REVIEW: Hozier searches for soul at Edmonton's Rogers Place (2024)

Does Hozier have soul?

It was doubtful anyone had that question on the top of their mind at a jammed-to-the-rafters Rogers Place on Saturday night for the Edmonton stop of the Irish folk-pop superstar’s Unreal Unearth tour. Born Andrew John Hozier-Byrne but graduated into the one-name upper class of musicians, Hozier’s brand of folk-rock-pop with a bluesy edge has been a constant presence on contemporary rock radio worldwide for more than 10 years. Some criticize his music as trying too hard while simultaneously not enough, prompting the question: Does Hozier have soul?

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What Hozier certainly did have that night was the remnants of a cold. Strolling onto the stage with his band and launching into the first song, he looked languid, peering out at the raucous audience with tired eyes. Sheepishly he admitted he was still battling the remnants of a virus that earlier swept through the band, joking he may sound like he was “slapped with puberty for the second time.”

The band kicked off the set with a trio of high-energy songs, whipping the crowd into a frenzy. While his music often sounds sterilized and sometimes soulless in recorded form, Hozier’s songs took on a looser, fluid form in a live setting. Jackie and Wilson buzzed like a garage band warming up while the propulsive new song Nobody’s Solider came across like the next James Bond theme song. Early standout Eat Your Young was ethereal and thrust into the heavens by the divine background vocalists.

Hozier’s backing band were tight throughout, juggling the different musical styles with aplomb, which included blistering violin solos and even a touch of vocoder. Most of the set consisted of the standard rock stylings but supplemented by the occasional strings, keyboard and female background vocalists, creating a giant, echoing sound in the ol’ hockey barn that techs battled to tame. The stage was sparse, with the requisite lighting and projections adding an appropriate atmosphere to the music.

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There’s no denying the star of the show was Hozier’s magnificent voice. He hit every high and low note while being heard over the sometimes-crushing guitar bashing of his band. While his talents would normally be better suited for a smaller, more intimate venue, he could project up to the nose bleeds. He was apologetic about his strained vocals throughout the concert, but his singing still towered over many rock acts that previously graced the Rogers Place stage.

Midway through the show Hozier hit his stride, taking his hands out of his pockets, and began to strike poses more benefitting of a rock star. The band cranked up for Francesca, which came across as a fun, grungy throwback to The Cranberries while bringing a swampy, bluesy feel to It Will Come Back. Hozier especially turned up for Would That I, gesturing to the crowd during the “oh, oh” chorus.

Hozier was joined by opener Allison Russell for two songs, calling her “one of the greatest freedom singers of our time.” Russell’s earlier set was highlighted by the giddy energy she brought to the stage, dancing barefoot between alternating singing with playing the banjo and clarinet. The Canadian, Grammy-Award-winning Russell likely won over new fans with her songs that found funky new sounds within the roots genre. She joined Hozier to sing the delicate Wildflower and Barley and the concert-ending Work Song, adding soulful vocal stylings to the songs.

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As trumpeted by Russell earlier on, Hozier became the first Irish artist since Sinead O’Connor to have a No. 1 song in America, in the form of 2024’s Too Sweet, which once the sinewy bass licks were played at Rogers Place caused thousands of cellphones to be whipped out to document the hit song. You may be shocked to find out that Too Sweet is Hozier’s first and only top-charting song, which can be attributed to the TikTok effect, but it didn’t matter to the legion of devoted fans, some of whom were dressed up as fairies with pointed ears, who were also singing along to the non-radio singles and trading friendship bracelets in the concourse.

The inescapable Take Me to Church ended the set, culminating in a singalong so loud Hozier was able to rest his microphone for much of the song and allow the audience to carry the rest. The massive song, which was most of the crowd’s first introduction to Hozier years ago, was thankfully less bombastic played live than its recorded version. Stripped of its contemporary rock radio sheen it became more of a gospel song, giving a powerful thrust to its themes of acceptance and support for the LGBTQ+ community, which Hozier showed by draping a pride flag on his mic stand. Soulful indeed.

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After a short break, Hozier strolled back onstage solo for the encore, performing the delicate Cherry Wine with just his acoustic guitar picking and voice. Thankfully there didn’t appear to be any public proposals during the song at this tour stop. The encore finished with Unknown/Nth, Nina Cried Power and Work Song, with the band filtering out and Russell returning. In between Hozier launched into an impassioned call for social justice, touching on reproductive rights for women and a cease-fire for Palestine, among other topics that would enflame any online comment section.

In what was a likely first for a major touring rock band at Rogers Place, Hozier took the time to not only do the customary introductions for his band, but also made sure to thank nearly everyone on his touring team by name, right down to security, lighting, sound, etc. It was a list of names that likely rivalled the shout-outs at the end of a first-time Fringe production in length, but it came from a place of gratitude rather than duty.

Despite being hampered by illness, Hozier did an admirable job on Saturday night. He was able to shake off the sickness shackles towards the end of the show, that or the medication finally kicked in, and open up to the audience, including telling a story about freeing some butterflies in Edmonton he obtained in Oklahoma. It was tantalizing tidbits like that which showed a little soul from Hozier.

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