With scattered cheers echoing around Dublin’s 3Arena, all camera phones were at the ready as Mitski entered centre stage. Her performance, hinted at by a mysteriously large red curtain, promised to be a distinctive form of pop spectacle.
As the silhouetted figure of the Japanese-American performer grew behind the red fabric, a unique pop ambiance emerged, reminiscent of a peculiar blend of David Lynch’s “Twin Peaks” Red Room, Bob Fosse’s “Cabaret”, and the peculiar scene from Kate Bush’s “Wuthering Heights” video where the smoke machine goes rogue. To say Mitski’s entrance was extraordinary would be an understatement; from a still point, she pulled the audience into a surreal pop fantasy.
Prior to her viral hit song “My Love Mine All Mine” taking TikTok by storm, Mitski wasn’t an unfamiliar name. Even Iggy Pop, back in 2019, had recognized her as the most progressive American songwriter he knew. Although she had previously sold out Vicar Street in Dublin and served as Harry Styles’ opening act at Aviva Stadium, viral fame catapulted Mitski into a new realm of prominence. As evidenced by her compelling gig, she’s ready for this escalation in her career.
The term “show” seems insufficient to encapsulate Mitski’s performance at the packed 3Arena. As the mammoth red curtain fell, she revealed herself under the bright lights, performing artful dance moves and playful puppy-like antics. During the performance, she also balanced on a chair, imitating a mime tumbling over a cliff, reminiscent of memorable bits from Bowie and Talking Heads’ David Byrne.
Above all, the immense enthusiasm that Mitski emanated was striking. Despite suffering from exhaustion in 2019, due to persistent touring, she’s since reignited her love for live performances. This exhilarating event stands testament to not only her fresh zest for her occupation but also the profound bond she shares with her supporters.
Although appearing timid beyond the stage, Mitski becomes a tempest under the limelight. Her soulful rendering of the opening number, Everyone, with her arms raised above her head, sets the precedence for what is to come. As the evening progresses, the intensity rises. Backed by her seven-member band, Mitski gracefully moves to the rhythm of the grand synth-pop track, Working for the Knife, and in I Bet on Losing Dogs, she collapses to her knees, panting as though she is a philosophically troubled pet.
Her music certainly does not reconstruct obscure pop from scratch; traces of her inspirations can be seen intermittently. For instance, as the lights flicker on and off at the beginning of Thursday Girl, it causes one to worry she might recreate the iconic Bonnie Tyler’s Total Eclipse of the Heart video.
Yet, Mitski’s work is brimming with striking originality too. Demonstrating astute judgement, she takes centre stage with the popular TikTok track, My Love Mine All Mine, mid-way through the performance. Later, she presents a dark imitation of Nashville’s country rock on I Don’t Smoke, stirring a Dolly Parton like performance with assistance from steel-pedal maestro, Fats Kaplin.
The concert culminates with a melodious and dramatised performance from Mitski. The ear-catching Love Me More comes across as a tempting piece of 80s brooding pop, followed by an encore binding retro disco beats and candid lyrics from Nobody (“Oh Lord, I feel so solitary / Thus I pop open the window / To listen to the hum of life outside”).
The song progressively intensifies, the crowd’s cheers amplifying, and Mitski and her band reciprocate with amused grins. While TikTok may have had a role in assembling this audience, the genuine affection pervading the venue surpasses any connection fostered online.