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Image: Vasili Papathanasopoulos.
Growing up I always heard the stories about my parents seeing acts like Queen, Janet Jackson, INXS and David Bowie. The greats. In doing so, this cemented my love and appreciation for live shows. The want to carry on with this very idea, having heard all the amazing recollections they had. Being able to experience these concerts through their eyes. Nine years ago we made our way to The Metro Theatre in Sydney to continue this very tradition. A new talent on the scene, Hozier - whose real name is Andrew John Hozier-Byrne - was touring for the first time in Australia. What followed was a show that would live rent free in my mind. Fast forward to last night where we again ventured to another part of Sydney to watch the same artist go from around 1350 in attendance (capacity number of The Metro Sydney) to a sold out crowd at Qudos Bank Arena.
The audience were singing, dancing, clapping and feeling a bevy of emotions throughout the night. The woman next to me was overjoyed when the intro to every song started, clutching at her chest, unable to sit still, taking every moment in. Looking around you saw so many people responding in a variety of ways, all completely enveloped by the moment. It really is an experience everyone should have.
It’s been a while since I was at a concert where the start of each song was accompanied by a thunderous cheer. With the majority of songs, the Sydney audience sounded like a beautiful choir accompanying Hozier. Between singing under a carpet of stars during De Selby (Part 1) to the red earthy lights and visuals in Angel of Small Death and the Codeine Scene the visuals and lighting played a pivotal role in contributing to the energy of the night. Beginning with a count in, Hozier played the latter with impact - a song that had the crowd joining the band with their percussive clapping. This became a key moment that emphasised the idea of community, and how we were all there for the same reason. To come together and take in this experience that was both profound and emotionally elevated.
Having delved into research into the Hozier fandom since last night, I’ve come to realise Sydney experienced some big moments. Not since Harry Styles and Taylor Swift have I understood the importance of certain things, such as songs being played or rain shows. In the Hozier realm, tying his hair up is one of those key checklist items. A surprise song is another. Before the show, I found myself singing Someone New whilst entering the arena, voicing my thoughts that (having seen the setlist prior) as much as I wish he would, he wouldn’t be playing one of my all time favourites. How wrong I was. The excitement that filled the room upon the worlds Someone New, you can’t even begin to comprehend. Not since Harry Styles played Medicine on the first night of the Sydney leg of his Love On Tour shows have I seen a crowd so electrified. I completely understood.
Hozier mentioned Nobody’s Soldier was released months ago and I loved seeing the response from the audience as he had tambourine in hand adding a little more pizzazz to his already wonderful performance. The visuals in this song were so stunning that you couldn’t help but feel that it was a promising start to what would be a scintillating nigh. This was furthered in Eat Your Young, and Dinner & Diatribes was accompanied by the most epic visuals - I was taken aback by how seamlessly the camera work went with the track. On beat and on point, it was exactly what I’d expect from a music video. Yet this was happening live for all of us to see. We move to Francesca and this was a definite favourite of mine. It truly showcases how unified Hozier and his band are. The rock element that harked back to a cool 90’s-00’s sound had the audience thrashing their heads to the beat, whilst singing along, as one of my favourite visuals appeared on screen. A mix of a landscape, with mountains in the background, where at times Hozier and the band were projected on screen to be seen standing on these mountains, changing from that to a thunderstorm, to a night sky, I was completely captivated by the screen and what was happening in the room. It Will Come Back introduced some intriguing elements - including set design, where upside down trees descended from above the stage and remained suspended, reflecting the visuals seen during the prior song. In Like Real People Do the trees were glittering with lights and the song had people singing along like it was a lullaby they sing to themselves every day. This was furthered by Hozier saying, “let me hear you,” and the lullaby sensation continued with I, Carrion (Icarian).
Continuing with From Eden, Hozier spoke about his interaction with his Australian record label, Sony Music, and receiving a plaque from them. He was informed that his self-titled debut album is 16 times platinum. “Just the support here in Australia has been absolutely crazy,” he notes, adding that it’s been “10 years since this album and it’s been amazing, thank you so, so much.” Throughout the night you felt that appreciation from the singer, who was constantly thanking the audience, discussing that ‘it’s no small thing spending your hard earned money on a ticket to a show’. From Eden continued setting the scene with beautiful imagery, a starlit sky and a mountainside and tree silhouetted in the foreground. The jaunty cheers you could hear from audience members further solidified the way people felt in the moment. Hozier stated he was feeling a bit under the weather when it came to his voice, but honestly is was another unforgettable performance. I had gone from the intimate setting of The Metro Theatre almost a decade ago, to a room that much larger. However that vibe, that energy was the same. The audience was absolutely enthralled by the show. Abstract (Psychopomp) was one of the few songs where the artist put down his guitar and the focus was wholly on his vocals, and what vocals they were. The audience supporting during the chorus, I was taken aback by how perfectly it all came together. It honestly sounded like an intentional showcase and we were a choir that was there for a purpose. What a beautiful purpose that was. This carried through to Would That I, our “oh, oh, ohh’s” were on another level. Going forward, I’ll listen to this song and remember that feeling - sitting in the crowd and hearing that beautiful sound, the way every corner of that arena felt that oh, oh, oh. We drew the oh, oh, oh, and Hozier raised us with an Aussie, Aussie Aussie, “oi, oi, oi,” to the delight of the crowd. A definite highlight for the musicians devoted audience.
Too Sweet followed Someone New, leaving the audience unable to catch a breath. Almost (Sweet Music) hit on so many levels. The melody was complimented by the visuals; the screen was split into multiple squares focusing on different aspects of the band, a close up of Hozier’s guitar strings, his two back up singers Melissa McMillan and Kamilah clapping with the beat, his keys player Mia Fitz swaying to the rhythm. It was a feast for the eyes to take this all in, you could see how each artist responded to the music and it really emphasised the musicality of it all.
Image: Vasili Papathanasopoulos.
Throughout the night Hozier was expressive, both with his words and hand gestures, which fittingly were front and centre with Movement. His inimitable vocal tones boomed throughout the stadium, with charismatic expression that punctuated the emotion within the song. It’s one thing to sing about feelings, but a whole other league to put that emotion into your voice. That is what makes audiences resonate with him, and appreciate what is being said, what they are seeing. It is difficult to express the experience that is Take Me To Church in a live setting and what occurred in those four minutes. It was transcendent. The musician then made his way to the B-Stage, where he played one of the first songs he ever released, Cherry Wine. It was a beautiful sight to behold, seeing the singer surrounded by a crowd of people and lights that complimented the beauty within the song and performance itself. With Unknown/Nth, he tells the audience he may need their, and with the swaying of his head to those opening notes you knew it would be another standout part of the show. With the support of the band on stage, there were these lovely touches within the performance that helped create that unique experience within the set. What I saw in front of me seemed expansive, from the band bathed in blue light, to the crowd both in the mosh and upper levels of seating surrounding the singer it was like a moment from a film.
Moving back to main stage, Hozier introduces the next track Nina Cried Power by talking about his experience recorded the song with a person hero of his; Mavis Staples. He shares that he wrote this song to remind him of the way that people show up for the world around them. Citing empathy and compassion, and the things we have to be thankful for. Things that had to be pushed for and protested for, and recognising the experience. Things that we take for granted and are at risk of losing. This powerful song received a five minute introduction, where Hozier also referenced Staples own work during the civil rights movement, and ultimately the different topics he touched on really set the perfect grounding for the emotion that followed within Nina Cried Power. For the final performance of his set, Work Song, Hozier is joined by talented singer Joy Oladokun, and they proceed to deliver an enchanting finale. This performance finished the night off perfectly, it was the culmination of everything we experienced that night. A focus on the moment, and feeding off that energy put forth from those on stage. Again, Sydney ending the night with a beautiful choral contribution. And another “yeow” from the woman next to me.
Walking the line between folk and rock, you really felt the respect Hozier has for his art. I was reflecting on those that have come before him, those who are still creating music within the same sphere and ultimately what music means to us. I mentioned it earlier, but it’s about community, above all it’s about love. Putting that energy out there and knowing people feel just like you. To feel seen through music and lyrics. There is great power there and you felt that energy in the room.
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