anohni and the johnsons tour uk

ANOHNI announces first shows with The Johnsons since 2010

The summer run includes two nights at the Barbican in London

ANOHNI has announced her first shows with The Johnsons in 14 years – find all the details below.

• READ MORE: Anohni – ‘My Back Was A Bridge For You To Cross’ review: a sublime soul reinvention

Following the release of 2023 album ‘ My Back Was A Bridge For You To Cross ’ – her first in seven years – the artist will be reuniting with The Johnsons for a concert series in the UK and Europe which will include two nights in London.

The first show will take place on June 13 at Epidaurus Festival Herodion in Athens, followed by dates in Madrid, Paris, Berlin and more.

On July 1 and 2, she’ll stop at the Barbican for consecutive shows and finish up with another two at DR Koncerthaus in Copenhagen on July 12 and 13.

General sale tickets will be available from 10am GMT on Friday (March 1). Alternatively, fans can sign up to pre-sale via ANOHNI’s website to purchase tickets from 9am GMT Wednesday (February 28).

ANOHNI will be joined by a nine-piece band including Julia Kent (cello), Maxim Moston (violin), Doug Wieselman (multi-instrumentalist) and Jimmy Hogarth (guitarist/producer).

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The shows will see her draw from new material as well as songs from across her back catalogue. The statement that has driven her new work is: “It’s Time to Feel What’s Really Happening.”

ANOHNI and the Johnsons’ 2024 UK and European dates are:

JUNE 13 – Athens, Epidaurus Festival Herodion 15 – Ravenna Festival, Pala de André 18 – Madrid, Noche del Botanico 20 – San Sebastián, Kursaal Auditorium 26 – Paris, Philharmonie 27 – Paris, Philharmonie

JULY 1 – London, Barbican 2 – London, Barbican 6 – Gent Jazz Festival 9 – Berlin, Citadel del Music Festival 12 – Copenhagen, DR Koncerthaus 13 – Copenhagen, DR Koncerthaus

Reviewing ‘My Back Was A Bridge For You To Cross’ last year, NME  awarded the album four stars and described it as a “sublime soul reinvention”.

It added that the music was “warm, inviting and tender can still be vital and engaged; that beauty, hope, rage, disillusion, dejection, sorrow and joy can not only co-exist, but thrive in one another’s company”.

Before that, ANOHNI  and  The National ’s Bryce Dessner collaborated on a new string arrangement of the former’s song ‘Another World’ in 2021.

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Anohni And The Johnsons

London barbican, united kingdom.

The singer and songwriter gets back together with her band The Johnsons after a decade break to play material from across her catalogue under the title “It’s Time To Feel What’s Really Happening”. London Barbican Centre, 1–2nd July, 7:30pm, £90–£40.

ANOHNI and the Johnsons

EXCLUSIVE AND ONLY CONCERT AT GENT JAZZ ON 6 JULY

For the first time in a decade, ANOHNI presents a series of concerts withthe Johnsons, joinedby a nine musicians including Julia Kent (cello), Maxim Moston (violin), Doug Wieselman(multi-instrumentalist),Gael Rakotondrabe(piano), Leo Abrahams (guitarist) and JimmyHogarth (guitarist/producer). Responding to a time of upheaval, ANOHNI issues a challenge:"It’s Time to Feel What's Really Happening.”

Born in the UK and raised in Amsterdam and California, ANOHNI relocated toNYC in her lateteens, forming her groupthe Johnsons in 1998 and establishing a unique path as an artist witha focus on animist and eco-feminist themes. ANOHNI's musical journey has spanned genres-from electronic experimental to avant-classical, dance, and soul. Achieving breakthroughsuccess in 2005 with I Am a Bird Now (2005), she garnered the UK’s Mercury Award. Releasessince include The Crying Light (2009), Swanlights (2010), and live albums Cut The World (2012)and TURNING (2014). In 2016, she released the sharply political electronic album HOPELESSNESS, produced by Hudson Mohawke and Daniel Lopatin, noted as one of the year’stop ten albums by the NY Times. That same year, she was nominated for an Academy Award(best song) for the environmentalist elegy, Manta Ray, featured in the film Racing Extinction(dir. Louie Psihoyos, 2015).

ANOHNI's sixth studio album, My Back Was A Bridge For You To Cross (2023), continues toexamine societal structures, spirituality, and our relationships with the biosphere. The recordwas named album of the year by The New Yorker.Politiken awarded it five hearts and called it"a delicate flame ignited by the soul music of the past," while GAFFA characterized it as "anotherworldly experience."The artist reaches forcourage, resilience, and ceremony in the face of an unprecedentedcontemporary landscape, and emphasizes, "For me, there’s no heavenly respite; Creation is aspectral and feminine continuum, and we remain an inalienable part of Nature.

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ANOHNI and the Johnsons

Mon 01 Jul 2024 & Tue 02 Jul 2024

For the first time in a decade, ANOHNI presents a series of concerts with the Johnsons, joined by a nine musicians including Julia Kent (cello), Maxim Moston (violin), Doug Wieselman (multi-instrumentalist),Gael Rakotondrabe (piano), Leo Abrahams (guitarist) and Jimmy Hogarth (guitarist/producer). Responding to a time of upheaval, ANOHNI issues a challenge: “It’s Time to Feel What's Really Happening.” 

Born in the UK and raised in Amsterdam and California, ANOHNI relocated to NYC in her late teens, forming her group the Johnsons in 1998 and establishing a unique path as an artist with a focus on animist and eco-feminist themes. ANOHNI's musical journey has spanned genres - from electronic experimental to avant-classical, dance, and soul. Achieving breakthrough success in 2005 with I Am a Bird Now (2005), she garnered the UK’s Mercury Award. Releases since include The Crying Ligh t (2009), Swanlights (2010), and live albums Cut The World (2012) and TURNING (2014). In 2016, she released the sharply political electronic album HOPELESSNESS , produced by Hudson Mohawke and Daniel Lopatin, noted as one of the year’s top ten albums by the NY Times. That same year, she was nominated for an Academy Award (best song) for the environmentalist elegy, Manta Ray, featured in the film Racing Extinction (dir. Louie Psihoyos, 2015). 

ANOHNI's sixth studio album, My Back Was A Bridge For You To Cross (2023), continues to examine societal structures, spirituality, and our relationships with the biosphere. The record was named album of the year by The New Yorker.  Politiken awarded it five hearts and called it "a delicate flame ignited by the soul music of the past," while GAFFA characterized it as "an otherworldly experience." 

The artist reaches for courage, resilience, and ceremony in the face of an unprecedented contemporary landscape, and emphasizes, "For me, there’s no heavenly respite; Creation is a spectral and feminine continuum, and we remain an inalienable part of Nature."

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Credit: Willy Vanderperre

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The voice and charisma familiar to fans of her work with Antony and the Johnsons. Hopelessness juxtaposes dance beats with political lyrics that touch more...

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Upcoming concerts (13) See all

Odeon of Herodes Atticus / Ωδείο Ηρώδου Αττικού

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Live reviews.

Having seen Anohni's latest performance twice, both in Sydney and Paris, I'm loathe to report that the show leaves you hoping it had been much more than it really was.

An enormous screen sets the stage as close-up shots of various women lip-sync along with Anohni as she belts out tunes from her latest album, Hopelessness. The singer herself is shrouded in a floor-length cloak complete with full arm gloves and a sheer black hood. The desire to be shrouded from the audience is an understandable one but it nonetheless acts as an insurmountable barrier between the performer and the audience.

Further to this disconnect, Anohni's playlist seems so rigid that no time is left for any interaction with the audience. Again, this desire to be separated from the audience is understandable but the total absence of hellos or thankyous or any interaction at all left this viewer a little cold.

The sound too was substandard with far too much bass being blasted at the audience to the point where much of the intricacies of the music were drowned out. In 4 degrees, the urgency of the music was lost in overlapping waves of bass-heavy drone music, diluting the song to little more than a powerful voice sung over ambient noise.

However, Anohni's vocal performance was outstanding. The power was real and resonant while her trademark trembling vibrato betrayed the emotion heard on her albums, particularly her earliest, from which we heard nothing throughout the show.

Hopelessness is a strong concept album but perhaps the stage performance in all its light-art centric gloom needed a little human connection to help guide the audience as it waded through the murky soundscapes led by a mere silhouette of a performer.

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I really not enjoyed the concert. Maybe because of his last album title hopelessness, the atmosphere was not good in the room. Anohni's performance was also really disappointing, we couldn't see his face, no interaction with the public, etc...

Não recomendo. Ele fica o show todo com uma máscara no rosto e não dá pra saber se ele está cantando ao vivo ou é PlayBook. Show curto e sem emoção.

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ANOHNI is not due to play near your location currently - but they are scheduled to play 13 concerts across 8 countries in 2024-2025. View all concerts.

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Anohni and the Johnsons: My Back Was a Bridge for You to Cross review – intense emotion and captivating soul

(Rough Trade) The New York singer’s voice will make you shiver as it soars over simple guitar, bass and drums on her most approachable album since the mid-00s

Y ou would be hard-pushed to call Anohni ’s sixth studio album – her first since Hopelessness seven years ago – anything other than an unexpected departure. Whatever path you imagined her admirably peripatetic career might take next, it’s unlikely you pictured it involving a collaboration with Jimmy Hogarth, producer and songwriter for the likes of James Blunt. Anohni’s recent releases had shifted her ever further into the musical left field – or rather, back towards the left field from where she sprang, Anohni being, in the words of her friend Rufus Wainwright, “a real underground downtown institution” in New York clubland long before the Mercury-winning success of 2005’s I Am a Bird Now (recorded as Antony and the Johnsons) led another friend, Boy George, to suggest she could “outstrip Norah Jones and sell millions of records”. The feeling that the left field might have appealed more than the mainstream was hard to escape when listening to her 2020 cover of Bob Dylan’s It’s All Over Now, Baby Blue, her voice deliberately distorted in a way that made you wince. Or indeed the same year’s RNC 2020 , a melange of screams and feedback that even its creator described as “pretty rough”.

But, three years on, here is Anohni’s album-length collaboration with the writer of James Bay’s gold-selling 2015 single If You Ever Want to Be in Love and Duffy’s Warwick Avenue. You can speculate as to the reasons – a disinclination to be pigeonholed? A desire for her serious lyricism about the climate crisis, gender and capitalism to reach as wide an audience as possible? Whatever the reason, My Back Was a Bridge for You to Cross may be the most approachable album Anohni has made since the mid-00s.

There’s still something deeply uncompromising about it: the lyrics are a potent stew of grief, environmental apocalypse and excoriations of transphobia; a brief track called Go Ahead features Anohni’s voice at its most stentorian over noisy freeform guitar and what sounds like feedback, but is apparently a recording of a lemur’s song. But its default setting involves simple electric guitar figures, bass and drums, occasionally shaded with sax or piano or delicate orchestrations, carrying the retro-soul flavour of Hogarth’s best-known songs. Anohni has mentioned Marvin Gaye’s What’s Going On as an influence, and you can catch something of the atmosphere of that album’s looser tracks – Wholy Holy, Save the Children – on Why Am I Alive Now? and There Wasn’t Enough.

For all its idiosyncratic intensity, Anohni’s voice is a remarkably portable instrument, as much at home performing over Hercules and Love Affair ’s disco-infused house as it is essaying Nico’s Janitor of Lunacy accompanied by former members of Throbbing Gristle. But its setting on My Back Was a Bridge for You to Cross feels like a particularly good fit, underlining her links to old blues, jazz and R&B singers. It’s an album that offers one subtly striking song after another. You could read It Must Change as a desperate love song, or another in its author’s series of warnings about impending environmental collapse – the accompanying video, with its footage of California wildfires, suggests the latter – but it feels wrenching however you interpret it.

Can’t, meanwhile, starkly details the aftermath of a friend’s suicide – “You are dead, I am here stranded among the living” – to the accompaniment of surprisingly bouncy funk that builds to a crescendo while Anohni repeats the title over and over again: misery that becomes a type of catharsis. She perceives death through a more tender lens on Sliver of Ice, concerned with the last days of her friend and mentor Lou Reed, imminent death heightening his appreciation of life’s simplest pleasures, including the sensation of an ice cube melting on his tongue. Sweetly, the tremolo-heavy guitar evokes dreamy doo-wop and early rock’n’roll ballads, music beloved of its subject.

The standout is Scapegoat, a stately ballad that details the psychological impact of the row over trans rights and how it feels when everyone appears to have a strident opinion on your existence: “A scapegoat is all I can be … I take all of your hate into my flesh and body.” Anohni sings with so much vibrato that her voice starts to resemble a choked sob. There’s a shiver-inducing moment midway through when the band stop dead, before a vast, discordant A Day in the Life-style sweep of strings reintroduces them.

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There are a couple of points where the simplicity of the arrangements makes the songs feel slightly formulaic, but even then, Anohni’s voice is captivating. She seldom seems like anything other than an extraordinary artist – it’s instructive to look back at the press around I Am a Bird Now and realise how much of the current discourse about gender its songs presaged nearly 20 years ago – but My Back Was a Bridge for You to Cross feels like a particularly powerful entry in her discography: surrounded by music that’s beautiful but relatively straightforward, that voice seems more extraordinary still.

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ANOHNI and The Johnsons

For the first time in a decade, ANOHNI presents a concert with the Johnsons on July 12th and 13th at the Concert Hall of DR Koncerthuset during the Copenhagen Jazz Festival 2024. ANOHNI will be joined by a nine piece band including Julia Kent (cello), Maxim Moston (violin), Doug Wieselman (multi-instrumentalist), Leo Abrahams (guitarist) and Jimmy Hogarth (guitarist/producer). Responding to a time of upheaval, ANOHNI issues a challenge: “It’s Time to Feel What's Really Happening.” Born in the UK and raised in Amsterdam and California, ANOHNI relocated to NYC in her late teens, forming her group The Johnsons in 1998 and establishing a unique path as an artist with a focus on animist and eco-feminist themes. ANOHNI's musical journey has spanned genres - from electronic experimental to avant-classical, dance, and soul. Achieving breakthrough success in 2005 with I Am a Bird Now (2005), she garnered the UK’s Mercury Award. Releases since include The Crying Light (20...

For the first time in a decade, ANOHNI presents a concert with the Johnsons on July 12th and 13th at the Concert Hall of DR Koncerthuset during the Copenhagen Jazz Festival 2024. ANOHNI will be joined by a nine piece band including Julia Kent (cello), Maxim Moston (violin), Doug Wieselman (multi-instrumentalist), Leo Abrahams (guitarist) and Jimmy Hogarth (guitarist/producer). Responding to a time of upheaval, ANOHNI issues a challenge: “It’s Time to Feel What's Really Happening.” Born in the UK and raised in Amsterdam and California, ANOHNI relocated to NYC in her late teens, forming her group The Johnsons in 1998 and establishing a unique path as an artist with a focus on animist and eco-feminist themes. ANOHNI's musical journey has spanned genres - from electronic experimental to avant-classical, dance, and soul. Achieving breakthrough success in 2005 with I Am a Bird Now (2005), she garnered the UK’s Mercury Award. Releases since include The Crying Light (2009), Swanlights (2010), and live albums Cut The World (2012) and TURNING (2014). In 2016, she released the sharply political electronic album HOPELESSNESS, produced by Hudson Mohawke and Daniel Lopatin, noted as one of the year’s top ten albums by the NY Times. That same year, she was nominated for an Academy Award (best song) for the environmentalist elegy, Manta Ray, featured in the film Racing Extinction (dir. Louie Psihoyos, 2015). ANOHNI's sixth studio album, My Back Was A Bridge For You To Cross (2023), continues to examine societal structures, spirituality, and our relationships with the biosphere. The record was named album of the year by The New Yorker. Politiken awarded it five hearts and called it "a delicate flame ignited by the soul music of the past," while GAFFA characterized it as "an otherworldly experience." The artist reaches for courage, resilience, and ceremony in the face of an unprecedented contemporary landscape, and emphasizes, "For me, there’s no heavenly respite; Creation is a spectral and feminine continuum, and we remain an inalienable part of Nature." ANOHNI has an enduring relationship with Denmark. In 2018, she presented a solo exhibition featuring drawings, paintings, and video installation at Nikolaj Kunsthal in Copenhagen. ANOHNI was artist-in-residence for European Capital of Culture Aarhus 2017, where she performed with the Aarhus Symphony Orchestra, and staged the exhibition “Future Feminism”. ANOHNI has presented concerts at Falkoner Hall, NorthSide, and at the Concert Hall of DR Koncerthuset, where she recorded a live album ("Cut the World") with the Danish National Chamber Orchestra. The beautiful concert cathedral of DR Koncerthuset will be the setting in which ANOHNI and the Johnsons perform for the Copenhagen Jazz Festival on two consecutive evenings, July 12th and 13th, 2024....

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