The odd pairing of the words “baby” and “metal” instantly drives attention. How can two extremely different worlds possibly combine into a compelling third? That has been the mission of Japanese trio BABYMETAL since their debut in 2010. Under the guidance of producer Key “Kobametal” Kobayashi, Suzuka Nakamoto (SU-METAL), Moa Kikuchi (MOAMETAL), and former member Yui Mizuno (YUIMETAL) were initially a sub-unit of idol group Sakura Gakuin — formed by girls as young as ten-year-olds who “graduated” (or, left) when they turned 15.

When SU-METAL graduated in 2013, Kobametal sensed the trio’s potential and turned them into an independent act. They were the precursors of kawaii metal: a fusion of heavy beats and death growls with ultra-girly pitches and tulle skirts. Backed by a group of musicians known as The Kami Band, it didn’t take long until the world took notice of BABYMETAL’s exquisite mix.

By 2014, hits like “Gimme Chocolate!!” and “Megitsune” had amassed an international fanbase, leading to concerts around the globe. With 2016’s Metal Resistance, they placed #39 on the Billboard 200 chart – the highest rank for a Japanese artist since 1963 – and also became the first Japanese act to headline a sold-out Wembley Arena.

Following the departure of YUIMETAL in 2018, SU-METAL and MOAMETAL released 2019’s Metal Galaxy and 2023’s conceptual album The Other One as a duo. Later that same year, back dancer Momoko Okazaki officially joined the group as MOMOMETAL, and the new trio came forward with June 2025’s Metal Forth.

Featuring a stellar lineup (guitarist Tom Morello, Polyphia, Spiritbox, Slaughter to Prevail, and more), Metal Forth is a solidifying step in BABYMETAL’s career, proving that, despite celebrating their 15th anniversary, they are just getting started. The LP debuted at #9 on the Billboard 200 (again breaking records, as they became the first all-Japanese group to appear in the chart’s Top 10). Currently, BABYMETAL are gearing up for their biggest U.S. headline arena show, happening on November 1 at Los Angeles’ Intuit Dome.

Ahead of this remarkable milestone, BABYMETAL talked to Dazed about leading the metal scene, defying expectations as Japanese women in the hardcore space, and their growing global popularity.

Looking back over the past 15 years, what moments stand out as the most meaningful for BABYMETAL?

SU-METAL: The most meaningful moment was a performance at Sonisphere Festival in the UK back in 2014. At that time, hardly anyone knew who we were, and the moment we stepped on stage, a huge crowd glared at us suspiciously, clearly thinking ‘Who are these kids? Are they mocking metal by having children perform it.’

However, as the show progressed, more people became interested in us, and by the end, there was a wall of death* forming, and after our set finished, people were shouting ‘We want more!’ That moment proved our music could connect with audiences worldwide and filled us with immense confidence. Since then, no matter how hostile a festival crowd was or what people said about us, that experience has continued to support us.

What do you think has been your most important song or album in your discography so far? Why?

MOMOMETAL: ‘Road of resistance’. This song truly symbolises who we are as a group, and the lyrics ‘If you believe, then go forward, even on a pathless road’ especially fit us. We usually perform this song at the end of a show, and I can clearly see the circle pits soaring energy at the very end of the show.

Since METAL FORTH is our first album with this new formation, it holds special significance for me. Creating an album for the first time with new formation, numerous collaborations, and trying new dance genres were incredibly stimulating and educational. I believe this album has further expanded BABYMETAL’s path.

How would you describe BABYMETAL to someone hearing it for the first time in 2025?

SU-METAL: I simply say ‘just watch us live’ and show them performance videos. The Kami Band's virtuoso musicianship, our intense yet beautiful choreography synced to metal sounds, and even the Japanese lyrics might sound refreshingly new. But above all, I want them to experience the crowd unity: massive walls of death, synchronised Dogeza-headbang [kneeling and headbanging]. Forget about everyday life, just shake your head wildly and embody the music.

Metal is still often seen as a genre led by white male musicians. How does it feel to create your own path as Japanese women in that world?

MOAMETAL: I don’t want to frame it as ‘because we are Japanese, because we are female’. There might have been things we couldn’t choose because we were little girls, but there were many more things we could do because of who we were.

We went through tough times, but I am proud of being a woman and being Japanese. I want to push the boundaries of the metal scene for the future of metal with my head held high, alongside musicians who share the same motivation.

BABYMETAL has certainly helped expand the idea of what metal can sound like. What does metal mean to you?

SU-METAL: Metal is something that stirs my spirit. There’s a sensation that wells up from deep within my body, a tingling that rises from the core, and I feel like a version of myself I never knew existed emerges from within my heart. Also, when I listen to metal, I feel like I become stronger, and I can express my deepest feelings from the bottom of my heart. I believe metal has strengthened my spirit more than anything else, and now I have a metal heart.

SU-METAL, you began writing lyrics for BABYMETAL, first for ‘Divine Attack’ and later for ‘White Flame’. How has that experience changed your relationship to music and to BABYMETAL’s songs?

SU-METAL: Through the lyric writing process, I experimented with how different words I came up with would sound when set to the melody, and that’s when I realised this is how all our previous songs were created too. Just changing the lyrics can alter the entire atmosphere of a song or shift the rhythmic accents. Discovering this through hands-on experience made me feel like my understanding of language deepened. I’ve learned to treasure the meaning carried by each individual sound and syllable.

MOAMETAL, you’ve been part of BABYMETAL since the very beginning. What changes do you see in yourself and in the group after all these years?

MOAMETAL: I think there have been many changes. As we’ve gotten mature, we’ve learned to rely on each other more than before. Even now in our new formation, our trust in one another has definitely grown stronger. For me personally, I’ve developed this fierce protective feeling toward BABYMETAL. I’ve come to understand my role better and work to complement what the other two aren’t as comfortable with.

Oh, but while I’ve grown taller, I’m still the shortest one! [Laughs]. There have been so many changes, but they’ve all been essential to who I am, and I’m enjoying every day.

MOMOMETAL, when you became a member of BABYMETAL, the group already had a lengthy discography. How did you adjust to joining a band with such a strong identity?

MOMOMETAL: I’m still exploring, but I’ve come to realise that growls and death voices are truly a part of my own character. For this album, I added my growls, which made me really happy and gave me more confidence. I want to keep honing my skills so that I can establish this style even more.

The upcoming Intuit Dome concert is your biggest US headline show so far. What does it represent for you?

SU-METAL: The Intuit Dome show feels like such an important step for us. I know it will give us both confidence and experience for the future. I want to pour everything into this performance and make it a truly unforgettable moment for us, and for everyone who comes to see us.

What are your hopes for BABYMETAL in the next 15 years?

SU-METAL: I wish to be a musician who leads the next generation of metal scene. And someday [I hope] we can headline a metal festival.

BABYMETAL will perform at Los Angeles’ Intuit Dome tomorrow night (Saturday 1 November). 

*A wall of death is a form of moshing where the audience divides into two halves and runs towards each other.