Barring “Take Me to Church,” my first few listens of Hozier’s rich discography happened in the darkest months of 2020’s quarantine. With my days occupied by online classes, desperate attempts to stay in rowing shape without leaving my house, and fears that those I loved would come down with COVID, I found comfort in Hozier’s poetic lyricism and refreshing intensity. It distracted from the strong emotions aligned with being both stuck inside for months, and just from being sixteen.
Needless to say, a concert in Madison Square Garden is just about the farthest cry from being a teenager in a bedroom listening quietly to Hozier through earphones while writing almost certainly over-dramatic works of poetry and fiction. Yet, September 30th, in a celebration for one of my best friends’ 20th birthday, there we were, screaming the words that carried us through dark times, surrounded by 20,000 other faces—a feat that would have seemed impossible three years ago.
Hozier truly has one of the best voices I have ever heard. From start to finish, he did not falter once, and took absolutely everything in stride. His opening songs, “De Selby” Parts 1 and 2, needed no introduction, and despite being newer songs, were a wonderful way to open. The contrast between the softer, melodic Part 1 and rhythmic, more intense Part 2 really cemented tastes for what was to come. His choice of newer and older tracks created a fantastic mix, and never once did I wish for a song to be over.
I have a few highlights from Hozier’s introductions that it would be a crime not to mention. Though I will admit that I have never fully connected with “To Someone From A Warm Climate (Uiscefhuaraithe)” a song from his latest album, Unreal Unearth, the introduction he provided and the wonderful description of growing up in Ireland and feeling the “coldness only water brings” was not only a beautiful ode to the Irish language but a wonderful way to make sense of the song. Needless to say, I have a far deeper appreciation for it now. The introduction to “Nina Cried Power” paid wonderful and appropriate tribute to singer and influential civil rights advocate Mavis Staples, who sang vocals and collaborated on the studio track, as well as to the American Civil Rights Movement and the direct inspiration it provided to the Civil Rights Movement in Northern Ireland.
I confess I may be biased given my deep personal connection to this song, but Hozier’s encore with “Work Song” rivaled the bigger hits in regards to performance. It was absolutely fantastic, and I confess I cried throughout most of it, despite not ordinarily being the type to tear up. Just as good, though, was a first, both for audiences and Hozier himself. For the first time in his career, he brought out his father—John Byrne, for a cover of The Band’s “The Weight.” It was truly a memorable (and very sweet) moment that was the cherry on top of a fantastic concert.
Hozier’s music has seen me through anxiety, sexuality crises, and at my best and worst. Seeing him in concert was an experience I will cherish deeply and certainly never forget—even if I did cry all my makeup off within about five songs! If you have yet to listen to his music or see him in concert, I cannot recommend it enough.