Out & About #1037 | BamBam BAMESIS Showcase Tour in Toronto

Read Part 1 HERE !

​A schedule had been released ahead of time, though, given the organizer's treacherous lack of planning to date, we had reservations towards whether events were to follow through as planned.

Lineup for entry was slated to take place as early as 5:30 PM. By the time we pulled into the asphalt lot of Global Kingdom Ministries around 5:50 PM, a decent-sized crowd had clustered about the entrance. There were well over 50 people, we noted, which meant that those huddled up front consisted not only of SVIP attendees. As predicted, most were dressed in black and red, as to maintain consistency with the album colours of BamBam's latest album.

​There was an abundance of parking and, of course, no need to pay. I pulled into one of many spots in the lot while the Thai ahgase continuously expressed her anxieties. Suggesting that she determine the answers to her ceaseless inquiries about tier categorization and queuing, I'd hover near my trunk to source the Pineapple BBQ Pork Bun from Red Sail Boat Bakery. The sweet-savoury parcel would constitute my (exceptionally early) supper.

​I quickly wolfed down the bun before 6 PM, then joined the lineup. The round was, peculiarly, still warm, despite being contained in my cooler bag for a few hours. Perhaps it was hunger, but the bun was perceived as quite the delicious bite. Plenty of cha siu was found within the specimen, then laced with a delightful cookie crust. Featuring a surface sturdier than Akko, I needed not worry if I'd lose the topping while eating on the go; the bun was similarly sturdy, yet far from dense. We had a winner!

The schedule had noted an entry time of 6 PM. But, as expected, we weren't ushered inside until at least 6:10 PM. SVIP ticket QR codes would be verified at the door; meanwhile, proof of VIP tickets would be dismissed.
Moving single-file between the double doors to the reception desk, we were provided red wristbands, BAMESIS lanyards with SVIP designations, a tour poster, and BamBam photocard of choice. Being amongst last ones in the queue, our choice of photocards was limited to two. That said, my complaints are few, for the quality of the bonus items was of a good caliber.

VRS Production was unapologetically Filipino in every way possible, with not a single team member not displaying the signature cheesy tendencies. Photographers and videographers would capture the entry process of the fans, as well as the transition to the upper level for the fansign event.
It was with much relief that I found clean, brightly-lit corridors and bathrooms on the both the upper and lower levels of the building. I had envisioned a layout to be akin to Notre-Dame, wherein the seats were uncomfortable wooden benches and indoor plumbing facilities were nowhere in sight. The Thai ahgase scoffed, clarifying that Notre-Dame was a cathedral and that churches indeed possess bathrooms.

​The location for the SVIP Fansign was a space no larger than the standard classroom. A table and tour poster were set up at the front of the room, lights positioned on either side. Fabric-lined chairs would be arranged some distance away from the table, in five rows of ten chairs each. After all, the SVIP upgrade was limited to just 50 VIP ticketholders.
We found ourselves filing into the last row, eyes glazing over a tour poster with sticky note instead of the BAMESIS albums we were promised. The team had apparently "ran out" of albums, thus supplemented the last two rows with "partial albums" and tour posters. The "partial" albums involved "sharing" a single album between two people, in which the CD could be signed by one and the photobook by another. Needless to say, this sent the last twenty unlucky fans into an uproar. The SVIP upgrade had promised a benefit of two albums, leading most, if not all, fans to refrain from brining their own copy from home.

These obvious frustrations prompted an interim resolution: Somehow from somewhere, more albums would emerge. Each SVIP ticketholder would be compensated with one full album; the second album would supposedly be shipped out after the show, though further details were not provided.

Pens and sharpies would circulate the room to allow fans to write down their name for the fansign. We were informed that BamBam would copy the name - and/or message - on the sticky note onto the chosen page for signing. Also discussed was the procedure: Each SVIP ticketholder would be entitled to one minute of interactions with BamBam. Upon nearing the end of the time slot, a "15 seconds left" sign would be raised. This sign would then be flipped to reveal "Times Up" at the end of the sixty-second period.

"Wow!" I turned to the Thai ahgase with shock, "A whole minute!!"
​
Shortly after settling our album concerns, BamBam strode into the room without warning. By this point, it was 6:30 PM.

​Each row would be summoned in sequence and instructed to queue along the side of the room. Then, one by one, the fans would be gestured towards the table and the timer would be started. Members of staff and local security hovered about the perimeter of the room, yet none invaded into the signing zone. In stark contrast to previously attended events, staff did not situate themselves between the artist and fans, nor did they touch/push/shove aggressively. One member of staff hovered next to BamBam, but the scene was otherwise very intimate and exclusive.

​Fans in the latter rows could barely see the artist, and resolved to chat amongst themselves while waiting. VRS Production had been unique in their allowance of phones, cameras, and even small tripods throughout all parts of the fansign - with the exception of the interaction itself. SVIP ticketholders would not be bound to their seats whatsoever, and photo-taking could take place along the sidelines if desired. Re-entry into the room was also permitted: I had the luxury of using the bathroom while in wait of my turn.

While the Thai ahgase suffered tremendous jitters and made sure to announce these woes to those in the vicinity, I remained resolute that I would not be swayed. The fansign would be my sole opportunity to communicate my thoughts directly to the artist, and I wasn't about to stutter or waste any second of my one-minute allocation.

​Slowly but surely, we were called to join the queue. The use of phones and cameras would not be permitted while in close proximity to the artist, thus I arranged for the Thai ahgase to film my interaction, while I hers. (Unfortunately, she had disregarded my imperative directions to "not cut the video", thus eliminating the latter part of the interaction.) Consistent with the other ahgase in my row, we'd resorted to audio recordings to preserve the memory for years to come.

When my turn came, I strode over swiftly, excitement and slight jitters in my footsteps. "Hi!" I greeted him.

BamBam responded with a soft, friendly "Hi", then immediately asked about my AREA 52 cap. The question had caught me off guard; it hadn't dawned on me that he was asking of its origins, given that AREA 52 merchandise had not been made available in North America. I explained that I had procured the merchandise in anticipation of Toronto being included as a stop on the AREA 52 World Tour. He explained that, due to cancellation of the US tour, the (unannounced) Canada leg was consequently also cancelled.
I nodded in acknowledgement before using the opportunity to transition into my speech. I thanked him for including Toronto this time around, then proceeded to express my gratitude as he signed my album. In that moment, I had forgotten about the album altogether and merely wished to say the things I felt while watching Bam House and associated content online. He chuckled a bit when I thanked him for not retiring, and somehow also held my hands in his as I relayed the resilience of ahgase as a fandom. Only when I let go of his hands to gesture towards my permanent ahgase (Vancouver Ventures D7 P1) marking did his grip loosen on mine. I could sense myself stumbling over my words as the "15 seconds left" sign was raised. The conversation steered onto the topic of GOT7-inspired tattoos, followed by the near-imminent appearance of the "Time's Up" sign.

Although I felt a bit bad to interrupt him, I feared the warning and quickly concluded by asking for a photo. He understood my request for hearts on the cheek immediately. As I got up to leave, he gave me a fist bump, returned my album (which I had forgotten about entirely), and called out with a smile, "Enjoy the show!".

I was an elated ahgase.
I must also remark: BamBam's face is a lot sharper up close!

​The final four SVIP slots would be occupied by the Thai ahgase, an Edmonton native, and a Thai auntie who had purchased not one, but two (!) SVIP passes for two chances at the fansign.

​Once all ahgases had exercised their turn, BamBam stood up to greet us collectively. He expressed his happiness towards the fan interactions, further declaring that he didn't believe fansigns to be exclusive to Asia. Naturally, the group cheered in agreement.

While the SVIP fansigns were underway, other ticketholders had been ushered into the venue. We made our way down around 7:45 PM. The Showcase had been scheduled for a start time of 7:30 PM, but confusion over seating lead to an eventual start of 8 PM.

When the venue had been changed from Four Seasons Centre for the Performing Theatre, existing ticketholders were promised the equivalent of their seat in the new venue. When the Thai ahgase and I had arrived, we were shocked to find our seats occupied. We'd soon learn that the first row in Global Kingdom Ministries was unlabelled, while the second and third rows were labelled as "A" and "B". The staff would intervene in an attempt to clarify the discrepancy. After an extensive period of mumbled discussion and stage crews urging in Korean that "the show must start!", all ticketholders would be shifted back one row to align with the venue's named seating.
The Thai ahgase was about to move; I gestured to sit down. "Why must we move back when we were promised the equivalent of our ticket? We had second row and this is second row."
Another member in the front row nodded in support. Yet, the staff had the audacity to respond with the unreasonable: "Second row is still second row and first row is still first row, since no one will sit in this row. You need to move back to prevent confusion for others finding their seat."
"Isn't that what staff is for?" I retorted, irritably.
The lady rolled her eyes while heaving a deep sigh.
After some internal discussion, the crew enforced the measure, albeit passively. "Everyone move back one row - we must start the show! You can move up later if there is space, but for now you must move so we can start."
​
None of these utterances were comprehensible in the slightest. That said, the ordeal affirmed the strong bond of ahgases as a fandom. Not a single ticketholder sought out better seats over one another, but rather supported fair treatment for all. It was a united front that rarely exists in modern-day fandoms - and society as whole with the arrival of Gen Z. Perhaps it was also worth mentioning that fans at or over the age of 30 were more common that those in their young adult years.

​The Thai ahgase urged me into my seat, reserving her own spot closer to the aisle. I was initially confused, for I'd need to sneak out in a moment's notice, but later understood the implied intention.
At 8 PM, I hastily dashed towards the bathroom. At 8:05 PM, the lights dimmed. It was show time!

View the full album HERE !

LAST PARADE and Thank You Come Again were performed first. The front row jumped up at the start of the first song, then cautiously sat back down at seeing the rest of the crowd remained seated. The girl in front of me was extremely considerate: being far taller than me, she remained in her seat for the duration of the show (minus encore) as to not obstruct my view.

The stage would dim after the second song, and a Filipino MC would emerge. Subsequent sections of the Showcase would comprise of raffle draws and a games segment with fans in the crowd. Five ahgases were selected for a face-off against BamBam.

​A ladder system would determine the game assignment: sticky note-shaking, mini basketball, pizza topping stacking, scavenger hunt, and cup balancing were amongst the selection. Despite entertaining, I did find the segment a tad drawn-out. However, I recalled BamBam's intention for the tour: This was a combined Showcase and Fan Meeting, rather than a full-scale concert. The games segment had been intentionally included to increase interactions with local ahgases. At the same time, the opportunity enabled BamBam to show a more relaxed, unfiltered side as opposed to his usual stage persona. His humorous yet angelic personality truly shone in this portion.

While likely intentional, the artist's loss in all five games would result in 20 lucky ahgases - plus an entire row! - being selected for 1:1 photos. This amounted to at least 50 ticketholders partaking in fan benefits restricted to those in the SVIP or VIP tiers. In addition, one more raffle draw would take place for a new phone. The prize was seemingly random, until BamBam explained that XiaoMi, the sponsor for this Showcase tour, had provided phones for the lucky draw.

BamBam's wishes were reinforced once more as he engaged in ending ments for the games segment: "The whole point of this is the give back to you guys, to give back to the fans." His words warmed my heart, his sincerity unparalleled.

​Performances would resume around the 9:30 PM mark. Ball Like That, Must Be Nice, and Mi Último Deseo would constitute the final three songs of the BAMESIS EP.

​Just as I believed the Showcase to come to a close, he subtly transitioned to an encore. Sour & Sweet and ribbon would be witnessed live for the first time, enticing the crowd with their upbeat tempos.

​I successfully made it into the group photo with the audience, though was obscured from view in the version with the dancers. As BamBam turned towards the monitor for the latter image, a video project prepared by the Toronto Ahgase group began to play. It combined memorable moments in BamBam's career spanning from 2016 to the present, timed to Flash Up as the background track. The compilation likely served as a personal reminder of Bam's extensive achievements over his ten years as an artist, though it also tugged at a few heartstrings of my own, knowing that those memories were shared and hold tremendous significance to my own growth and development.

Other encore tracks included TIPPY TOE, A, Hard Carry, and LOOK.
​
I will not lie: I nearly lost my mind when A was played.

​Hard Carry would entail the spraying of water - a fan favourite - and the female dancers executing a powerful rendition of the chorus choreography. BamBam began to wave the crowd to draw closer to the stage. The Thai ahgase, oblivious to this small gesture, remained stationary. Meanwhile, I urged her shift into the aisle.
When LOOK was played, BamBam gestured again. I quickly navigated to the front, but was forcibly pushed away by the security guard. In response, BamBam tapped his shoulder lightly. Tensions were eased, and the crowd continued to draw near for a true encore experience.
Apparently, one more track had been prepared, but the speakers were announced to be broken at the conclusion of LOOK.

BamBam thanked us again for our incredible energy, then exited the stage with his dancers. By this point, it was nearing 10:30 PM.

​Hi-Touch and 1:1, 1:5, and 1:10 photo benefits would take place following the show. Beyond these paid benefits, BamBam offered a "Bye" session for those without such perks. In addition to the VIP ticketholders, the other tiers were granted the opportunity to bid him farewell - essentially a single-file, Hi-Touch format without the high-five element. BamBam had truly adhered to his declaration of "giving back to the fans"! While most artists would be ecstatic at concluding a successful show with well-deserved rest, he had opted to extend his schedules to expand his engagement reach - the king of fan service! BamBam was doing the absolute maximum in every regard, yet brimming with humbleness!
In a way, the BAMESIS showcase took me back in time to the 7 for 7 V Live, a showcase that I watched eagerly from afar, perched onto the edge of my bed from the early hours of 4-6 AM.

The photo-taking segment was the most hurried portion of the Showcase. Phones were not permitted while near the artist, but permissible before and after entering the proximity. Similar to before, BamBam remained amicable, personable, and professional. Given the rushed nature of the photos though, I don't believe he was able to process much of the individual exchanges between fans. Although I had handed my 2014 GOT7 fan to him to hold, his response implied that he had barely processed the item before the flash went off and I was escorted off the stage.

​In spite of both the Hi-Touch and Photo Op being extremely swift, I appreciated that the organizers did not become aggressive nor invade the physical privacy of fans. With fan engagements of the past having involved shoves from staff and hoarse yelling, this new level of respect was a breath of fresh air.

Nevertheless, the lack of foresight and downright despicable time management was a marvel to behold. Our activities as SVIP ticket holders would conclude just before the 11:30 PM mark. Approximately 5-6 hours later, I was exhausted and ready to head home.

The absence of bag checks was another aspect of note. Prior notices had listed plastic water bottles under 350 ml being the only acceptable forms of liquid, though inspections were not conducted to confirm whether those in exceedance were in tow.

Stumbling back to the car, Red Sail Boat Bakery's Egg Tart would be sampled. By this time, the product had clearly turned cold. Nevertheless, it boasted a sublime, silky centre and gratifying puff pastry shell that adhered well (read: no shattering) without comprising texture - Well, as much as a tart could after 8-9 hours of being left in a cooler bag.

​The Thai ahgase would return home via Uber, while I'd brave fatigue and slick roads for a 40-minute drive back. Two unsuccessful attempts at boarding the 401 at the Markham Rd and adjacent McCowan Rd ramps, I'd traverse along Sheppard towards Kennedy. By the time I reached home, it was midnight. What a day.

Food and water intake had been limited, but physical wellbeing was most impacted by the concert activities. The following afternoon's at-home pilates session drew attention to differences in the body. Areas that weren't usually subject to tension were now aching and stiff. Similarly, areas that usually did not crack resulted in loud releases this time. The observations confirmed pilates to be a pivotal tool for functional mobility, in addition to a restorative practice.

As for my mental wellbeing, it should go without saying that no one can lift my spirits like GOT7. The SVIP upgrade was the best investment for my happiness this year. Even several days later, I was replaying the precious moments, garnering strength from every word and breath.

Ahgase is my kind, my people, and the community to which I belong.

GOT7 is home - now and forever.