Concert review: Hozier’s Unreal Unearth tour
His music captivates the crowd with powerful rhythms and melodies
Irish musician and singer-songwriter Hozier performed at Rogers Arena in Vancouver on Oct. 22 as part of his “Unreal Unearth” tour. (Fleur Dias)
The weather on Sunday, Oct. 22 proved to be perfect, especially if you were amongst the spirited crowd gathered at Rogers Arena. Dressed in fall, grunge-folk outfits, thousands of fans found their way to their seats, eager to experience Hozier in Vancouver as part of his “Unreal Unearth” tour.
Born Andrew Hozier-Byrne, the Irish singer-songwriter has captivated listeners for a decade with his music, drawing inspiration from folk, soul, and blues. His third and most recent album, Unreal Unearth, was released on Aug. 18 and crafted during the pandemic’s isolation. The album takes listeners through Dante’s Nine Circles of Hell, offering themes of heartbreak, solitude, and the potential for rebirth.
Madison Cunningham, a Los Angeles-based singer-songwriter, opened the show, setting the stage for what was to come. Her music resonated with a haunting quality reminiscent of many of Hozier’s songs. Though lesser known than Hozier, Cunningham quickly won over the crowd with her unique style and sound.
What followed was nearly two hours of sheer musical perfection.
Hozier entered the stage, shrouded in darkness but illuminated by a compelling fragmented light. He performed against a backdrop adorned with countless pinpricks of light, mesmerizing the audience with the opening notes of “De Selby (Part 1).” Hozier’s ethereal voice beckoned the crowd into his world, casting a captivating spell over everyone present.
“De Selby (Part 2)” seamlessly followed, paving the way for crowd-pleasers like “Jackie and Wilson” and “From Eden,” a personal favourite which has nothing to do with Katie McGrath being in the music video, from his 2014 self-titled album. These initial songs set the tone for the evening, balancing tunes with robust rhythms and more serene melodies with lilting, ethereal qualities.
The stage’s backdrop was adorned with impressive graphics, live shots, and lighting displays. During “Cherry Wine,” a massive sun-like orb was projected behind Hozier, pulsating and dimming throughout the song, creating a unique visual spectacle. This motif reappeared at other points in the concert, consistently enhancing the music’s impact.
“Take Me to Church,” Hozier’s most popular song with over two billion streams on Spotify, was a pivotal moment in the concert. The production team ingeniously combined footage from the song’s music video with live shots of the performance, offering a fresh perspective on visuals loved by many fans. Flames lapped at the bottom of the band’s risers, adding an extra layer of excitement to the performance.
Prior to launching into the rousing 2018 anthem “Nina Cried Power,” which pays homage to protest anthems, Hozier paused to honour his duet partner, the legendary Mavis Staples. He underscored the direct connection between the Civil Rights Movement of the 1960s and the Civil Rights Movement in Northern Ireland, shedding light on the historical and cultural contexts that have shaped his music.
Cunningham returned to the stage at the end of the evening to join Hozier in delivering one of the most heart-rending love songs of the past 15 years, “Work Song.” A remarkable moment of their duet occurred when they gracefully retreated, allowing the entire arena to unite in a powerful chorus, singing the enduring lyrics. It was a hauntingly beautiful and emotionally charged conclusion to the night.
While Hozier’s songs have a way of evoking physical reactions, the live experience elevates them to new heights. Every minute of his performance exceeded expectations, resulting in an unforgettable night of music.
