MITSKI MAKES LOVING MUSIC EASY IN BRAND NEW ALBUM ‘NOTHING’S ABOUT TO HAPPEN TO ME’

ALBUM REVIEW | MITSKI – NOTHING IS ABOUT TO HAPPEN TO ME by Anne Kelly

I always listen to new music with the intent on loving it. I really, truly do. Even as a critic, I genuinely want to like the music I’m presented with. Often, that’s much easier said than done; it requires more effort and active listening to pull the good parts out. Mitski‘s brand new album Nothing’s About To Happen To Me makes loving music easy.

An artist that I may never have discovered on my own, Mitski was introduced to me a few years back by my now 15 year old daughter. What immediately struck me – beyond the immense pride that my kid has great taste – was the haunting, orchestral tapestry of sound Mitski ethereally produces. That reaction hasn’t changed with her latest release. It may not be the sound I naturally gravitate toward, but good music transcends genre because it is undeniably special. Mitski is a living example of why we should never put music into a box.

Her eighth studio album, Nothing’s About To Happen To Me, was written by Mitski and produced alongside long-term collaborator Patrick Hyland. The record sees the pair once again strengthen their musical bond to produce jaw-dropping results. Not shy of a ‘concept’ album, this one shows Mitski journey through the narrative of a reclusive cat woman – fictional or reflective, you can make your own mind up – who lives ‘free’ within her own mind, ‘Tansy House’, but is considered eccentric and deviant in the real world. It is an interesting concept, no doubt laden with Easter eggs for fans; the two different worlds interplay throughout the album’s 11 tracks, juxtaposed in both energy and style.

Let’s dive right in: the opening number, ‘In a Lake’, is an instant favourite. What begins as a folk-driven reflection on leaving the past behind soon gives way to Mitski’s trademark eccentricity. Reminiscent of the rhythmic folk melodies found in Abba’s deeper cuts, the emotive nature of her storytelling pulls at the heartstrings.

The track introduces the narrative beautifully, hinting at the shame that comes from being judged for simply being yourself. This symbolism is reflected in the production; just over two minutes in, the song falls somewhat silent. Then, a humming orchestra creeps in, eventually crashing into a spine-tingling finale that wraps around your entire body. With that, I am fully committed to this album.

And everywhere you go makes your heart ache

Where you’ve done enough walks of shame

Some days you just go the long way

To stay off of memory lane

In a Lake (Mitski)

Naturally leading straight into the lead single, ‘Where’s My Phone’ the wall of sound continues. Chaotic from the offset, the guitars are loud, brash, and full of anguish. The track feels like a steep descent into madness; between the sliding guitars, the haunting drone-like vocals, and the crashing drums, the orchestration mimics that feeling of unraveling so acutely.

But the end of the song takes it up another notch. The “ba ba ba, ba ba ba” refrain against a growing cacophony of noise sounds exactly what Alice falling down the rabbit hole looks like. It is disorienting, beautiful, and utterly relentless.

Themes of isolation and heartache are balanced by Mitski’s signature wit, woven seamlessly into the album’s fabric. While ‘Cats’ offers a familiar country twang and ‘Dead Woman’ provides a dark, melancholic hug, it is ‘If I Leave’ that truly stands out. Driven by an ominous, chunky bass rift and haunting melodies, the track weaponises Mitski’s anguish into a physical emotion. The instrumentation builds with such intensity that when it finally crashes into a crunchy, guitar-heavy climax, the impact is visceral.

The flow of the record is spot-on, expertly balancing these reflective, warming moments against the tracks full of noise and anguish. It ensures that even at its darkest – as on the lyrically heavy ‘Dead Woman’ – the album remains a gripping, cohesive listen.

Ransack the house

For what you’ll auction, what you’ll keep

Then embalm me up, ‘cause you’re hosting the viewing

Saying she gave her life

So we could have her in our dreams

Dead Woman (Mitski)

Sonically, ‘Instead of Here’ feels like an extension of the earlier track ‘Cats’, but its theme circles back to ‘Where’s My Phone’. With lines like, “I’m not here, I’m where nobody can reach“, Mitski leans into the introverted comfort of hiding away from the world – finding her greatest sense of peace when she is alone with her cats.

The album’s second single, ‘I’ll Change For You’, stands in sharp contrast to the chaos of ‘Where’s My Phone’. Wrapped in a springy, easy-jazz vibe, the track sounds warm and hopeful – yet, in true Mitski fashion, the lyrics remain cuttingly painful. At this stage in the narrative, it’s hard to tell if she is mourning an actual heartbreak or simply singing to her cats; either way, the emotional weight is undeniable.

‘Rules’ is sprightly and suspiciously upbeat, leaning heavily into a country-blues vibe. It is simplicity done superbly; a simple rhythmic counting masks the feeling of living on autopilot – these are the rules, and we simply follow them. As a performer, Mitski uses this track to nod to the very introverted personality she tries so hard to hide. In typical country fashion, the music remains cheery while the lyrics navigate deep sadness, until the final moments. As the counting reaches eleven, the track dissolves into a discordant warning, shattering the upbeat facade.

‘The White Cat’ is another effortless highlight. Opening with a vengeful, Western-style guitar lick, the track’s steady rhythm allows Mitski’s anguished vocals to take centre stage. With every verse, the pace quickens and the orchestration tightens the tension. A song about the anger that comes when our purpose is measured only by what we provide for others, ‘The White Cat’ leaves the listener wondering: is she referring to literal cats, or is the ‘cat’ a metaphor for something that takes and drains?

This metaphorical weight carries into ‘Charon’s Obol’. The act of ‘feeding the dogs’ suggests a dangerous nurturing; by referencing two girls who died in the house Mitski chooses to welcome the danger in hopes of changing the home’s fate. It sounds like she is finally embracing the ‘deviant’ or judged version of herself. By reclaiming that negativity, she creates a space where others can feel seen, transforming a perceived flaw into a powerful positive.

Maybe with enough time tending to that ground

She can heal the heart of her house

Feeding all the hounds at its mouth

Charon’s Obol (Mitski)

The closing track, ‘Lightning’, feels like a final nod of acceptance – a realisation that both versions of herself can coexist and that the result can be beautiful. The recurring themes of death throughout the album suggest a protagonist coming face-to-face with their own demise; whether this is physical or symbolic, the reflection is stark and clear.

In ‘Lightning’, it sounds as if those two disparate worlds have finally collided, and the result is total clarity. The sonic build is breathtaking, evoking a visceral emotional response; when that high-frequency theremin bleeds through the speakers at 1:40, it is enough to blow you over. It’s a masterclass in how Mitski uses sound to heighten emotional connection, leaving the listener both exhausted and transformed.

Ultimately, Nothing’s About To Happen To Me is a visceral, orchestral journey through the mind of an artist battling the weight of her own success. It is no secret that Mitski prefers a quiet life – stay away from social media, avoiding the press, and opting for intimate venues over sterile arenas. In a refreshing, almost old-fashioned way, she relies solely on her music to connect, using dry wit and raw emotion as her weapon of choice.

There are no gimmicks here. Even live, Mitski’s setup remains famously minimalist – often just a dark stage and a single dining chair (IYKYK). Yet, thanks to the live orchestra and expansive production, this record is anything but small. It is a triumphant reclamation of her own eccentricity, carrying a grandiosity that will undoubtedly cement its impact on listeners for generations.

Nothing’s About To Happen To Me by Mitski is released Friday 27th February via Dead Oceans.

Mitski will celebrate the album’s release with a limited run of already sold-out shows in May. All tour dates can be found here.