Live Review: MItski - Mountford Hall, Liverpool 22/06/2022
Mitski soars in sold out show at Liverpool’s Mountford Hall.
The Nashville-based singer-songwriter delivered an enchanting set, using drama and choreography to rule the crowd of dedicated fans.
Mitskimania arrived in Liverpool in full force, with hoards of mostly young fans queuing in a snake hours before. The song that sparked this craze, Nobody, is another example of the power TikTok has to explode the careers of even established artists. Despite this the kids aren’t just here for one song, and have engrossed the whole Mitski catalogue with all the compelling, and emotionally taxing turns.
The night began with a beautifully intimate opening set from New York singer-songwriter Cassandra Jenkins. Even without the power of a full band behind her, she still held the attention of the audience, utilising vocal samples, and delicate honest lyricism to full effect. A particular highlight was the set ender ‘Hard Drive’ with its infectious jangly guitar loops.
Even before Mitski came on, people were passing out from the intense heat all over the place, security really had a handful that night. What was heartwarming was the efforts of everyone to look out for one another, and pass around water for those who needed it. This new generation of TikTok music fans may be young and excitable, but they are also caring.
Mitski came on to honestly one of the loudest screams I've witnessed, enough to set eardrums ringing. Opening with the 80s synth driven ‘Love Me More’, Mitski bows, before throwing her iconic shapes. Each carefully choreographed move is met with a roar, yet this movement doesn’t draw attention away from the song, it enhances the deeper message.
‘Working For The Knife’ is a particularly poignant moment in the set, using her microphone to signify the oppressive force in the lyric, whether capitalism, mental illness, ageing, or otherwise. Other bangers included the pumping ‘Washing Machine Heart’, bonafide disco-esque hit ‘Nobody’ and my personal favourite ‘The Only Heartbreaker’, which if released in 1985 would put Kate Bush to shame, it slaps.
The set ending (before the encore) ‘Two Slow Dancers’ is the first moment of true serenity in the set. A beautiful ballad about two old lovers who have reunited, it really did add another level of emotional depth to the show. Encore ‘A Pearl’ encapsulated the Mitski-package, cutting lyrics, deceivingly complex chord structures, and perfectly erratic movements. Hats off to the lighting and sound crews, the show looked and sounded incredible too.
Mitski brought Mitskimania to Liverpool, proving she’s more than just one TikTok audio.
Words by Euan Blackman
