Photo: Artwork
ANOHNI's first album under her new moniker, Hopelessness, has rightfully been subject to critical acclaim from all corners and on this, the second night of a sold out short stay at the iconic Barbican in London, the singer (formerly known as Antony & The Johnsons) returns to deliver a hauntingly beautiful and powerful exhibition.
The opening 20 minutes of the show are slightly uncomfortable to say the very least though. With unrecognisable and abrupt sounds swirling round the Barbican, the very prominent on stage screen shows a scantily clad Naomi Campbell gyrating and writhing around in an empty warehouse.
By the time the first beats of opening number ‘Hopelessness’ kick in, there is certainly an element of relief and from then on in there is no looking back. ANOHNI, accompanied by Daniel Lopatin and Ross Birchard, better known as Oneohtrix Point Never and Hudson Mohawke, respectively, thrash through songs that deal with all issues from climate change to the innocent causalities of war via religion.
ANOHNI, in a floor length white hooded gown, her face covered by a black veil, commands the stage with her arms often aloft. Her pitch-perfect voice is almost too good to be true and with heavy production and big sounds all around, ANOHNI still manages to send a shiver down your spine as you watch in awe of this force of nature.
‘Execution’ is the standout moment as ANOHNI serenades the mesmerised audience, whilst floating elegantly to the catchy dancefloor beat and whilst interaction with the crowd on the surface is almost non-existence, the veiled ANOHNI somehow makes everything feel so personal.
At a time of real disillusionment and uncertainty with the world around us, tracks like ‘4 Degrees’, ‘Crisis’ and exquisite closing number ‘Drone Bomb Me’ feel strangely relevant and relatable.
As the evening concludes with aboriginal artist Ngalangka Nola Taylor sending out a profound message on screen, it feels like this is a memorable experience that will live long in the memory.
