“Reach for Me:” Worshipping SASAMI at The Chapel

“SASAMI has something for everyone,” the bouncer explained to a pair of tipsy yet inquisitive passers-by. It’s true— whether your home is in the mosh pit of the artist’s signature metal anthem “Skin a Rat” or the comforting lyricism of the romantic “Call Me Home,” SASAMI’s got a song for you.

This welcoming energy intensified as I entered the venue. As gothic architecture met gothic eyeliner, The Chapel’s archaic vaulted ceiling complemented the fans’ punk outfits. The concert’s opposing auras produced a satisfying blend of warmth and wrath, allowing attendees to find comfort in artistic social criticism. An Asian American artist known for her counterhegemonic success within the white-male-dominated metal genre, SASAMI is the royalty of artistic rebellion.

A sucker for a good crowd, I took my place toward the front of the audience, eager to embrace all aspects of SASAMI’s upcoming performance. The artist opened with one of her most popular songs, “The Greatest,” a grunge-inspired indie-rock jam off of her newest album Squeeze (2022.) Distorted guitars and a slow drumbeat accompanied the singer’s melodic vocals, sounding nearly identical to the recorded song— a commendable feat for a live performance. SASAMI’s perfect vibrato radiated throughout the spacious venue, saturating the ears of her impassioned listeners.

Adding depth and charm to her ethereal music, SASAMI’s performances always exceed expectations. As the artist belted, she moved her body with a near-choreographed dance routine to accompany her heartfelt lyrics. She described her soothing ballad “Not A Love Song” as a “song about nature,” elegantly moving her arms with each measure and allowing the audience to feel her raw emotions. With calming lyrics such as, “it’s not a photograph / just a beautiful, beautiful sight / a beautiful, beautiful sight,” I felt the ease and breeze of SASAMI’s sincere appreciation for the natural world. 

But the show wasn’t all this tranquil— as SASAMI suavely transitioned from love songs to metal, she conversed with her fans to inform them of her evolving pace. “Raise your hand if you’re a switch,” the musician polled the crowd, encouraging audience participation and connection. “Lot’s of SASAMI switches,” she announced, “but we’re all tops tonight.”

With ultimate top energy, the artist put on her game face for punk jams like “Need It To Work” and “Squeeze.” With strokes of musical expertise that only come from a lifetime of classical training, SASAMI managed to execute meticulous guitar riffs while jumping, moshing, and growling about the stage. The artist’s metal persona can best be described as a master of controlled rage, exercising her demons within this quintessential quasi-church venue.

“I’m feeling weird,” SASAMI announced as she transitioned into her penultimate song. “Reach for me,” the singer implored her adoring fans to stretch out their arms in the hopes of gracing her fingertips. Like a nurturing deity, SASAMI granted the fans her touch, inviting gleeful squeals of awe with each brief physical interaction. Though her setlist was short and there wasn’t an encore, the performance’s short duration left me anticipating the artist’s next career moves, excited for what she has in store.

When I sat down to write this article and reviewed my notes from the concert, I found one bullet point that perfectly encapsulated the evening. “SASAMI is a hug,” I jotted in my notes app at 10:13 pm from the heart of the mosh pit. With open arms and a song for everyone, the sentiment here could not ring more true. Whether you’re aching to cry your heart out or itching to let loose, one thing’s for sure: a SASAMI concert will leave you feeling like one big hug.

Written by Piper Samuels

Photo by Piper Samuels