- Natalie La Roche
Hozier: Wasteland, Baby! Concert Experience
Five years since his debut album appeared in the music scene, Hozier's powerful voice has resubmerged on the music charts. His newly released album, Wasteland, Baby!, was released March 1st, and remained in the top 3 of the iTunes Charts in America during the first week of its release. The record encompasses a dooms-day theme and the human comfort we look for at the realization the apocalypse is unfolding in front of us. The Irishman cleverly achieves the transmission of this message through scientific, literary, and biblical allusions — the last one being Hozier’s staple. Each song has a narrative of its own, yet they all fuse harmoniously to accomplish the apocalyptic entity the record sustains. Not only is the lyrical construction genius, but Hozier’s vocal range and ability amplify the quality of the album. I had the pleasure of experiencing his phenomenal talent Tuesday night when I attended his concert, which surpassed every expectation I had.
Opening the show was Jade Bird, a 21-year-old British singer, songwriter, and musician. Her thirty-minute set was spectacularly enjoyable. Her humble and adorable presence is counterbalanced by her vigorously raw voice and accompanied by her guitar playing. She thanked the crowd before leaving the stage, and after some more waiting, Hozier — and his band — replaced Jade's presence on stage.
The concert began with "Would That I" from the new record, followed by "Dinner & Diatribes." Performed third was one of the most compelling odes to music legends and commentaries on the crushingly human aspect of politics: "Nina Cried Power." The album track features Mavis Staples and catalogs Billie Holliday, John Lennon, James Brown, and Nina Simone, who the song is named for. When describing the song, Hozier dubs it a "thank you note to the spirit of protest" in an interview with Billboard. The live performance of the song multiplies the almighty essence of the song coupled with hope, truly causing the audience to feel the cry in bones and soul.
Since the record is so instrumentally rich, the live performance requires compensation to recreate live the brilliant saturation produced in the recorded versions. The task was realized remarkably by seven band members, who doubled as backing vocalists to duplicate the choir-like component of the album, concurrently working as another element of the church. The audience also held a role in the execution of the performance: rhythmic clapping. Such addition is necessary for the performance of a song like “Work Song” — clapping in unison by 1,000+ people enriches the song marvelously.
While performing songs from new and old albums alike, the audience could identify the rapture that consumed Hozier with every lyric sung. His stark facial expressions and the unwilling break at his knees made it undeniably apparent that the music is authentic — it collapses him.
On this album, Hozier's acoustic works evolved from the simple sounds of "Cherry Wine" to the Celtic leaning of "Shrike." The ultimate union of the prophetic thematic implications are embodied in the acoustic song for which the album is named after, "Wasteland, Baby!." When performed on stage by a lone Hozier and his guitar, an entrancement overtook the audience, listening blissfully. On the contrary, the performance of "Cherry Wine" caused the crowd to sing gently along. The moment was blanketed by tenderness, to which the singer commented "you sing beautifully, Miami!"
The finale of the show included Hozier thanking everyone involved in the arrangement of the concert, from the band members to the technicians — who beautifully controlled the lighting theatrics. He noted that it had been one of the loudest shows he has played, which is hard to doubt having experienced the singing outcries in “Take Me To Church.” Finally, he and the band stood at the front of the stage, arms in arms, and took a final bow. This is an artist that writes and sings from the heart and soul. Recorded or live, Hozier has the undeniable ability to move listeners while they enjoy the beats, harmonies, and rhythms cultivated.