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It has been nearly ten years since Andrew Hozier-Byrne’s song, “Take Me to Church,” became a five-time platinum hit in the United States and reached number one on the charts in twelve countries. The song, which was recorded in part in his attic, is an impassioned anthem in support of gay marriage in Ireland. Since then, Hozier has released three albums, including this year’s Unreal Unearth which reached number one in the UK. At 33 years old, the Irish musician now performs in sold-out arenas with devoted fans. As a result, he has become skilled at entertaining large crowds, giving showbiz-style commands and leading call-and-response backing vocals. He also incorporates visual elements, such as tree roots cascading over the stage.
The music has evolved into a grand and sincere mix of edgy rock and soul, featuring catchy choruses and a chorus of “whoah whoah whoah”s. The sound is like a powerful gust of wind, with the former choir singer’s impressive yet ethereal voice at the forefront. Only for a brief moment in 2013’s beautiful Cherry Wine do we catch a glimpse of the acoustic singer-songwriter who used to perform at open mic nights before his music gained a full band and a team of co-writers and producers. Nevertheless, it’s difficult to deny the impact of the raw and powerful First Light, the beautifully hymnal Work Song (a duet with Abigail Morris from the opening act, the Last Dinner Party), or a Take Me to Church that is so overwhelmingly grand that the resulting roar from the audience may even be heard in Dublin.
Once Hozier’s inner activist was unleashed, he passionately speaks while the drums play hypnotically. He advocates for equality and women’s “body autonomy,” referencing Irish republican and revolutionary socialist James Connolly and urging support for a ceasefire in Gaza. This serves as a lengthy introduction to his powerful tribute to civil rights, “Nina Cried Power.” Despite having to make compromises for his success, Hozier now has a platform which he will undoubtedly use to make a difference.
Source: theguardian.com
