When Mitski Miyawakiâs new record Be the Cowboy came out in August, my friend wondered, âIs this a concept album about kissing?â Upon closer inspection, kissing does come up a lot: On âNobody,â an electrifying ode to loneliness, Mitski pleads, âI know no one will save me/Iâm just asking for a kiss/Give me one good movie kiss/And Iâll be all right.â On the breathless âPink in the Night,â she explains, âI know Iâve kissed you before, but I didnât do it right.â Over the thumping, layered rhythms of standout track âWashing Machine Heart,â she sings, âIâm not wearing my usual lipstick/I thought maybe we would kiss tonight.â And then thereâs the opening line of âBlue Lightâ: âSomebody kiss me, Iâm going crazy.â
All that smoochy talk got me thinking about the significance of a kiss in the Mitskiverse (and beyond)âis it validation? Connection? A relief? Comfort and temporary escape? A transference of energy? Or just a fun thing to do with lips? Probably all of those, but the common thread is needing someone else, which might relate to the recordâs broader theme of embodying whatever you wish to be yourself.
Mitski recently told the Outline, âThe album title kind of came from the fact that I would always kind of jokingly say to myself, âBe the cowboy you wish to see the world,â whenever I was in a situation where maybe I was acting too much like my identity, which is wanting everyone to be happy, not thinking Iâm worthy, being submissive, and not asking for more. Every time I would find myself doing exactly what the world expects of me as an Asian woman, I would turn around and tell myself, âWell, what would a cowboy do?ââ Regardless of the deeper meaning of cowboys and wanting to be kissed, Mitskiâs new album is her best yetâa collection of complex, vital, aching, and gorgeous pop songs.