There are moments in life that make you question your very existence- like a night where pop music, indie rock and… country music all collide. September 28th was one of those nights for me.
Musician Mitski took over the Hollywood Bowl to mark the final night of her album tour and the last performance with her band. What sets Mitski apart is her ability to transform art into an experience beyond reality. Her expressive facial movements, intricate hand gestures and unique eccentricity make her performances both explosive and serene.
The transition between the opener and the main performance was executed in true Mitski fashion. Horror-esque music filled the venue as black and white videos of Mitski lying in the grass played on the screens, immersing the audience in her own mini world and emphasizing her connection with nature. In a moment of suspense, a burgundy extravagance enveloped her on stage and then lifted, revealing her to the crowd. Initially appearing as a dark shadow, the set transitioned into the track “Everyone”. Mitski, dressed in a sparkly cropped long sleeve and black trousers for a look that proved both professional and youthful, took an unconventional approach. Relying primarily on her hands to express her emotions, she used her voice as a secondary tool, highlighting the importance of expressiveness in her performances.
As the stage went dark, Mitski pulled up a chair, bathed in a single spotlight. She sat down and addressed the audience with the warmth of speaking to an old friend. After expressing gratitude to her opener, Sharon Van Etten, and sharing appreciation for Los Angeles, The Hollywood Bowl and her band, she shifted the tone. “Do you all want to get your yelling out?” she asked, setting off the crowd in pandemonium, following a fan declaration that echoed for the next thirty minutes. Crouching down on her knees, Mitski continued her monologue, capturing the significance of the night in her own way- by “singing, dancing and making everyone feel like a friend”.
Slipping back into character, Mitski strummed an imaginary guitar, slipping into the track “The Frost”. She then turned her back to the crowd before switching things up with “Valentine, Texas”, body rolling and playfully sticking out her tongue. For the next three minutes, she used the mic as a makeshift stripper pole, moving seductively before transitioning to “I Bet on Losing Dogs”. In a vivid portrayal of getting into doomed relationships, Mitski prowled the stage on all fours, tongue out, her “tail” wagging, until she collapsed on her back, twitching on the floor- a dramatic end to a broken relationship.
What I personally love about Mitski’s performances is her ability to use so little to convey so much. Fast forward to one of my most listened-to tracks, “First Love/Late Spring”, where Mitski used just three elements to tell the story of a forsaken breakup: two black chairs and her voice. When the chair was empty, it represented the feeling of loneliness. She hopped onto the chair, struggling to stay balanced, capturing the destabilizing ups and downs of a relationship. Finally, she’d gaze at the other chair with uncertainty, symbolizing the moment she decided to leave.
Reaching the halfway point of her performance, Mitski delivered a mesmerizing rendition of “Heaven”. Moving in sync with the beat, her shoulder popped in rhythm with each drop. What came next was my favorite moment of the night, a scene that truly encapsulated her star power. With the spotlight following her every step, she slow danced as one with the light, never missing a beat.
When Mitski reached the track “Happy”, the lighting turned red, the beat intensified and she showcased her versatility across genres. Highlighting her guitarist, he launched into a seizure-inducing solo before seamlessly transitioning into “My Love Mine All Mine”. With floating gold pieces reflecting off the light, they mirrored her movements, creating a visual that highlighted her on stage.
As the night reached its climax, Mitski launched into a country set, line dancing with the audience during “Pink in the Night” before introducing her band. After 40 minutes of non-stop singing, she paused for one final monologue. With a touch of sentimentality, she expressed her joy in performing live and the ecstasy of being on stage. Emphasizing the fleeting nature of time, she closed the main set with “Fireworks”, a song about coming to terms with the lingering ache of nostalgia.
Watching Mitski perform was truly an experience I will never be forgetting. There is something remarkable about an artist who can create an extravagance with just their presence. Anyone who has the opportunity to see her live should not miss it.
