Mitsuki Miyawaki’s Unique Approach to Performance
Mitsuki ‘Mitski’ Miyawaki has always played by her own rules. This is especially evident in her approach to promoting her eighth studio album, Nothing’s About To Happen To Me. Rather than embarking on a traditional tour, the Japanese American singer-songwriter has opted for multi-night residencies across North America, Europe, Asia, and Australia—reminiscent of Harry Styles’ style.
In April, Mitski shared on X that she feels a stronger pull towards writing more, which means cutting back on performing. This decision reflects her commitment to prioritizing her artistic wellbeing. The result was a recent visit to the Sydney Opera House, where she returned for the first time in seven years to perform the first of four exclusive Vivid LIVE shows alongside the Folk Bitch Trio.
A Perfect Double Act
The opening night began with the Folk Bitch Trio, consisting of Gracie Sinclair, Heide Peverelle, and Jeanie Pilkington. Their sombre strumming and lilting harmonies enveloped the Concert Hall, creating an atmosphere that was as mesmerizing as their Like A Version performance from last October. The acoustic set, unaccompanied by a backing band, captivated the audience with tracks like ‘Cathode Ray’ and ‘God’s A Different Sword’.
As a J Award winner, the trio should continue honing their stagecraft, developing further fluidity and self-assurance as they prepare for a world tour in June.
A Poetic Start
Mitski’s performance began with a literal bum note. As she approached the microphone after the interval, she attempted to sing a syllable of ‘In A Lake’ before technical issues arose with her guitarist. “I thought I’d set a mood,” she joked. “Look cool, start off strong… but this is apt. This is poetic.”
This moment was poetic, given the formal creative direction that distinguishes a Mitski concert in 2026. Once the technical issues were resolved, the songstress demonstrated her versatility as both a musician and a performance artist. While the show wasn’t as “highly theatrical” as her previous tour, it was marked by greater intimacy through gesture.
Emotional Performances
Mitski masterfully conveyed disorientation during ‘Where’s My Phone’, hunting for the missing device beneath the desk, chairs, and couch cushions positioned on stage. Her frantic movements, twirling, stumbling, and collapsing under the weight of her frustrations in a heap of tulle, were filled with meaning and emotion.
She also used kinetic lighting cues to externalize her inner conflict during ‘If I Leave’. Pulsing white lights evoked the paranoid panic of ‘That White Cat’. Four screens suspended above the stage glowed pink during ‘I Want You’, while footage from films like Metropolis, Dracula, and The Invisible Man was used sparingly to accompany certain songs.
Visuals and Soundscapes
The visuals sustained the atmosphere, amplifying Mitski’s feelings irrespective of where she stood on the 360-degree stage. Her voice was liquid smooth, and her soundscapes lush, thanks to the world-class contributions of those on guitar, organ, bass, keys, and percussion. However, in the stalls, individual words were sometimes muffled by the drums.
Mitski acknowledged the challenges of the venue, joking that almost everyone in the Concert Hall had an obstructed view at some point. These “talking breaks” suggested a wry sense of humour, at odds with the “sad girl” schtick she has long sought to retire.
Evolving Artistry
Tracks like ‘First Love/Late Spring’, ‘Nobody’, and ‘Strawberry Blond’ took TikTok by storm during the pandemic. Yet Mitski is no longer an angst-ridden “tall child”. The old lyrics’ emphasis on yearning (whether for love or a sense of belonging) don’t seem to represent her now-35-year-old perspective. Their absence from the career-spanning setlist reflected her maturation.
If you don’t like her now, she won’t change for you—which most of the Sydney audience seemed to respect. There were moments when fans hesitated over whether it was appropriate to sing along to songs like ‘Washing Machine Heart’ and ‘My Love Mine All Mine’. A few camera flashes interrupted the proceedings, and song requests were screeched so loudly that the alt-popstar covered her ears.
Gratitude and Connection
Despite these moments, the most striking emotion channelled on-stage was gratitude. “We are very grateful to be here in this historic, iconic venue,” Mitski said softly as she reasserted control. “I will try to live in this moment because it is special.”
It was a subtle reminder to fans to stay connected instead of experiencing the Concert Hall through a screen. Spotlit and submersed in dappled waves, Mitski finished with the deep cut ‘Pearl Diver’. She reiterated her appreciation (and seemingly ignored one final request to play ‘Nobody’) before departing the stage.
For the entirety of the 25-song set, it was Mitski’s Opera House. Those were her rules.
