On September 26, 2023, I found myself at Hozier’s Unreal Unearth Tour at the Anthem. This was one of two shows in DC, both of which were entirely sold out. The energy of the fans who had been awaiting the artist’s return since his Wasteland Baby! Tour in 2019 was palpable that evening.
In March 2023, Hozier released “Unreal Unearth,” his third studio album that takes on his typical sound of deep, rich instrumentals and vocals while showcasing the singer’s journey with relationships, religion, existentialism and cryptic personal anecdotes about his experience in the COVID-19 pandemic. The diverse sounds within the album are inspired by Dante’s “Inferno” and are framed around the concept of the nine circles of Hell. Although the work contains an encompassing theme, each track serves its own purpose.
The entire feel of the show matched the creative framework through which Hozier constructed the album. It felt as though the singer was even able to connect this aesthetic to old favorites that were sung, such as “Cherry Wine,” a classic, and “Work Song,” another crowd favorite played for the encore.
The show opened with “De Selby (Part 1)” and “De Selby (Part 2),” the two tracks that begin the album, which illuminated various themes within the music and prepared the audience for the trajectory of the show. These hymnal ballads go together well on the album to contextualize the work. The artist employed his falsetto and slowed down the ambiance for these two songs, taking his time, acting as a storyteller. The beautiful harmonies and the choir in these tracks contribute to the liminal vibe. In comparison to his 2019 tour, it seems as though Hozier’s confidence, stage presence, consistency, and ability to demonstrate his true talent has progressed. When he followed this saga with “Jackie and Wilson,” a rock-inspired track with a catchy and passionate guitar riff from his first EP, the energy shifted so seamlessly and beautifully as most of the audience joined in singing the classic rock-inspired song, completely lifting the atmosphere.
The show was continued with a mix of new tracks from the most recent album combined with old favorites. The performance of “Francesca” was particularly notable, as it featured captivating vocals that filled the room. This album, especially this track, feels personal in the way it was performed, as it showcases messages about mortality sung in such a distinct way. One of the major highlights of the show was seeing the transition between songs from the most recent album and other old favorites; for example, “I, Carrion (Icarian),” an acoustic track from “Unreal Unearth,” into “Cherry Wine,” a song with a very recognizable guitar lick. The audience was engaged the entire time, even for the tracks where there was not particularly a “sing-along” vibe. Hozier is a performer who preaches to the crowd.
The artist’s combined vocal and guitar skills are certainly worth mentioning, as he played guitar for nearly every single song performed. The combination of Hozier’s resonant, powerful vocals and the effortless shift between impressive acoustic and electric guitar abilities made the musical experience of this show truly astounding. Hozier is one of the best performers I have seen in concert, which I believe to be due to his attention to detail within his musical abilities and performance. His stage presence is like no other—and it’s not just due to his stature. He is able to exude resonant, bright, and mythical energy from nothing other than his skills. It seems as though his performance is not about being showy, or loud, or distracting, but more than anything it’s centered around the music.
The encore was certainly one of the best moments of the show, and ended the performance on such a powerful note. A version of “Nina Cried Power” was performed with backup singers that did shockingly justice to the Mavis Staples’s feature on the original track. The resonance and crisp harmonies captured the awe-inspiring message and depth of the song. The seamless blend of voices was further carried into heart wrenchingly beautiful “Work Song,” which Hozier brought out opener Madison Cunningham for. This was the perfect end to a passionate and encapsulating show.
