Mother Mitski at Mother Church: Mitski Concert Review

Mitski, the renowned indie singer-songwriter, announced her four-night residency, April 10th - 13th 2024, at the historic Ryman Auditorium playing in her new found hometown: Nashville, Tennessee. I was stoked to finally get to see her! Imagine my surprise when every night was sold out. I was deflated, but simultaneously, I felt so proud of Mitski, as she notoriously struggles with the ideals of fame and her artist-fan relationships. She sold out four nights in an iconic venue in a town she has grown to love since moving here in 2020. It made my little local heart warm. I joined the waitlist for each night and hoped for the best. A month later, I received the fresh batch of waitlisted ticket links, and it was a mad dash for a spot in Mitski’s church.

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Because of this predicament I had put myself in, I had no time to text any of my other Mitski- loving friends if they were available to join. In hindsight, I could’ve bought two tickets and found a friend to go with, like I’ve done a million times before, but for Mitski, all rationale was tossed aside. I needed a ticket, and on the list of shows I would go to alone, Mitski is near the top of that list. 

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I arrived at the Mother Church, alone, ready to drink a glass of red wine and (probably) cry. I sat in the pews on the floor level, four rows from stage right and soaked in the energy before the supporting act, Nashville-based Sunny War, graced the stage. Her voice is folksy and painful, with every metaphor and nuance punching you in the gut, in a similar fashion to Mitski. 

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After a short set change, Mitski was backlit with a blue hue, and a spotlight illuminated her strong silhouette. She stood on a black chair on top of a raised, circular set piece as the audience roared. She started her set with “Everyone” from her 2022 album release, Laurel Hell. A wave of chills hit me mid song: I was seeing Mitski. 

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The concert didn’t feel like a concert at all to be honest, at least not in the traditional sense. It was a beautifully surreal piece of performance art, and Mitski was at her very best. Not only were her vocals top notch, but her choreographed movements to accompany the majority of her set were full of passion and precision. Her sharp, angular lines sometimes melted into softer lines seamlessly and before you realized it, she was back to her meticulous routine: never missing a beat or a note. Her movements felt like she was telling you a story only meant for our specific audience. I understood mid way through the set why her fans feel an intense connection to her. Her show makes you feel like it is just you and her, experiencing this pain together. 

She floated about the stage while singing “The Frost” over the sorrowful steel guitar, she put her entire soul into “I Bet on Losing Dogs” as she thrashed around in a careful way, and exploded during a haunting rendition of “Geyser”. “First Love/Late Spring” brought me to tears, with her lyrics “Wild women don't get the blues/But I find that/Lately I've been crying like a/Tall child” piercing through me. “Bug Like an Angel”, “I’m Your Man” and even Tik Tok’s baby “My Love Mine All Mine” all pushed the right button to make me a hysterical mess. The lighting, the set pieces, her performance quality - every detail enhanced her music, making it even more visceral. I couldn’t help but shed a couple (a lot) of tears.

The show was a true experience. At times it felt like a one woman show, and my eyes were glued to her stunning performance. Throughout certain points of the show, I could hear a pin drop in the crowd. It was incredibly comforting to know that even though I sat there alone, everyone felt the same respect and appreciation of what was happening on stage. 

We were locked in. Her presence and production engulfed you, and I was not ready to be pushed out to the streets of Broadway by the end of the show. I wish I could’ve attended any of the other three nights, catching any subtleties I missed. 

If you didn’t already gather, I would recommend seeing Mitski live at any chance you get. I almost did not have the chance due to my oversight in concert schedules, and knowing what I know now, I feel like I have to see her again. She is meant to be experienced in an intimate venue with a crowd that appreciates her artistry in its highest form. 

I was initially a Mitski fan, but I feel as though she is entering a new era. She seems to be healing from the intricacies of being a highly regarded figure in the music industry, so I think it is the perfect time to see her and experience her artistry in all of its glory. I am so happy she has decided to call Nashville home, even if it’s temporary. As she told The Guardian:

“Every day, the audience is different. You love them that day, but then you can’t form attachments to anyone there, because you go to the next show. I’d found that I needed to guard my heart, so that I didn’t just feel loss every day. So it is nice to be in this position where I have a home to miss. It feels really dear to me, actually, that I am expected back.”

Nashville expects you back, Mitski. Let’s run it back! 

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Setlist:

Everyone
Buffalo Replaced
Working for the Knife
The Frost
The Deal
Valentine, Texas
I Bet on Losing Dogs
Thursday Girl
Geyser
I Love Me After You
First Love/Late Spring
Star
Heaven
I Don’t Like My Mind
Happy
My Love Mine All Mine
Last Words of a Shooting Star
Pink in the Night
I’m Your Man
I Don’t Smoke
Bug Like an Angel
Love Me More
Fireworks

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