At Hozier’s sold-out show at L.A.’s Greek Friday night, one of the first things you couldn’t help noticing on stage —because it’s still an anomaly — was that his eight-piece lineup was half-male, h…
’s sold-out show at L.A.’s Greek Friday night, one of the first things you couldn’t help noticing on stage —because it’s still an anomaly — was that his eight-piece lineup was half-male, half-female. Knowing his penchant for socially conscious songs, his decrial of “the anthems of rape culture” in his lyrics, and a general female-friendliness to his appeal, it’s easy to figure this gender parity is a conscious one and think: That is soooo.
For somebody who made his name on as forlorn but powerful an anthem as his 2014 breakout smash “Take Me to Church,” and who can milk that melodrama for all it’s worth, Hozier has a lot of other modes he can default to. He treads very lightly into the area of soul with songs like “Almost ,” the lyrics of which consist of either name-checking or alluding to some of the great jazz vocal classics of the 20century, in an idiom that’s not so much jazzy itself as folk-R&B.
If there’s a knock on Hozier, it may be the sincerity thing. He’s a nice guy who’s finishing first, which doesn’t necessarily help him become an indie-rock darling or Pitchfork favorite. At the Greek, there was an almost wholesome feeling that would’ve been an immediate turnoff to anyone who insists on having their rock rough, starting with his graciousness in repeatedly naming the band members and repeatedly thanking his opening act .
Other Hozier songs reveal darker gets more estimable the more you dig into it. With its bird talk, “Shrike” sounds sweet enough, till you realize that a shrike is a kind of bird that impales its prey on thorns, which does add a rather bloody metaphoric undertone to what sounds like a reasonably pacifist breakup song. “Dinner & Diatribes,” meanwhile, is just deeply horny, not thorny.
France Dernières Nouvelles, France Actualités
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