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Live Recap: Mitski and Julia Jacklin at Auditorium Theatre

This past Sunday night, Mitski and Julia Jacklin closed out a sold-out, four-night run at the historic Auditorium Theatre in Chicago.

Australian singer-songwriter Julia Jacklin took the stage at 8PM sharp to perform for the packed house. The past times I’ve seen Julia, she usually had a full band, but this run was just her and her guitar as she opened her set with “Comfort” from her 2019 album Crushing. Jacklin took a pause to address the crowd, telling us she’d had a wonderful time these past few nights in Chicago, adding “I haven’t seen anything except downtown, and it’s been really cold, but I’ve had a good time because I get to open for one of the greatest rock legends of our lives, Mitski”— which was followed by lots of cheers. As Jacklin continued her performance, I admired her commanding stage presence and ability to keep the audience completely hooked. Towards to end of the show, the singer told the theatre “I’m gonna sing a song A capella. It’s very rare that I get to sing in halls like this, so I have to take advantage” before she sang “Too In Love To Die” from her 2022 album Pre Pleasure. During that entire song, the audience remained utterly silent, soaking up Jacklin’s beautiful vocals in absolute awe. To close out her short, but sweet set, Jacklin performed a fan favorite “Pressure to Party.”

Next up, the stage was set for Mitski and her band to close it all out. The audience greeted the artist with earsplitting applause and cheers and she sauntered her way over to a dim corner of the stage. After a quick greeting, Mitski disappeared behind a giant red curtain in the center of the stage, with only her silhouette in view while she sang “Everyone”—until the curtain dropped at the end of the song.

It was fitting that this particular tour stopped at the Auditorium Theatre instead of a GA-style concert venue because Mitski’s performance was more like an orchestral broadway musical than concert. From her intricate choreography that was mapped out to every single beat to her dramatic expressions and the extraordinary lighting production, this show was a true spectacle from start to finish. Everything flowed seamlessly in the production of the performance, and Mitski let the music take care of the transitions, barely taking time to speak in between the songs on the setlist, which heavily featured songs from her 2023 album The Land Is Inhospitable and So Are We. A favorite moment of mine was during the performance of the very popular “My Love Mine All Mine,” Mitski stood center-stage on a platform, while strings of shimmery, butterfly-like objects dropped down from the ceiling around her— picture a mobile you’d hang above a baby’s crib… but way taller.

The entire performance was magical from start to finish, and if Mitski ever had a broadway show, I’d be there in an instant. This show proved she’s a theatrical triple threat with acting, singing and dancing chops.

See photos of the final night in Chicago below, and see where you can catch the tour next here.

Live Recap: Sigur Rós at The Auditorium Theatre

A band you can’t easily sing to but you can most definitely heal to.

Sigur Rós cleansed the minds of the Auditorium Theatre attendees with 2 full extraordinary sets. Saturday evenings never sounded so soothing, especially after a 6 year absence (at least from Chicago).

The first set utilized a leisurely pace to bring us back into the warm and familiar embrace of Jonsi’s falsettos, with the first 3 tracks from () Untitled, the band’s third album. When “Svenfln-g-englar” kicked off next, you could see some head swaying and soft energy trickling through the crowd. From the classic light bulb filled set flickering through a heavy fog, the specific guitar moaning sound from the singer’s cello bow, to the guitar filtered yelling moment.. we were grounded and we were ready. 

Throughout the set, the band alternated their playing positions. One song would be performed with each of the members isolated in their space but weaved together by the long twisted strings hanging from above. The next would gather all 4 of them to Kjartan Sveinsson’s side of the stage, who rejoined the band after nearly a decade. These latter performances brought a different and more intimate experience, feeling as close as I’d ever get to a living room show with Sigur Rós.

After 10 songs and a short intermission, the band returned with a slightly changed set. The long strings were now untwisted and Glosoli brought the energtic vibes back up. 

If during the first set we were reminded of a lot of () Untitled songs, the second one was more heavy on Takk classics, performing about a third of the album. Lights were dancing in blue and green hues in a very “northern lights” way and the mountains were peaking through the big screens behind the band. It was as if we travelled across the ocean and lived in their little Icelandic world. 

One of the highlights was when Jonsi held a 30 second long silence in the middle of a song and the crowd started filling the gap: “I love you”, “thank you” or “spaghetti” cheered the air. Jonsi continued the song with no reaction but when the second big moment of silence happened… everybody kept completely quiet. EVERYBODY. As a reward, when the song picked back up and the rest of the band joined in, Jonsi started acknowledging the crowd for the first time. He rocked his guitar and advanced towards the crowd, moving to all sides of the stage, yelling and making eye contact. All of a sudden, we were all up on our feet, dancing and cheering. Yes, you read that right. There was dancing at a Sigur Rós show. And jumping too. 

The band has been recording their first proper album since 2013, and blessed our little ears with 2 new songs, sprinkled throughout both sets. Everything came to a close with “Popplagio”, the last track on ()Untitled, bringing it back full circle. The evening had us hearing almost the entirety of that album. 

If you missed out on the event, check out photos of the evening below, and see where you can catch the tour next here.