Hozier at Finsbury Park Review

It would not be London without violent changes to the weather. First, it was agonisingly hot, then the heavens opened and turned Finsbury Park into the early stages of a mud bath. But the sun soon came out, trying to cook those who had worn cord blazers alive. Such is the futility of guessing the weather conditions of the capital. Look past the horrors. By the time Hozier hits the stage for this massive gig the skies have cleared, and the sun is beating down on the packed crowd, who inch their way closer to the stage, following the whiff of overpriced chicken from stalls far away. It is a nightmare experience, but the crowd is in unison, as they were for the preceding artists, as they are for Hozier. A few screen overlays for the titan of the stage and that will do it.  

No more comes from his time on stage. The usual collection of excellent material spanning his three albums and a recent EP release, which he says gave him his first UK number one. About time, too. There is an essentialism in the wordplay Hozier orchestrates in these gigs. Part of the charm is presence but beyond some upside-down trees and stock colour options, there is little show going on. The focus then is on the music, something Hozier and his fans can rightly bank on. Eat Your Young opens the show well and the drift into older material and fan favourites like Jackie and Wilson or Dinner & Diatribes comes early. An even mix of the three albums and a Joe Cocker cover with Brittany Howard breezes through, and the gig is done by 9.15pm. What a treat. No rush home, then. More artists can learn from Hozier. 

Not just from his timekeeping but his skill as a vocalist. There is no doubting the defiance heard in his voice on Work Song or Take Me to Church. His classics are as powerful as the new material – profiled well as De Selby (Part 2) slots right in. A pace like this lends itself to the uproar and focus Hozier has as an artist. His transitions from song to song could be sharper, a tighter set where the silence is not so deafening, but the warmth and appeal of Hozier on stage is tremendous and cuts through regardless. Too Sweet is certainly the highlight for those in the crowd who listened to it on repeat after a near-death experience. What fun it is to hear of coffee and whiskey while crawling the roads of Iceland. It sounds better when standing in a muddy field than it does on a mountain.  

Hozier remains an effective and considerate artist. His stage presence is that of a man with stories to tell and an urgency and awareness of the world around him. The songs he produces and performs here are all uniquely tied to the real world and the audience in attendance. Hozier is a personable experience, and it is clear to hear why so many hold a candle to his effectiveness and quality. Lyrically he could be unchallenged. Few are marking the same sets of solid work as he is now, and Finsbury Park shows such as this prove it. The tall man from Newcastle, Ireland, has all the makings of an exceptional stage experience.