Mitski’s New York Residency: A Joyous & Experimental Return to the Stage | The Guardian
Mitski’s current residency at The Shed in New York isn’t a concert series, exactly. It’s a carefully constructed world, a space where the artist is simultaneously present and remote, vulnerable and armored. The six-night run, which began earlier this week, is a testament to Mitski’s evolution from indie darling to a performer who understands how to wield spectacle and intimacy with equal force. It’s a masterclass in how to translate the emotional weight of her music into a fully realized, and often strikingly visual, experience.
For those unfamiliar, Mitski Miyawaki, known mononymously as Mitski, first gained prominence with her emotionally raw and critically acclaimed albums Bury Me at Makeout Creek (2014) and Puberty 2 (2016). Her 2018 album, Be the Cowboy, propelled her to a new level of mainstream recognition, largely thanks to the viral success of the song “Nobody”. The track, released as the second single from the album, became a TikTok sensation, racking up nearly 300,000 videos created with the sound (as of March 6, 2026). Mitski’s subsequent function, including Laurel Hell (2022) and her newest release, The Land Is Inhospitable and So Are We (2024), has continued to explore themes of isolation, longing, and the complexities of modern life.
Mitski’s relationship with the public eye has been complex. Early in her career, she was known for her prolific posting on social media, sharing intimate thoughts and observations. However, as her fame grew, she gradually withdrew, even deleting her accounts, stating in a 2016 tweet, preserved in various online archives, that “For some of us, our best revolt is self-preservation.” This withdrawal isn’t about shunning fans, but rather a deliberate attempt to control her narrative and protect her creative space. It’s a tension that’s palpable in her performances, where she presents a carefully curated persona even as she lays bare her emotional core.
From Folding Chairs to Cozy Residences
Previous tours saw Mitski employing a minimalist aesthetic – plain folding chairs and tables serving as props, creating a sense of robotic precision. This approach, while striking, could sometimes feel distancing. The current residency at The Shed marks a significant shift. The stage is now set-dressed to resemble a cozy, almost Lynchian, living room, complete with plush chaises and lamps casting a soft glow. Mitski herself adopts a more relaxed, almost nonchalant, stage presence, sporting a stark white button-down, fitted vest, and black slacks, evoking a 90s-era Hugh Grant. This isn’t a rejection of her earlier aesthetic, but rather an expansion of her performance toolkit.
The setlist draws heavily from The Land Is Inhospitable and So Are We, with a generous sprinkling of tracks from her back catalog. Opening with “In a Lake,” Mitski commands the stage with a measured confidence, her five-person band providing a lush and dynamic backdrop. Notably, her live vocals consistently surpass the quality of her recordings, a testament to her skill and control. The performance of “Buffalo Replaced” is particularly compelling, with projections of buffalo migrations and freight trains displayed on crushed velvet curtains, a pointed commentary on American colonialism. The song, and the accompanying visuals, force a confrontation with the darker aspects of American history.
Playful Juxtaposition and Emotional Resonance
Mitski isn’t afraid to inject humor and irony into her performances. During “Where’s My Phone,” a lead single from the new album, she almost skips across the stage while vintage footage of actors pretending to use telephones plays in the background. This playful juxtaposition underscores the song’s lyrics – a yearning for connection in a world saturated with technology. She sings, “I just seek my mind to be a clear glass / Clear glass with nothing in my head,” with a theatricality that acknowledges the absurdity of the desire.
The residency too showcases Mitski’s willingness to experiment with her existing material. A rock-infused rendition of “Stay Soft” from Laurel Hell transforms the electronic-pop track into a gritty, grunge-inspired anthem, recalling the rawness of Bury Me at Makeout Creek, all while a screening of Bela Lugosi’s 1931 Dracula flickers behind her. This willingness to deconstruct and reimagine her songs keeps the performances fresh and engaging, even for longtime fans.
Breaking her usual silence mid-set, Mitski addressed the audience with a self-deprecating joke, encouraging them to join in the laughter. According to one attendee, who has seen nine Mitski shows, this was one of the most joyous and comfortable moods she’s witnessed from the artist. Her attentiveness to the audience, pausing to check on someone in the crowd, further reinforces the sense of connection and intimacy.
The emotional core of the performance remains firmly rooted in Mitski’s songwriting. “I Bet on Losing Dogs,” a heartbreaking ballad, is rendered with a vulnerability that is almost unbearable. Bathed in green light, the song evokes a profound sense of longing and regret, resonating with a depth that transcends mere performance. Mitski has a unique ability to tap into universal emotions, creating moments of shared catharsis with her audience.
What’s Next for Mitski?
The Shed residency concludes on March 11th. Following the New York run, Mitski is scheduled to embark on a North American tour in support of The Land Is Inhospitable and So Are We, with dates extending into the summer. Ticket availability remains competitive, reflecting her continued popularity and the demand to experience her evolving live show. Given her track record of experimentation and her commitment to pushing creative boundaries, it’s safe to assume that future performances will continue to surprise and challenge audiences. The question isn’t whether Mitski will continue to evolve, but rather how she will continue to redefine the boundaries of pop performance.