the very first group concert creates the unenviable assumption that she would show up every time. Whether it’s Chloe or her fellow affiliate, Amelia Watson, the news of their appearance always risks overshadowing everything else, and is best used sparingly if at all. 

In fact, in one of the last MCs of the night, all of them spoke about how performing without Chloe came with some conflicted feelings, including fear that fans would be disappointed. While the details and length of each speech differed between each talent, they all came to similar conclusions that essentially both the five-person and four-person iterations are important parts of the history of holoX. In my opinion, this is the healthiest approach to a difficult and emotional situation.

Final Thoughts

I am so glad that I finally got to see holoX perform in front of a live crowd, and to fulfill their dream of a full-generation concert. I hope that all of them someday get to be on that big stage again, whether as individuals, as a group, or even in some other form entirely. Secret Society holoX will always be near and dear to my heart, and I don’t see that ever changing.

PS: By the time this goes up, it will already be May 25 in Japan. Happy Birthday, La+ Darknesss!

Orangey Orange, Grapity Purple: Drawn to Dawn Concert Review

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“Solo live.” “Duo live.” Whatever you call it, Drawn to Dawn was something special. An in-person VTuber concert at the Wiltern in Los Angeles held on March 27 and 28, the event featured two of the founding members of hololive English: the spirited phoenix diva Takanashi Kiara and the low-key eldritch priestess Ninomae Ina’nis. While both have years of experience performing in front of a live audience, they also have never had the spotlight dedicated to just them. They join their gen mate Calliope Mori in being among the few EN talents to star in concerts of this kind.

And in the months leading up to the event, I kept waffling between excitement and buyer’s remorse.

While I greatly admire and support both Kiara and Ina, I’m also nowhere near being the most diehard fan of either. Was I denying a bigger KFP or Takodachi the opportunity of their life? Was I spending my money wisely, given the cost of tickets and overall travel expenses? Was I really going all the way to LA just to do this? The doubts lingered, but one thing I told myself was that if ever there was a time to show my appreciation for these Myth girls, this was it.

I’ve seen my fair share of VTuber concerts, and multiple talents typically means alternating between the performers from song to song. To my surprise, however, they instead each had their own dedicated sections before crossing over for a big finale. Kiara started for Day 1 (and thus appeared in the free preview online), while Ina opened on Day 2. The approach differed significantly from the generation-focused concerts (e.g. NePoLaBo’s and holoFantasy’s) by emphasizing them as individuals more than their identity as a group, which ended up very effectively showcasing their differences, allowing each to shine in their own unique ways and at their own paces.

Takanashi Kiara

As the owner of one of the largest discographies on the English side, Kiara has always made clear that a concert like this had been one of her dreams. However, it has been an uphill battle for her, having started in hololive at the height of the COVID-19 pandemic, and having spent the great majority of her tenure living outside of Japan. As later generations have debuted with even more stage experience than her, it felt like her star might not shine quite as brightly among the multitude. Despite these challenges, she persevered and honed her craft, and her resulting performance truly felt like she was pouring all of that passion and determination onto the stage. I have never seen Kiara move better or sound better than she did for Drawn to Dawn. 

Kiara has always had the most “pop star” energy of her generation, and her setlist embodied that. Every single one of her 20 numbers had its own unique choreography, with only a few slow enough to even arguably be considered “restful.” She even included more complex formations with back-up dancers, who themselves had newly revealed designs that took them from shadow silhouettes to full-fledged characters. And in a first for hololive, the dancers actually have two unique designs instead of just one.

Not to be outdone by her own back-up, Kiara debuted a new 3D outfit herself. It was exactly what she was wearing on the official promotional art for the concert, and also happened to be one of the best VTuber outfits I’d ever seen, both from Kiara and in general—and that’s factoring in the fact that I adore her other outfits too. (I may have a dirndl bias, though.)

It was also quite remarkable to hear her bring her current singing ability and some of the flair she uses in “Do U” and “Mirage” (one of my favorites), to her older songs, such as “Hinotori” and “Fever Night” (another favorite). And when she slowed down the tempo for “Blue and Gold,” a song dedicated to her former genmates Gawr Gura and Amelia Watson, the weight of the history they (and we) share felt palpable. 

During one of her MCs, Kiara read a letter she wrote to her past self. She recalled the time she performed in front of an audience of just one person (who wasn’t even there for her), and wanted to congratulate the younger “Kiara” on not giving up. She also brought up the development of her music style—which she cheekily called “K-pop” (short for Kiara-pop)—and the way she has shifted from a more cheerful J-idol sound to a more mature K-pop presentation. She was honest in stating that she personally prefers the former, but understood that the latter was getting her more notice, and that mix of passion, pragmatism, and bluntness is what I think draws fans to Kiara. 

I have to wonder if the rise of “Kiara-pop” simply comes from her fan base being younger than her now (whereas it would have been older than her in the past), and whether Kiara will find a way to unite the two sides of her music into something greater.

Ninomae Ina’nis

In many ways, Ina is the opposite of Kiara. With her more subdued personality, she’s known for things like her professional-level art skills, her comfy chatting style, and her love of puns. To Ina, music and stage performances have not been life-long pursuits, but rather something she has come to learn and appreciate as part of hololive. The size of her discography is only a fraction of Kiara’s, but Ina’s artistic sense comes through every time in her choice of music style and the aesthetics of each music video, and she brought that same creative unity to Drawn to Dawn.

Whereas Kiara’s staging drew most of the attention to herself and the dancers, Ina’s was almost like a series of paintings in motion. Each of her original song performances was unified by a single thematic color that reflected the contents of the song, and often its implications in both the official lore of Ninomae Ina’nis and the identity she has created with her fans. As she sang and moved about the stage, it was as if she was integrating herself into each art piece.

Ina also revealed her own new 3D outfit matching the official promotional art, which resembles something like occult priest robes but with some extra pizzazz. It was sharp and elegant, but there was an additional surprise: the robes could be removed to reveal a more casual long-sleeve and short skirt ensemble. Social media was abuzz with the comments about how her lack of high heels and somewhat larger thighs gave a different (yet welcome) impression to Ina’s appearance. Incidentally, Kiara’s thighs also seem to have been made larger, and attractiveness aside, I can’t help but wonder if this is some kind of trend. (Then again, even the original and official character designs of hololive members often don’t end up perfectly matching their VTuber models in proportions, be they 2D or 3D.)

While Ina doesn’t have a ton of range to her voice, she used it well across all her songs, especially when taking into account that all her originals are quite different from one another. “Violet” is quiet and gentle, “Meconopsis” has a heartrending and forlorn quality that I particularly love, “ “Tako Takover” is silly and hypnotic, and so on. Because she doesn’t have nearly as many songs as Kiara, she filled out some of her setlist with covers of other hololive members’.

As Ina explained in an MC section, she had no experience singing and dancing in this way prior to hololive. However, that has made her journey to Drawn to Dawn special in its own way. Rather than it being the culmination of a continuously striving performer, Ina’s path is one of new discovery and the realization of another facet of herself. Together with Kiara, they exemplify two types of idol journeys, and this juxtaposition strengthened both women’s respective approaches.

Miscellaneous

There were a few technical issues that occurred during the event. The line on Day 2 took so long that some people did not even get the chance to see the first few songs. I managed to get in on time, but only because I went around asking employees about the early entry line, and that was only because a friend reminded me that there was supposed to be early entry in the first place. Apparently some of the Wiltern workers didn’t realize that, and put everyone on the same massive line, which wrapped around the venue. 

This isn’t the first hololive concert that had issues of this kind, and I think it might come down to unfamiliarity with attendees who want to carry their entire fan collection with them. Each venue exists on its own, so we have to repeat history over and over. Day 2 was better in the sense that they just delayed the start. 

I also realized something myself. I’m actually not a huge fan of penlight stuff, especially when it’s supposed to be a detailed and coordinated choreography. When I have to make a conscious effort to do it, I end up having a harder time concentrating on the actual performers, who are my main focus. There was more than one occasion at Drawn to Dawn where I found myself fumbling to do the “right” thing and missed a dance move or accidentally zoned out. I appreciate penlight formations and all that, but I end up distracting myself. At the most, I just want to vibe along with it at my own pace. 

Speaking of penlights, one bizarre thing happened to me (and apparently a few others) during “Blue and Gold.” As per Kiara’s instructions, we were supposed to set our Penlights to Myth colors during the final chorus, and I had mine set to Gura blue and Ame yellow. Venue security actually came up to me during the song and asked me to turn off the yellow, mistaking it for an Ultra Orange glowstick. This is despite multiple Ultra Oranges being deployed by other people during the concert with seemingly no consequence. I was a little annoyed to have the moment tarnished by this interaction, but I understand that security was just trying to do its job and didn’t understand the difference—hell, I only recently learned about it in greater detail.

Final Thoughts

While I was initially unsure about whether attending Drawn to Dawn was the right decision, I don’t regret it one bit now that I’m on the other side. I enjoyed the hell out of it, and was happy to be part of something so unique. I ended up making a lasting memory and growing my appreciation for both Kiara and Ina.

At the end of each day, both girls asked the audience to quiet down so that they could shout out with their voices unmic’d. Despite some audio mishaps and audience confusion, getting to hear the fact that two of them were really and truly present with us in that concert hall is a treat I’ll cherish forever.

Have Some Kaela-Aid

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Kaela Kovalskia crossed over with her water jug mascot, Gachan, and made to look like the Kool-Aid Man. Instead of saying "Oh yeah!" she's saying "Dahlah!"

This was inspired by Kaela’s original 3D Debut, so I thought it appropriate to post after her 3D Redebut.

The Next Moves: Hololive 7th fes. Ridin’ on Dreams

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hololive is arguably the premier VTuber company, and hololive fes is the big annual concert for its female talents. I’ve been watching avidly for a few years now, and it’s become a tradition I increasingly look forward to every time. However, 2025 saw quite a few major challenges for hololive, notably the departure of multiple talents. So while I was just as enthusiastic as ever about watching this year’s 7th fes, I wondered how differently I might end up feeling with so many familiar names gone.

Despite the potential setbacks, I came out of it with generally positive vibes. I always appreciate that we get performances of all stripes, with each talent bringing a story of their own that was created through their experiences as VTubers and the fanbases they’ve cultivated.

Venue and Other Details

This was the first year that the event took place over three days—a change that affected its associated convention, hololive Super Expo 2026, as well. Rather than having two concerts per day over two days, they had one on Friday, two on Saturday, and one on Sunday. Moreover, whereas one of those concerts used to be an “extra” stage that utilized talents from the other three, this time around saw all four concerts featuring unique performers. Watching the stream live meant messing with my sleep schedule, in some ways better compared to previous years and in other ways worse, due to time zone shenanigans and a pesky thing called a “work week.”

Once again, the venue setup used multiple stages as a way to have more people able to get better views of at least a few performances. The mysterious pod from 6th fes did not return, and was replaced by a new moving cart/trolly contraption with screens on the sides, which acted as “windows” to see the VTubers and vice versa. It moved through a diagonally placed lane that cut through the audience section, with the seeming aim of also providing more up-close viewing and interactions with the talents. While it was definitely less confusing and bizarre than the pod, it didn’t have quite the novelty factor, for better or worse.

The Debuts

While it stung to lose some beloved members of hololive in 2025 and to have both Inugami Korone and Haachama not participating, the overall number of performers stayed close to the same as last year thanks to the two most recent generations making their fes debuts: Justice on the English side and Flow Glow on the Japanese side. While the graduated talents were truly special and can never be replaced, the performances by the newest blood kept them well out of their predecessors’ enormous shadows.

Justice showcased each of their unique approaches—Liz’s versatile vocal range, Cecilia’s emphasis on elegance and accuracy along with a violin solo, Gigi’s boundless energy and a singing style that hangs on a razor’s edge, Raora’s bubbly pop. And when Flow Glow hit the stage, they put on a display of why they’re the most stage-focused group ever in hololive thanks to their well-honed skills and experience in singing, dancing, and overall entertainment.

Leveling Up

For the returning fes veterans, their hard work came through more than ever in their performances, with some having come particularly far from where they started.

With her characteristic awkward grace, Shiori Novella sang her recently-released first original song, “Monsters and Men” and came across as more comfortable than any previous performance—possibly because the song was made for her. Biboo (Koseki Bijou) discovered in the past year a method for singing lower, which she utilized for her original song “Rock In” while showing increasing comfort with dancing. Ichijou Ririka took on the challenge of covering “Darling Dance” and its fairly complicated choreography despite having two left feet when she first debuted. Ouro Kronii probably wins the award for greatest overall vocal improvement, showing a different and more vibrant quality as she performed a surprise new original of her own titled “Storm.” And Airani Iofi pulled off an impressive cover of “Unison of Smiles,” the main heroine’s signature song from You and Idol Precure!, emphasizing just how far she’s come in all aspects.

Not everyone comes to hololive as a strong singer or dancer (skill in either doesn’t seem to be a strict requirement), so seeing evidence of the talents’ hard work and progress in these areas gives me joy.

Conquering Great Hurdles

Even those with more experience and ability pushed their limits. Baelz Hakos, already a top dancer, gave a stunning performance of the first Oshi no Ko opening, “Idol.” One stand-out moment was when Bae seamlessly transitioned into a squat as she went into the rap portion of the song, but more significantly, she also threw in a cartwheel and some basic breakdancing moves at the end. These are more acrobatic moves that she has been afraid to do because of the potential head trauma, and for her to confront her fear directly was a real thing of beauty. 

Perhaps the biggest story of all was the astounding recovery made by Kazama Iroha from holoX. In 2024, she was afflicted with a psychological condition that left her unable to speak, and her voice only barely managed to come back by the time 6th fes rolled around. But whereas some of her speech was still noticeably halting and unsteady in 2025, a year of speech therapy and streaming resulted in an Iroha at 7th fes who almost made me forget the tribulations she’s experienced. We saw her sing and dance with confidence, and even have heartfelt and off-the-cuff exchanges with her frequent collab partner (and idol) AZKi. 

Preludes to Upcoming Concerts

Speaking of holoX, they have their big live-attendance concert, First Mission, coming up. They’re not alone either, as Ninomae Ina’nis and Takanashi Kiara from Myth are only days away from their own concert in Los Angeles, Drawn to Dawn. While I can’t be sure how the rehearsal timelines lined up, I really felt that their practice for these major events are evident at 7th fes, especially in the case of Kiara and holoX’s leader, La+ Darknesss.

Kiara’s dancing and singing showed a new level of refinement, while La+ once again focused mainly on singing for her solo performance…and then threw everyone for a loop by humorously and abruptly tossed her prop guitar on the ground at the beginning of her song. When Kiara and La+ then performed together their original, “Glow in the Dark,” they reminded me that 1) Kiara is one of the most versatile talents around, and 2) even as the overall level of dance in hololive keeps going up, there’s really something special about the way La+ moves. At the same time, it felt like both of them were holding back a bit, as if they’re saving the big guns for the upcoming concerts.

IRyS has also just announced her first solo live concert for October 2026. I had thought her incredibly solid performance of her Eurobeat original “Carbonated Love” might have been out of a desire to feature at fes a song she personally adores, but now I also suspect it’s because the majority of her energy is going into this major project.

Other Stand-Outs

There were still other performances that caught my attention.

I feel that the entirety of hololive Indonesia really showed up this year. Moona Hoshinova especially brought some of my favorite performances of the entire event, with “100%,” her song featuring Nerissa Ravencroft, being one of the absolute highlights for me. 

On the Japanese side, Nekomata Okayu’s deep and sultry singing is always a surprise, but it really hit hard this time around. Natsuiro Matsuri can go under the radar, but she appears to have made some incredible strides this year on top of her already underrated skills.

I also got a kick out of Todoroki Hajime’s new solo choreography for “Countach,” and Otonose Kanade’s voice rang out loud and beautifully on  “Greatest.” And while Juufuutei Raden isn’t quite the musical performer of her fellow ReGLOSS members, the fact that she turned a Japanese art history lesson into a song and then had thousands singing along (and thus learning in the process!) really showed me how VTubers can reach people in unique ways.

Final Thoughts

As I finished watching 7th fes, I began to think about the structure of the event itself and what it can accomplish. fes is a gathering of both the hololive talents and their fans, and because these fanbases don’t overlap perfectly, the concerts can also be someone’s introduction to other VTubers. In that context, I end up wondering what kind of first big impression these unfamiliar audience members get. The way this format encourages fans to branch out past their immediate faves by providing this comfortable atmosphere really appeals to me, especially with the live audience there to react. That’s why, despite the fact that fes prices out a lot of fans (and something like the New Year’s Countdown is arguably a better introduction because it costs nothing to watch), I think it can go a long way in igniting someone’s career and helping someone discover a new favorite.

So while I certainly missed the presence of the talents who left or couldn’t be there, it was also an opportunity in many ways. I just hope that hololive can foster an environment that gives these artists the chance to develop their craft in the ways they want, and in ways that keep them healthy in both mind and body.

Miscellaneous Thoughts on 2025 VTuber Concerts

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I’ve been avidly watching VTuber concerts both online and offline this year, and I just wanted to give my brief thoughts on a variety of events from 2025 that I didn’t write about otherwise.

holoX and La+ Darknesss

holoX celebrated their anniversaries around the start of December. While we have no shortage of talented dancers now, there’s still something that stands out about La+ Darknesss’s dancing. In particular, I find the way she moves her arms to be very appealing, and I suspect it’s because she really knows how to move her arms from her torso/core, rather than from her hands.

I also have been listening to Takane Lui’s recently released album, Lapis Lazuli, and kind of regret not getting the physical release. And of course, I’m beyond excited for holoX’s first live venue concert next year!

Myth

I think Kiara can get lost in the shuffle a bit, but what I’ve come to realize is that she’s very good at fully leaning into a particular quality. Some talents are always going to be cool even when they’re trying to be cute, or vice versa, but Kiara can go 100% in being cute, cool, silly, sexy, etc. in a given situation. Her concerts throughout the year really showcased this facet. Her performance of Fake Heart with La+ is my personal highlight (see above), though I need to mention the fact that she brought Ame for a guest appearance.

I’m looking forward to seeing her March concert with Ina, who’s been improving in her own right.

Rewinding things back to the beginning of the year, I’m also glad that people showed up for Calliope Mori’s second solo live in Los Angeles, despite the deadly wildfires that were plaguing the area. Also, what I’m about to say isn’t new information at this point, but I’m glad she continues to carve out a unique sound for herself.

REM Kanashibari and Roca Rourin

I plan on writing about her more in the New Year, but REM has quickly become one of my favorite VTubers. In addition to some convention concert appearances, she also had her first online concert, called Sleepover Stage. I find myself listening to their cover of “Murder on the Dancefloor” with Roca Rourin regularly. The two sound really good as a duet, and I hope to hear more of them in the future.

Flow Glow

Flow Glow, a hip-hop and pop–themed generation from the hololive branch known as “DEV_IS,” made a hell of an impact with their 3D debuts. Isaki Riona’s probably the best in the entire company at singing and dancing. Mizumiya Su is small but has very powerful moves that literally give her the most air time in hololive when she leaps. Kikirara Vivi backs her cute movements with clear dance experience too. And while Rindo Chihaya and Koganei Niko appear to be not as skilled, they’re both quite athletic in their own right, keeping up with the others and even bringing a lot of strength in terms of singing. Even more than their direct predecessors ReGLOSS, they are focused heavily on music and performance, and it’s clear how much experience they have. 

ReGLOSS

Speaking of ReGLOSS, they had their first live concert this month, titled Flashpoint! It’s a great achievement, and you can really tell how much they worked on it. Ririka and Raden have noticeably improved in their weakest areas (dancing and singing, respectively), and while straining her voice in some places, Kanade is still the vocal center of the whole group. Hajime’s solo performance was amazing, and felt like a reminder to everyone that she’s no less amazing a dancer compared to her juniors in Flow Glow. 

I do miss Ao’s sound, though. She was the only one with a deeper voice, and it provided a nice contrast to the rest of the girls. During an encore performance of their first single, “Shunkan Heartbeat,” the current members of ReGLOSS actually left a silent space where Ao would usually sing for one line, as if to pay tribute to their friend.

Vroom Boom Duo (Baelz Hakos and Todoroki Hajime)

This year was also when we finally got to see the two marquee dancers of hololive join forces. Bae’s Non-Birthday celebration featured them doing the song “Gingiragin” together, which was followed by a performance of “Bareru” for Hajime’s own birthday. The latter was one of the most impressive things all year because they were filmed with one continuous shot. Creative camera cuts can cover up flubs, and here they were, showing the world that they didn’t need any editing magic.

HIMEHINA

Hime and Hina really make clear just how comfortable they are as veterans of this space. At their 7th Anniversary concert, their ability to just match up with each other and harmonize is maybe second to none. Also, I mistakenly thought La+ would be singing with them, but she simply did a bit of MCing.

Suisei and AZKi

As the two former members of the now-defunct INNK music group, these two have had a specific and unique connection. It almost goes without saying that these two are among the best singers in hololive and VTubing, but when they perform together, they just work so incredibly well. AZKi’s almost flawless execution and Suisei’s powerful voice balance each other out nicely. Suisei these days is more popular, but AZKi is so subtly and deceptively good to the point that I feel like it can be easy to gloss over her. However, once you pay attention, you realize how incredible she is.

Tokoyami Towa

Towa’s husky voice continues to stand out in a sea of many talented singers, and I hope she can 

Nekomata Okayu

Seeing Okayu go in so many different directions is pretty amazing. It’s one thing to get a solo live as someone who started off dedicated to making music, but to transition into it and then get a second solo live is downright astounding.

Phase Invaders Wish

I was glad to see the first gen of Phase Invaders get a group concert because they were my introduction to Phase Connect. The resulting event, First Transmission, successfully highlighted each of their strengths, even when some were clearly more practiced hands at performance than others. Lumi’s singing ability and Ember’s dancing skills made themselves apparent, and Jelly came across as comfortable on stage despite being inexperienced. Dizzy is the least stage-inclined of the four, but she found an answer in the form of sensual choreographies that took advantage of her fitness and flexibility.

Here’s to 2026!

FUWAMOCO, Momoi Haruko, and the Genshiken DVD that Changed Their Lives

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The twin VTubers of hololive, Fuwawa and Mococo, have talked before about their fondness for Genshiken. Last month, they revealed another connection to Kio Shimoku’s beloved story about a college anime and manga club.

FUWAMOCO dedicated an entire karaoke session to the otaku icon, voice actor, and moe singer Momoi Haruko. At the beginning of the stream, they explained that not only is Momoi their kami oshi—essentially their all-time favorite—but that she was the very person who introduced them to the idea of Japanese idols and the Akihabara subculture of the 2000s. 

FUWAMOCO then kicked off their setlist with the opening to “Kujibiki Unbalance,” and afterwards revealed that they learned about Momoi and idol culture thanks to bonus footage on a Genshiken DVD, in which she (as part of the band Under17) performed the Kujibiki Unbalance opening! It was their first time seeing a crowd cheering together with glow sticks, and upon learning more about Momoi, connected to the fact that she was an anime fan who felt like she didn’t fit in. Essentially, she’s their idol in more than one sense of the word.

The twins proceeded further down Akiba memory lane with songs like “Mouse Chu Mouse,” “Tenbatsu Angel Rabbie,” and “Ai no Medicine.” That last one was the opening to Nurse-Witch Komugi-chan: Magikarte, a Soul Taker spin-off in which Momoi played the main heroine. FUWAMOCO even covered “NANIKA”—one of Momoi’s newest songs, for which the twins themselves contributed to the chorus!

Partway through, Momoi herself actually sent a superchat to FUWAMOCO, making this one of the most memorable karaoke streams ever. Seeing them thanked by the actual woman who inspired them to take this path, it felt like a true full-circle moment for the twin demon guard dogs of hololive. And to think: It was all because of Genshiken.

Chalk up another win for my favorite series.

Let’s Throw the Whole Year Away: Ogiue Maniax Status Update for December 2025

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Are we seriously at the end of the year? This means I have to think about who my favorite characters of the year are going to be. In the meantime, I’m also feeling the pain of denying personal purchases due to import tariffs. Will I ever get that Soul of Chogokin Shinkalion?

Of course, that’s small potatoes compared to the hardships other people have had to face in this economy, and I feel very lucky I can even complain like this in the first place. I hope that on top of people having enough to eat and roofs over their heads, that the arts can provide comfort and joy in tough times. To all artists, writers, and other creative types: Don’t underestimate yourself.

Thank you to my patreon members. May you enjoy the holidays, no matter where you are.

General:

Ko Ransom

Diogo Prado

Alex

Dsy

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Blog Highlights from November

Trying to Reconcile a Western Super Robot Wars Crossover Universe

I put way too much thought into imagining the plot of a Super Robot Wars game based on Western(-ish) properties.

I Went to “Chronicles of hololive Nexus Gate: Act 1” and Then Ate Mall Curry

hololive?? At the mall???

A Story of Pin Pals (?): Turkey! Time to Strike

I enjoyed this “bowling” anime.

Kio Shimoku

Kio Shimoku Twitter Highlights November 2025

A short month of tweets, not counting RTs.

The End of Rakuen: Le Paradis

The magazine that publishes Spotted Flower is ending!

Closing

Ogiue Maniax celebrated its 18th anniversary this year. Can you believe it? I’m having trouble myself.

Fandroid 18: Ogiue Maniax Eighteenth Anniversary