It’s never really been my mission to cover major label artists that have been force-fed down our proverbial throats, but after two personal experiences that were related to this artist, and some self-admitted shit-talking, I felt compelled to check him out with open ears and an open mind as his massive international tour rolled through the House of Blues this past Wednesday.
For sure, if there’s one artist that has received more than his fair share of exposure in 2014, it was the young twenty four year old from Ireland named Andrew Byrne Hozier, better known as simply Hozier. The madness around Hozier started last summer with the release of the year’s most unlikey hit “Take Me to Church” and he hasn’t slow down yet. I remember hearing it for the first time upon his announcement that he would be playing the Newport Folk Festival and joked with a friend that his deep register baritone voice sounded like Rick Astley. Just by happenstance, I got the brief chance to meet Hozier at that historic festival on the streets Newport (Newport folk veteran attendees can attest these kind of casual encounters with musicians during that weekend are pretty commonplace). This was despite the fact that I didn’t see his breakout festival set. Our conversation was short, and after challenging the 6’5 youngster to some one on one basketball, he began to explain how he pushed into the Irish sport of hurling, but chose the guitar instead.
From that weekend on, his song spread like a disease to almost eye rolling levels. It was inescapable, and his appearances on everything from commercials to daytime television were a testament to the connections he was making with people. I wasn’t really one of them, but I did marvel in just watching the projection of his career. In one week alone, his song was sung on the Voice, he performed on the Victoria’s secret fashion show, and was featured in a commercial with Lebron James.
Then, again just by a series of fortunate connections, I was lucky enough to get the opportunity to be in the audience of a Saturday Night Live taping in October. Who would be the musical guest? You guessed it; Hozier. Still, much of that night was a blur and he only played two songs. The last minute opportunity to go to the taping forced me to ask the world’s worst best friend (doesn’t everyone have one of these?), who kept me in constant fear of being thrown out, especially when he dropped an SBD just a few feet away from Lorne Michaels during a commercial break. So when the opportunity came to finally catch the phenomenon make his return to Boston and play a full set, I sort of felt like I had to go, and I’m glad I did.
George Ezra opened up the show with a solo set that looked awkward in front of Hoziers full band set up. My photographer and I couldn’t help but wonder why Hozier’s major label people couldn’t fund a full band for the opener in the midst of an international tour that must be pouring in some major revenue. Nonetheless, another lad from Great Britain held his own for a short set that had him finger plucking his electric guitar over his quirky voice and lyricism. Overall, he really seems to be banking on his tales from his cross-country European trip as he seems to be over-explaining the origins of all the songs on his debut record, including the catchy “Budapest” song that “you oughta know” about.
Hozier came out to what sounded like teenage fans screaming to an almost boy band level. I wasn’t too surprised as I recently heard about Robin Quivers big time crush on the pony-tailed heartthrob, but still perhaps have under-estimated how many people there were to catch a glimpse of the rising star rather than actually listen to them.
With that being said, Hozier seemed to be on a mission to make his audience work, and his audience seemed to have a beef with me just about wherever I stood. I am not quite on the height level of Hozier, but apparently I was ruining many a rich persons night by blocking the site lines of their over $200 ticket. Obviously that number is the resale value, but you could sense an uptightness in the crowd. I have been asked to move before at shows, but never as many times as this night and never quite as rudely.
After opening up with the humming and uplifting chorus the defines “Angel of Small Death and the Codeine Scene,” perhaps his most rocking tune, he set up the audience to think he would be quickly running through his hits as “From Eden” quickly followed. “Jackie and Wilson” followed suit as well. The middle of his set worked through slower numbers from the record, but the crowd didn’t really shut their mouths enough to actually listen to some of this more passionate, more authentic songs that make up Hozier’s full repertoire at this time. “Like Real People Do” showed off a bluesier side along with a Skip James cover that gave credit to Hozier’s guitar playing abilities which nobody seems to be giving him any respect for among all the hoopla. And his duet with fellow Irish musician Karen Cowley of “In a week” broke things down to a folk tune prefaced with a grim story surrounding infamous haunting Irish wilderness. The set closed out with “Take Me To Church” that seems to evoke very little emotion or interest from Hozier at this point as expected.
The band broke into their obligatory encore with Ariana Grande’s “One Less Problem,” and teased Warren G’s “Regulate.” This was kind of painful to hear, not because it was a bad version, but because of the realization of the what kind of audience Hozier seemed to be catering to. There just seems to be so much roots and tradition involved in so much of his music that going for a hokey pop cover seems silly. Which I’m sure is the point, but honestly, what a waste of time. Then pulling on the lame trend of turning your encore into a second set, Hozier played two more songs before ending with the Gospel number “Work Song.”
Overall, Hozier proved himself as an authentic artist to me and not just a one hit wonder. He is certainly riding on the one hit magic carpet ride right now and how that plays out on a sophomore record is yet to be seen. Regardless though, the kid is talented and even though he may be an artist people like me like to rag on because of his major label support and good looks, he’s got real genuine talent behind it.
