Anohni and the Johnsons’ ‘My Back Was a Bridge for You to Cross’ is a Masterclass in Sonic, Transgender Strength

Anohni Hegarty is a fighter. After fronting her art pop band for four gorgeously spare chamber pop records, she took a break to embark on a solo career. Though personally identifying as transgender since she was very young, Anohni only officially changed her name in 2016, approximately a month before releasing her earth-shattering solo debut album Hopelessness.

Hopelessness signified a drastic change in artistic direction, as Anohni had previously been mostly reluctant to use bombastic electronic soundscapes. Hopelessness felt like one of the finest testaments to the current state of the world in the mid-2010s. That album contained protest songs, with titles such as “Drone Bomb Me,” “Execution,” and “Violent Men” which were just as intense as one might expect.

“Drone Bomb Me,” in particular, was a defining anthem for 2016 indie music, as it fused an industrial synth backing with Anohni’s spectacular voice-wailing powerful lyrics on the matter of terrorism. The harrowing atmosphere of Hopelessness proved that Anohni could adapt her voice, her poignant lyricism, and her creativity to new levels on all fronts. Similarly to Hopelessness, My Back Was a Bridge for You to Cross feels monolithic.

However, the lyrics and intimate sonic palettes on this album harken back to themes on Anohni and the Johnsons’ previous masterpiece I Am a Bird Now, with Anohni’s transgender identity being at the forefront. In a way, this new album feels like a sequel to I Am a Bird Now, and Anohni’s fantastic voice keeps on leading the way. Not to mention that the cover art of My Back Was a Bridge for You to Cross features a lovely photo of the one and only Marsha P. Johnson, who heralded the Stonewall Riots. Johnson remains a key figure in the transgender rights movement, and Anohni makes sure to honor her legacy through her politically-minded tunes. Time for a track-by-track assessment of this splendid new record…

The album starts off on a soulful note with “It Must Change.” Anohni’s impossibly rich voice feels so properly matched to the jazzy, baroque-inflected instrumentals. It is a beauty, and it feels like the perfect balm to an imperfect landscape for queer people. The following track, “Go Ahead,” throws the listener a total curveball. This one is a drumless punk rock song with howling vocals and enough feedback to make you crave the gratifying excitement of a house show.

That promise is certainly not delivered upon on the next track, the vulnerable “Sliver of Ice,” a coffeehouse glimmer that feels like classic Anohni and the Johnsons. It is melancholic and a wonderful ode to one Lou Reed (who was featured in the previous Johnsons’ masterpiece I Am a Bird Now). With a touch of “Perfect Day” in its downbeat percussion and chamber pop arrangement, “Sliver of Ice” feels tender in its intimacy. Track four, “Can’t,” is similarly indie lover-ready and another paean to a deceased friend. An elegant soul track with more of those timeless baroque pop surroundings, the harrowing lyrics dealing with a fatal overdose may initially be overlooked. But in the last minute, it all clicks, and a hollow chest feeling will likely be your outcome, dear listener.

But just when you think the album may have reached its heartstring-tugging apex, Anohni and the Johnsons unleash a modern masterpiece of an indie rock ballad. “Scapegoat” is one for the ages. It is immense; it is tragic; it is breathtaking. It is grounding. The lyrics are among the most politically charged on the entire album, dealing with the harsh realities trans people live and grow up with. The song starts as a gentle breeze with bluesy guitars and Anohni’s masterful, teary-eyed tenor-contralto voice swirling in a hazy, sunset-glistening dreamer, reminiscent of Angel Olsen or one particular early Fleetwood Mac song.

Anohni juxtaposes the accompaniment with lyrics from the point of view of a tormentor: “I can punch you/Take all of my hate into your body.” Towards the middle of the song, strings, drums, and piano begin to pepper in the sweet melancholia. But then at the three-minute-and-45-second mark, a remarkable guitar performance from Leo Abrahams turns the track into indie rock perfection. It is one of those end-of-the-earth sorts of tracks, with immaculate vocals from Anohni and a soul-stirring instrumental arrangement. Everything falls into place perfectly here, showcasing what indie music at its best can be.

“It’s My Fault” follows “Scapegoat” and brings the band back to comfortable land. It is yet another soul-infused, baroque pop, late-night number. Anohni harmonizes with herself in a delicate manner here, while her band provides tenderness with a subtle arrangement. The following track, “Rest,” unfolds in a similar manner to “Scapegoat” but does not feel derivative or repetitive in any way. “Rest” is blues-inflected indie rock with a haunting soundscape and a rich, 6/8 pulse. Guitars shatter the crisp psychedelia by the three-minute-and-eight-second mark after Anohni’s howls of “Demon dancing’s all I know!”

Then, a powerful shred accompanies the plaintive chant of “rest your soul,” before Anohni comes back in full force with a tremendous “rest like the enemy of all that breathes!” “Rest” is what 60’s psychedelic rock would sound like if it were more openly queer. It is yet another surefire stunner on an album full of them.

“There Wasn’t Enough” is another gentler moment, with folky piano and acoustic guitar dueting while the loungy electric guitar echoes in the distance. This song is lovely and feels highly intimate, like a lake at sunset. The following track, “Why Am I Alive Now?” is one of those more instant “I promise you’re not alone” sort of anthems. “Why Am I Alive Now?” is jazz-pop with a markedly slithering bossa nova feel, seeming like it unfolds to greater lushness until the guitar is the sole instrument in its final moments.

The closing track “You Be Free” is a simple prayer containing the album title and a remembrance of her mothers and sisters, her forebears of the transgender community. Women who deserved freedom and great respect. Women like Johnson, women like Sylvia Rivera. Anohni’s delivery echoes through the halls of trans remembrance. She will not let the voices of those women fade away.

When it comes to indie music throughout the years, the LGBTQ community has delivered countless goods. My Back Was a Bridge for You to Cross is yet another extraordinary addition to the pantheon of liberated queer music. Anohni and the Johnsons have provided us with an emotional powerhouse. It is a difficult listen, but it is ever so rewarding throughout every measure. My Back Was a Bridge for You to Cross is raw and has the lush feel of an indie rock classic.

Genres and textures: Blues-rock, indie rock, baroque pop, chamber pop, art rock, jazz… Epic, melancholic, haunting, stripped-back, coffeehouse, soul-stirring, vulnerable…

Instant highlights: It Must Change, Sliver of Ice, Can’t, Scapegoat, Rest, Why Am I Alive Now?

Let these grow on you: Go Ahead, It’s My Fault, There Wasn’t Enough, You Be Free

Score: 9.4/10

Photo courtesy of Anohni’s YouTube page