The artist performed songs from her new album in a five-night residency at Hollywood high school’s auditorium

With a swaying ocean projected on the stage, bathing the space in the brilliant light of sunset and sea, the figure holding a microphone almost appeared to be floating with the waves.

It added to the surreal effect that permeated the auditorium of Hollywood high school on Thursday night as singer Mitski performed Dead Women from her new album Nothing’s About to Happen to Me.

The Shed, New York City
At a six-night residency, the singer creates an immersive world filled with wry humor and big emotions

Mitski was one of the great social media posters before the internet tried to swallow her whole. “I used to rebel by destroying myself, but realized that’s awfully convenient to the world,” went a 2016 tweet from the musician, who long ago nuked that account. “For some of us, our best revolt is self-preservation.”

As her career has skyrocketed with multiple TikTok-powered streaming juggernauts following the 2018 viral hit Nobody, Mitski has gradually withdrawn from the public eye and declined most interviews. Over her last few albums, she has adopted a mode of performance that contrasts with the emotion of her lyrics: on the tour to support 2018’s Be the Cowboy, she used plain folding chairs and tables as props in a performance that felt almost robotic in its precision.

(Dead Oceans)
Whether retreating from fame or heartbreak, the US musician writes gorgeous songs about the appeal of disconnection, flecked with horror and humour

Last month, Mitski released Where’s My Phone?, the first single from her eighth album Nothing’s About to Happen to Me. Its raging alt-rock is a more robust take on the lo-fi fuzz of her third album Bury Me at Makeout Creek, while UK listeners might detect a certain Britpoppy swing about its rhythm, and it ends with a guitar solo so jarringly distorted it sounds as if something is wrong with the stream. It was accompanied by a video that featured the singer as a headscarf-sporting rural mother, trying to protect her family from the attentions of the outside world with increasing violence: a milkman gets attacked, her daughter’s potential suitor is beaten bloody. It’s both funny and unsettling: there are references to Rapunzel, Grey Gardens, Grant Wood’s American Gothic and Shirley Jackson’s We Have Always Lived in the Castle – a litany of the wilfully isolated.

The visuals set the tone for the rest of Nothing’s About to Happen to Me, an album on which you’re never far from its author expressing a longing to disappear; to be, as she puts it on Instead of Here, “where nobody can reach”. On opener In a Lake, she extols moving to the city from a small town, not in search of bright lights and excitement, but obscurity, a means of obliterating your own history: “Some days you just go the long way to stay off memory lane.” On I’ll Change for You, she hymns bars – “such magic places” – precisely because of their anonymity: “You can be with other people without having anyone at all.” And on Rules, she’ll “get a new haircut … be somebody else”. All this is set to beautifully crafted music that splits the difference between alt-rock, country-infused acoustic lamentation and grander ambition: the brilliance of Rules lies in the disparity between the hopelessness of its lyric and the thickly orchestrated, perky, early 70s easy listening backing.