Heading to Gabe’s in Iowa City on what felt like a positively balmy January night (every winter here makes me regret leaving London), I was pleasantly surprised by the early turnout for Sophie Mitchell’s album release show. Hey, who’s arguing with a $10 cover on a Friday night?
Chatter buzzed as stylish groups of three and four broke away across the venue. As I was riding solo for this evening (I take my professional obligations for LV very seriously and couldn’t risk any distractions) this gave me rather uncomfortable flashbacks to lonely school dances. So, I bravely occupied myself by Shazaming the banging Gabe’s playlist. The top finds, for those wondering, were “NICE OUT” by Kilo Kish and “Aggy” by Coco and Clair Clair. Attending gigs alone is a delicate art, and, I’ll be honest, the couple taking selfies in front of me did twist the knife in. Just a little.
The soothing melodies of One More Hour, opening the show at 8 p.m., saved me from this increasingly desperate internal monologue. Two guitars, a trumpet and a cello — what’s not to like? The instruments synthesized beautifully. Self-described as “genre/gender bending theatrical folk rock,” they sounded like soup and Gatorade when you’re ill — positively healing. “Pitch of the Century,” a Minor League Baseball-themed ballad, was a standout for me, but the whole set passed in a whir of warmth.
“Don’t get excited now,” they warned after the crowd cheered the introduction to a song written two days prior, “new doesn’t mean good.” New, in this instance, did mean good. One More Hour gave me echoes of Los Campesinos! — a giant compliment, as those familiar with Welsh indie rock will know. With shows at The Green House, Trumpet Blossom and PS1’s Close House last year, the group is becoming increasingly recognizable on the Iowa City circuit, which might explain why Gabe’s was absolutely packed mid-way through their set.
Sophie Mitchell’s band performing at her album release show. — photo by Cat Dooley 
Sophie Mitchell’s band performing at her album release show. — photo by Cat Dooley 
Sophie Mitchell’s band performing at her album release show. — photo by Cat Dooley 
Sophie Mitchell’s band performing at her album release show. — photo by Cat Dooley 
Flyer for the Sophie Mitchie album release show. — courtesy of the artist
During the artist changeover, I bumped into two friends from the Iowa City Democratic Socialists of America chapter, who proved the perfect company for the fiercely anti-capitalist singer-songwriter Penny Peach.
Peach appeared solo, an audible in the lineup from the scheduled acid-glam trio KL!NG, of which she is a member. The solo Penny Peach powerfully critiqued corporations, CEOs (Elon Musk in particular, to loud cheers) and local law enforcement for surveilling and detaining peaceful protesters. Highlights include a moving cover of Woody Guthrie’s “They Laid Jesus Christ in His Grave” and the wonderfully titled “If A Tree Falls and Nobody Hears It Is It Still Complicit In Imperial Capitalism?”
After a quick trip to the bar, it was time for the album celebration to begin. Like Daisy Jones and the Six materializing in Iowa City, Sophie Mitchell and her band exuded cool as they strolled onto the stage — all sunglasses, cowboy hats and suit jackets. The introspective opener “Dead End” — “tell me I’m your favorite disaster… watch me fall, I’m so entertaining” — was followed by “Slower Mornings,” both taken from her debut album What’s Left of Us. The album itself, thanks to Nick Wilkins, is beautifully produced — sonically crisp and lusciously layered. As Mitchell explained to SCOPE Production’s AMPLIFY blog, “He’s a total beast on Logic Pro, and I’m infinitely grateful for all the work he does.”
Back at the show, Mitchell channels Penny Peach’s philosophical energy with some deft crowd work: “Hands up if you don’t like work… and you have to work to pay your rent.”
The album’s namesake “What’s Left of Us” follows, and it’s a melancholic triumph. “I listened to Lana Del Rey when I did my makeup,” reveals Mitchell, “so that’s my vibe now.” I can’t speak for Lana, but I’m pretty sure she would have loved this show. Among the new album’s tracks there’s a brilliant cover of Mitski’s “I Want You” thrown in. I didn’t know the song at the time but the people singing every word behind me definitely did.
“We’re cruising!” smiles Mitchell as the set progresses, “I’m so excited to finally say this, but BUY MY CD. I think there’s like three left.”
In the age of near mandatory but practically uncompensated streaming, Mitchell smartly structured the album release: the CD debuted at the show, Bandcamp sales started at midnight, and soulless streaming platforms gleefully grasped it on Tuesday. “The album art is a photo of my mom, my mom’s here!” joyously shouts Mitchell shouts joyously between songs, as the second-most excited person in the room throws her hands in the air. The crowd demands an encore — “Sophie, Sophie” and “One. More. Song.” ring out — and, Mitchell obliged. Then, in a flash, an unforgettable album release show is complete.
“I hope my music emphasizes big expressions of feeling!” Mitchell told SCOPE. “Joy! Sadness! Anger! All of it!” Judging by the show and album, those hopes have been fearlessly accomplished.
