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Mitski Is a Mesmerizing Study in Movement, and in Pedal-Steel Pop, at L.A.’s Shrine: Concert Review
Mitski evoked figures from David Byrne to Patsy Cline to Bob Fosse during a sold-out three-night stand at L.A.'s Shrine Auditorium.
Plenty of other moments rely on Mitski’s Patsy Cline inclinations to a far subtler degree, although the amount of pedal steel, fiddle and accordion played by Nashville alt-country veteran Fats Kaplan, the ace in her seven-piece band, is telltale about where this round of influences lies. For the rest of the night, once the curtain is gone, the singer stays on a round, slightly elevated platform at center stage, where her props consist of… two wooden chairs, fitfully employed when she needs something to lie down and lean against, or stand atop like she might be jumping off a building. The second number, “Buffalo Replaced,” had her going through the robotic motions of alternately hiding her eyes with both hands and putting them out as a stop signal, something she maintained even during a long, awkward pause between songs and into the beginning of the next one, “Working for the Knife.” Suddenly, in that one, she dropped the peekaboo routine and was all about graceful fluidity, or the occasional go-go-girl pose.
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