Tickets for Hozier's first visit to Adelaide sold out in a matter of minutes, so it was no surprise the Adelaide Entertainment Centre was buzzing with excitement as the crowd was arriving on Friday (8 November).
Nashville-based artist, Joy Oladokun, scored the enviable support spot for the tour (having opened Hozier's North American dates earlier this year) and was a great choice, bringing thoughtfully crafted songs delivered with a voice that touched on woodwind tones.Their cover of 'Blackbird' was superb, and closing song, 'Look Up', brought a reminder that through dark times there is still love and light awaiting us. It was the perfect way to set the tone for what was to come, and the receptive crowd loved every moment.
Joy Oladokun - image © Ciara Henshaw
As the lights dropped onstage and Hozier's towering figure stood in a spotlight, the sparse beauty of 'De Selby (Part 1)' rolled through the room setting a sombre, lonely tone, resplendent with bewitching harmonies through the Gaelic verses. 'De Selby (Part 2)' followed, raising the tempo and energy as Hozier's unmistakeable voice soared.
The hook of 'Eat Your Young' got the room moving and it didn't stop as 'Angel Of Small Death And The Codeine Scene' set a foot-stomping pace, and had everyone clapping in time. 'Francesca' brought the first big sing-along of the night, with shining phone torchlights swaying all around with the stadium in full voice.
As he looked out from the stage between songs, Hozier noticed crowd members with handmade signs proposing special tracks and promised to get to every single one before quipping: "Not a f...ing chance."
Hozier - image © Ciara Henshaw
However, noticing many signs requesting 'NFWMB', he asked his crew to tune a guitar and despite warning he may need to start it a few times if he messed it up, performed it perfectly.
The set list bounced across albums, highlighting a diversity of styles spanning folk, blues, hymnal chants, rock, and pop. Through each, Hozier's voice was an anchor to the feeling of the song, channelling emotion into every note.
His bandmates, gathered from across the globe, didn't miss a beat on cello, violin, bodhran, synth, drums, guitars and backing vocals throughout, with many instrument swaps and harmonies.
Hozier - image © Ciara Henshaw
Video and lighting complemented the tone of each song, with starlit vistas, pits of fire and the depths of the underworld imagined on-screen and ultimately in three dimensions as tree roots emerged from the roof throughout the set.
'From Eden' offered another chance for a sing-along moment, before the most uplifting moment of the night as every voice joined in the chorus of 'Would That I', clearly lighting up every heart in the room.
The first chord of 'Take Me To Church' was met by a roar that quickly dropped into stunned astonishment as Hozier prowled the stage to delivering a gut punch of raw emotion. In a night of stories told through song, this remains the most powerful of them all and was met with raucous appreciation.
Emerging alone at a small stage just behind the sound desk, Hozier's encore began with an enchanting performance of 'Cherry Wine' and 'Unknown / Nth' before returning to the main stage.
Hozier - image © Ciara Henshaw
There he shared his thoughts on compassion, peace, and love, calling for a ceasefire in Gaza and paying tribute to Mavis Staples and her role in the civil rights movement before launching into 'Nina Cried Power', the song he recorded with Staples. Joy Oladokun then returned to the stage for 'Work Song', sharing verses with Hozier to close the show.
It was a perfect end to a performance that offered soaring beauty, crushing sadness and uplifting moments of unbridled joy, all anchored by Hozier's inimitable voice and mirrored by a crowd who were there for the ride and loving every minute. It was an enchantment, leaving us floating as we dispersed into the night. Pure beauty that won't be soon forgotten.
More photos from the concert.
