The morning drizzle at Fuji Rock didn’t dampen the chaos—it just slicked the stage for Otoboke Beaver to slide around and through a set of buzzsaw guitar, whiplash drumming, and hysterical wailing. As the first act of the day, the Kyoto quartet were happy to be the hellions waking up the stage and grabbing the crowd by the collar, leaving them breathless and gasping for air.

With the limited time that is unique to festivals, Accorinrin said, “It’s a waste of time to keep the Fuji rockers waiting,” and with that she lunged toward the mic with that trademark feral grin. The audience was treated to every sarcastic shout, every exaggerated crouch, and every flash of her floral print dress (and yes, the occasional glimpse of panties). She later held up the middle finger for one mid-set song, teasing the audience. The crowd hung on every yelped word, flinching and cheering as she veered from cutesy sing-song to guttural shrieks in milliseconds.

Meanwhile, Yoyoshie’s buzzing guitar and Hiro-chan’s bulldozer basslines turned songs into mosh-worthy freakouts, while Kahokiss battered her drums like they owed her money. The rain just made it wilder. Fans in ponchos thrashed along, some laughing in disbelief as Accorinrin prowled the stage, flipping between playful teasing and full-throttle punk rage. When she dropped into a deep, mocking squat, fake-innocently adjusted her skirt, it wasn’t just provocation—it was performance art weaponized as punk rock. By the time they tore through “Don’t Light My Fire,” the early slot felt like a secret victory: Otoboke Beaver didn’t open the festival; they stole it.

Yoyoyoshie’s guitar assault reached new heights of frenzy—the diminutive ax-wielder transformed into a whirling dervish of distortion, legs pistoning in violent kicks as she carved through riffs. Between growls into her pickups and full-stage sprints, she wielded her instrument like a weapon, battering chords until her flroal dress became a sweat-drenched second skin.

Not to be outdone, Accorinrin conducted the chaos like a demonic orchestra conductor. Her vocal performance swung between terrifying banshee wails and saccharine J-pop parody, each exaggerated crouch and skirt-flip dripping with subversive intent. The mic became a prop in her theater of rage.

Together, they created something far beyond a musical performance – this was performance art at knifepoint, a glorious middle finger to decorum that left the Fuji Rock faithful screaming for more even as the band refused to return for bows.

In terms of their career at Fuji Rock, they made their first appearance at Rookie A Go Go in 2017. In 2022, they were selected to perform at the Red Marquee, a surprise-like pre-festival appearance, and then later at Naeba Shokudo, a place mostly for drunkards. And this year, they have advanced to the White Stage.

The band’s logo was displayed on the screen written in an extremely loose font. In the introduction to one song, vocalist growled, “Pants up, middle finger up, etc.” The band’s behavior, which easily breaks every norm of good behavior, has a sort of humor.

Fuji Rock is an excuse to get away from society for a few days and do whatever you want. Their spirit of the band in floral dresses and fierce demeanor really won over the fans.