MUSIC REVIEW | "Anyone" Should Take "The Ride" With Joan As Police Woman
Joan As Police Woman, the long running project of New York musician and producer Joan Wasser, is marking twenty years of her debut album Real Life with “The Real Life Anniversary Sessions,” a series of live videos recorded at The Owl Music Parlor in November 2025. Backed here by Will Graefe on guitar and Jeremy Gustin on drums and vocals, Wasser returns to material from that first record in a smaller, closer setting. This piece focuses on two of those performances, “Anyone” and “The Ride,” which sit well beside each other not because they are similar songs, but because they show two very different kinds of control. Across a career that has included work with Damon Albarn, Tony Allen, Lou Reed, Meshell Ndegeocello, Rufus Wainwright, John Cale, and David Byrne, Joan As Police Woman has never really been an artist who fits neatly into one lane, and these two songs make that clear without needing to announce it.
“Anyone” is the softer performance, but what stands out is not softness by itself. It is the lack of strain. The song never sounds like it is trying to prove its own tenderness. When Joan sings, “anyone can see through me, but you’re not anyone,” she does not lift the line out and frame it for emphasis. She lets it move through in the same current as everything around it, which makes it feel less like a statement and more like something she has arrived at quietly. That matters, because the song is full of lyrics that could become precious in the wrong hands. Here they do not. The piano leaves room around the words instead of cushioning them too much, and the whole performance has that suspended, late night quality where even the smallest turn in phrasing carries weight. What stays with me is the way the song handles closeness. It does not romanticize being understood. It treats it more like a rare settling of the nerves, a brief state in which the noise outside the song loses its grip.
“The Ride” works from a different instinct entirely. Where “Anyone” opens outward, “The Ride” keeps turning over on itself, and Joan is smart enough to trust that shape instead of forcing the song toward some bigger moment. The repeated lines do the heavy work here. “I’ve been on the ride before. It never stops at all” lands first as a phrase, then as a pulse, then almost as a condition the song has locked itself into. That shift is what makes the performance interesting. She does not sing repetition as though it needs to be rescued from itself. She stays inside it until it starts generating pressure on its own. Graefe and Gustin help by keeping the arrangement lean and moving. Nothing is crowded, nothing is dressed up too much and, because of that, the song develops a physical feel. It does not tell you about momentum. It puts you within it. By the end, the repetition is no longer just structural. It becomes the mood.
Heard together, the songs bring out something Joan As Police Woman is especially good at, which is giving a performance emotional depth without underlining it in red. “Anyone” and “The Ride” are doing different things, but both depend on restraint. In “Anyone”, that restraint makes intimacy feel unforced. In “The Ride”, it lets repetition build heat without becoming theatrical. That is where these sessions become more than a simple revisit. Joan is not returning to these songs to embalm them or to present them as untouchable pieces from an important debut. She is letting time show them from within. You hear it in the patience of the phrasing, in the way the trio resists filling every gap, and in the fact that neither performance reaches for easy emotional cues. They feel lived with. Not smoothed over, not polished into reverence, just lived with, and that is a far more interesting thing to hear.
“The Real Life Anniversary Sessions” see their launch alongside the announcements of Joan As Police Woman’s 2026 live dates, including a June 20 appearance at Joe’s Pub in New York and a wider Real Life anniversary tour through the UK and Europe later this year. The clearest ways to support Joan with respect to these developments includes sharing these live session videos, ordering your tickets for Joan As Police Woman’s tour performances, and by picking up the Real Life album via Bandcamp. More than anything, these two performances loop back to the record with a better sense of what has lasted from this – not just the writing, but the room it leaves for a singer to return years later and still find new pressure, new quiet, and new meaning inside the same songs.
For more information on Joan As Police Woman, visit their official website, Bandcamp, Facebook, Instagram, and Twitter.
Written by Nika Kretov.
