On her previous album, Mitski asked, “Remember when we met? We acted like two fools. We were so glad…” I had the privilege of seeing memorably-choreographed light beams and fog refract from the enchanting singer’s boding silhouette, in 2018, at The Magic Stick of Detroit. There, my then-highschooler self and companions looked up to her, moshing + swaying too. This artist’s discography spans many moods, but ultimately, the most infatuating thing about it is the timeless adaptation of many Americana ilks.
Globally, fans of the aforementioned, film-accompanied, 2023 LP, The Land Is Inhospitable and So Are We, will find comfort in 2026’s Nothing’s About to Happen to Me; it continues the twang, welcoming soothing, jazzy elements to help our cherished protagonist move forward–bluntly and practically through future dreams. “I’ll have a new haircut, I will be somebody else, and when I leave my body…,” Mitski states plainly on “Rules,” backed by kitschy/nostalgic strings & horns, but seconds later pop-category deserving lyrics, serving new stakes set and ‘rules’ expected to be followed no matter how someone may take it. Drew Erickson’s lavish contribution in arranging/conducting the orchestra for ‘NIAtHtM’ is beautiful, especially during the release’s anthemic moments.
Radical acceptance seems to be a bubbling theme of Nothing’s About to Happen to Me, departing from the dread of 2022’s Obama-year-end-list-infamous track, “Working for the Knife” which also boasted a powerful music video. On the opening number, “In a Lake,” Mitski works with where she’s at now, despite still grappling with how to best spin new tales, “…You gotta write your book early, or it gets written up in your place: where you never get away from your first love.” By track 4, “If I Leave,” grounding techniques seem to be narrated as Mitski croons over an unfortunate fate of losing a lover.
Whether or not she believes the melancholy sentiments she utters, over crashing cymbals, and longterm collaborator Patrick Hyland’s assorted ornamentation, listeners will trust this relationship was imposing. This song specifically encompasses the grunge aspects, tucked between gorgeous grandiosity, on everything Mitski’s done thus far. It would be a disservice to not commend such a truthful voice in the *indie-rock* genre for her four, gold-certified records and works with notable filmscape icons like Florence & the Machine, David Byrne, and Son Lux—including the smash hit “This Is a Life” from Everything Everywhere All at Once.
The most unforgettable lead single from Mitski in recent memory, “Where’s My Phone?” has already received praise from both critics and members of her over 35 million monthly listeners. Its use of even a simple bleep keeps a playful approach while tackling obvious dystopian themes; check out the essential music video inspired by Shirley Jackson’s novel We Have Always Lived in the Castle, directed by Noel Paul. The rocking groove takes me back to when I witnessed the star command Lorde’s stadium audience as an opener in 2017. My third and final chance yet of seeing Mitski live was in 2024; at the Auditorium Theater of Chicago, with curtains dropping and a ring of instrumentalists surrounding her, I was in awe of the ceremonial performance. Her touring band is also present in the recordings for this new project!
Another gem here, not to be confused with its prior, “Cats” – track 9 of 11, “That White Cat” notices the world outside of the cozy, feline-friendly home, built by painter Marc Burckhardt for the cover artwork. A tidal wave meant for surfing is constructed from a brash, demanding singalong about what could be inferred as political and/or familial thanks to nuanced lessons chanted over tambourine, “…White neighbourhood cat marking my house. It’s supposed to be my house, but I guess, according to cats, now it’s his house…Work to pay for that cat’s house; for the red-corseted wasp.” I wonder if the stigmas addressed and healing longed for throughout NIAtHtM are in a mental battle with its recurring themes of death, or whether all is meant to exist in juxtaposition, and I think my inevitable revisits will continually illuminate new perspectives.
Despite a collection of records put out earlier in her career that defined a somber sound, like 2013’s Retired from Sad, New Career in Business, Mitski once deemed this standard of songwriting reductive, an industry aesthetic often pushed by her contemporaries; however, her earlier works’ impact has been profound on multiple generations. This artist connects with crowds because of her dedication to performing with top-notch special effects, and then she brings everything back down to Earth with an incredibly sweet voice that is unafraid to vocally bite through carefully-composed riffs when you least expect it. Unlike the glamorized symbolism in other artists’ ballads, semi-about urban sprawl and decay, NIAtHtM lets us know Mother Nature, lightning, and lakes are powerful indicators forever here to guide.
The overall mixing of this latest drop, by Bob Weston, is masterful. You won’t need to adjust your volume while indulging in the drama of each chapter’s rollercoaster ride, with its many highs of clear, countryside plucking plus operatic belting, especially on the standout track “I’ll Change for You.” Supported by an impressive lineup (Sex Week, Gustaf, Haley Heynderickx, La Zorra Zapata, Maria Somerville, Tarta Relena, and Gwenifer Raymond), a worldwide tour is coming to a city near you and it’s an opportunity to listen ‘n’ learn about love.
Nothing’s About to Happen to Me by Mitski is out now via Dead Oceans.
Words by Maxwell Williams for Staged Haze
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