Curtains, chairs, shadows and lights: all inanimate by themselves, yet brought to life in the various scenes of Mitski’s mesmerizing tableaux. Soon after sunset, the Japanese American indie rock visionary delivered a night of lyrical poetry and cathartic movement on the Frost Amphitheater stage Wednesday evening.

With influences from Japanese artistry and dance forms like butoh, Mitski’s shows are closer to spiritual spectacles than performances, mirroring the soul and the internal struggles of life. The Stanford stop of her “The Land Is Inhospitable and So Are We” tour was no exception.

The opening set by 23-year-old country singer Wyatt Flores was a welcoming preface to the rest of the evening. Flores on an acoustic guitar and his band of two guitarists, drummer, keyboard and fiddle, delivered impressive riffs on selections from his most recent album and covers of various country rock songs. He ended the set by teasing the title track of his upcoming album, “Welcome to the Plains,” a fast-paced and swinging country song. 

The stage curtains arranged themselves into a pillar in the center of the stage, behind which Mitski slowly and gracefully stepped her way to a slightly raised platform to begin with her song “Everyone.” As smooth as a recording, Mitski’s voice sounded like a vinyl on a turntable, a thing of the past with meandering melodies and subtle slow-paced beats. Lights from the back of the stage projected her silhouette onto the curtains, untextured yet expressive. As the curtains fell away for “Buffalo Replaced” and “Working for the Knife,” her movements became sharper and more immersive, experiential.

In a sultry voice, she issued a warning: “To all the parents and guardians…There will be some PG-13 content. I’m going to say the f-word. I’m going to say it!” The young crowd shrieked with glee, seeing the bold personality they’d heard through songs manifest in real life.

In standard Mitski fashion, motion was a key element of each performance. During “The Deal” and “I Bet on Losing Dogs,” the singer dragged chairs around the stage and crawled on all fours, unleashing her darker, bestial side. For “Star” and “Heaven,” Mitski wandered on stage, emulating a child discovering starlight and rays of light shone down from the ceiling.

Each song of the night was like a fresh awakening of emotion, her words like the voices in my head, whispering those thoughts that we tend to leave unsaid. The artist herself was no less, both a victim of the pain and toil as well as a free spirit, releasing all cares into the air with fluid motions and hands outstretched. Testing the strengths of musical and lyrical power, she pulled at the crowd’s heartstrings with her bittersweet crooning.

The rest of the show was filled with vintage glitz and softer glam. “Happy” showcased retro pop vibes, bright red and orange light rays and old school Hollywood-style dancing of the 20th century. “Pink in the Night” was accompanied by a pink and purple disco atmosphere with hip-swaying, head-nodding rhythms. These pieces bolstered Mitski’s persona as a multi-dimensional artist, one that could transcend eras, cultures and styles.

One of the most anticipated parts of the show was her live rendition of her hit “My Love Mine All Mine,” for which strings of golden cutouts hung suspended in the air, a dreamy halo of comfort and intimacy within which the artist swayed gently. The atmosphere was filled with warmth as Mitski’s voice explored its lower ranges with a humble strength, and a true belief that she meant what she said when she sang, “Nothing in the world belongs to me but my love, mine all mine all mine.”

In another quick breather, Mitski sat down on stage and said slyly, “Someone up here is smokin’ the green stuff.”

“I’m getting a contact high here,” she added. “I know who it is, you know, and it’s crazy how high you are.”

Laughing and standing up, she continued, “Just kidding. I bet someone is like, ‘phew’… and that’s funny to me.”

Always in character, Mitski exuded sincerity and charm, engaging the audience in just the right way for the age group and providing the perfect transition  right into “I Don’t Smoke.” 

After three more songs — “I’m afraid our time together is coming to an end”— Mitski left the stage amid applause, only to return in minutes for an encore. Screams erupted from the audience on the first note of “Nobody,” a sigh of relief that the show was not quite over yet. With the culmination of the very last song, “Washing Machine Heart,” Mitski jumped off her stage to wave to the crowd, “Have a wonderful night, I love you!”

Editor’s Note: This article is a review and includes subjective opinions, thoughts and critiques.