BY: Ava Shumway
Mitski has done it again. Touring for her seventh studio album, The Land is Inhospitable and So Are We, she immersed her audience into the landscape of her impassioned music, through an astounding experience that was more akin to performance art than a traditional concert. Through her minimalist stage presence, she provides a sense of intimacy in a similar vein to her contemplative lyrics. A windy Sunday evening in Chicago, this performance was one of four shows in the Auditorium theater.
Taking “Be the Cowboy” quite literally, Mitski integrates elements of folk and country through lyrically naturalistic elements and wide-open spaces to convey feelings of isolation. On the song “I Don't Smoke” Mitski choreographed a traditional line dance aligning to the upbeat twangy melody. Despite the song being about self-destructive tendencies, the vibrant red lights and joyful stage presence made for a captivating and cinematic experience.
Movement was the focal point of the show. Meticulously choreographed where every step, sway, and movement of the body carried great significance. From the moment her silhouette appeared behind the white curtain and her body moving to the pulse of “Everyone” off of her album Laurel Hell, her motions became a symbolic narrative of her voice. Mitski's use of the rounded black platform reminded me of those ballerina music boxes from my youth, as she carried herself with such fragility and swiftness mirroring that of her intimate lyricism.
The light design of the show was truly mesmerizing. Commencing “Thursday Girl” there was an eruption of blue, red, and white flickering lights to mimic the eruption of water, which then transitioned into “Geyser”. Later the spotlight became Mitski's dancing partner for “Heaven” to mimic that of waltzing with a loved one. In her infamous “My Love Mine All Mine”, Mitski became surrounded by shards of glass as an ode to the song's message of one's capacity to give and receive love. The light would reflect off of the glass onto the audience, which blinding at times, was an immersive experience. The lightwork is just another example of Mitski's unconventional style as an artist.
The stage props demonstrate Mitski's insatiable creativity. During her performance of “First Love/Late Spring”, she languishes in her black chair, tilting her head back and singing upside down. Through her vulnerable movements, the chair becomes more of a stage partner as she sings about an emotional war.
Mitski is a delight. Despite many songs about isolation or heartbreak, she provides a playful performance. Throughout the mellow twangy track “The Frost” Mitski plays an air guitar, which adds to the imaginative dynamic of the concert and her voice reminded me of Karen Carpenter on some of the lower intonations. In between songs she would escape from the spotlight by running around the platform, which added to her playful presence and had me smiling throughout.
Overall, Mitski's passion and originality was apparent throughout the show through the creative lightwork and intricate choreography, which made for a memorable experience. Given her willingness to experiment across genres with folk, country, indie-rock, etc, who knows what is to come next. Perhaps we can expect a house album in the foreseeable future.
