Listening to Anohni's variously vibrating voice: studying transfeminine vocality in 21st-century popular music culture through the concept of vocal figurations

Abstract

Abstract This article examines the work and reception of singer-songwriter Anohni to investigate sonic and discursive negotiations of transfeminine vocality in 21st-century popular music culture. Developing Haraway's concept of feminist figurations, it introduces the concept of vocal figurations, which articulates a performative, relational and multiply mediated understanding of voice, wherein gendered voice takes shape through processes of voicing and listening. I initially examine Anohni's reception to analyse how biologist, trans-exclusionary and othering discourses surrounding voice and gender inform emergent discourses of transfeminine voices in the first decades of the 21st century. Subsequently, I build on trans and queer theorisations of voice and listening to engage Anohni's variably vibrating voice as a vocal figuration that may challenge biologist and marginalising constructions of transfeminine vocality. I suggest that it may attune us to recognise all gendered voices as thoroughly situated yet changeable configurations of sounding voices, bodies, and subjects.