Justin Vivian Bond, the acclaimed cabaret performer known for her distinctive voice and candid storytelling, has recently returned to New York after several months living in Paris. Bond, 63, who is transgender and alternates between she/her and they/them pronouns, moved to France earlier this year following her receipt of a MacArthur Fellowship in 2024, an honor accompanied by a $800,000 grant recognizing her creative achievements.
Bond's relocation was motivated in part by changes in the U.S. healthcare landscape. In early 2026, New York’s NYU Langone Health ended its gender-affirming care program for transgender youth, citing pressures from the former Trump administration. This development influenced Bond’s decision to seek residence outside the United States. To establish herself in Paris, Bond obtained a visa by demonstrating her status as an artist of international renown, supported by her extensive career spanning decades of cabaret performances, songwriting, and collaborations.
Upon arriving in Paris, Bond faced immediate challenges, notably language barriers that prompted her to enroll in an intensive French class focused on pronunciation and conversational skills. Despite initial difficulties, she adapted to life in the French capital, settling into an apartment near the Marais district. Though relatively low-profile in Paris, Bond found the artistic community welcoming, receiving numerous invitations and opportunities.
Bond’s career began in the late 1990s with her alter ego Kiki DuRane, a fictional, hard-luck cabaret singer who performed alongside pianist Kenny Mellman. The act offered sharp commentary on the AIDS crisis and LGBTQ+ issues and gained a cult following. Over the years, Bond has developed a loyal fan base and garnered acclaim from peers such as actor John Cameron Mitchell and singer Rufus Wainwright. She also earned a Master of Fine Arts degree in London and has been a muse to noted designer Jonathan Anderson of Dior.
Back in New York this summer with her two cats, Pinky and Leather, Bond performed several sold-out shows, including a monthlong residency at Joe’s Pub in the East Village, a venue she has been associated with for more than 20 years. Her new production, “Madame Stanley, or How I Was Dead-Named at the Clap Clinic,” draws on her recent personal experiences in Paris and explores themes related to her gender identity and “sexual renaissance.”
Bond continues to be recognized for her artistic versatility, with collaborator Anthony Roth Costanzo praising her originality and influence. Together, they have produced work spanning opera and cabaret, with Bond starring in innovative projects such as the opera “Complications in Sue,” which premiered earlier this year.
In addition to her musical and theatrical work, Bond recently took on a lead film role in “Neverman,” directed by Rodrigo Barrios. The film, premiering at the Toronto International Film Festival, addresses complex issues surrounding gender identity and dementia.
Reflecting on her journey, Bond described balancing a sense of accomplishment with moments of homesickness and adjustment. The MacArthur grant has eased financial pressures, enabling travel between Paris and New York, where emerging generations of queer and transgender fans have embraced her as a vital creative elder.
As she navigates this new chapter abroad, Bond continues to infuse her work with humor and candor, remaining a significant figure in both the American and international performing arts scenes.