#and the guy whose last name is Shrike

[solasyr]

do we think the bird references in nsbu are going to add up to something or is it just a Brennan thing

[fyeahhozier]

The Irishman is deeper and darker than he's maybe been given credit for... but the geniality and swoon factor remain high.

Variety: Hozier Proves He’s a Career Artist in Gratifying Greek Show

At Hozier’s sold-out show at L.A.’s Greek Friday night, one of the first things you couldn’t help noticing on stage —because it’s still an anomaly — was that his eight-piece lineup was half-male, half-female. Knowing his penchant for socially conscious songs, his decrial of “the anthems of rape culture” in his lyrics, and a general female-friendliness to his appeal, it’s easy to figure this gender parity is a conscious one and think: That is soooo Hozier. Which it is … and so effective, too, like just about every choice he’s made so far in his short, charmed career. On the most practical level, if you can bring in that much female harmony while also getting ace players in the bargain, why wouldn’t you? But it also makes for a good visual emblem of some of the other dual energies Hozier is playing with in his music: darkness and enlightenment; romantic hero and cad; raw blues dude and slick pop hero. He’s got a lot more going on than just being an earnest do-gooder. (Although he does do good, earnestly.)

During Friday’s hour-and-three-quarters set, Hozier focused largely on material from this year’s sophomore album, “Wasteland, Baby!,” which sounded good enough on record but almost uniformly improved in the live experience. Sometimes the upgrade came from making full use of the multi-instrumentalists on hand. The first album’s “Angel of Small Death and the Codeine Scene” now had Hozier on guitar facing off against violinist Emily Kohavi, trading solos — and if it’s hard to hear an electric guitar/fiddle duel without automatically thinking “The Devil Went Down to Georgia,” it was one of many welcome moments making use of the MVP skills of Kohavi, the newest addition to the band. Other times, the improvements on the album versions just had to do with Hozier allowing himself louder and gutsier guitar tones. He’s a bit like Prince, in that way — someone you’d happily listen to playing a very nasty-sounding six-string all night, although he has so many other stylistic fish to fry, which in this case means a still slightly greater emphasis on acoustic finger-picking.

For somebody who made his name on as forlorn but powerful an anthem as his 2014 breakout smash “Take Me to Church,” and who can milk that melodrama for all it’s worth, Hozier has a lot of other modes he can default to. He treads very lightly into the area of soul with songs like “Almost (Sweet Music),” the lyrics of which consist of either name-checking or alluding to some of the great jazz vocal classics of the 20th century, in an idiom that’s not so much jazzy itself as folk-R&B. You could almost cite it as the subtle kind of Memphis-swing thing Justin Timberlake should aspire to, if the tricky polyrhythm and oddly chopped up meters Hozier adds as wrinkles weren’t so un-replicable. Bringing up Stevie Wonder’s “Living for the City” as the night’s sole cover also established that early ‘70s era and sound as an influences he’d like to make perfectly clear. At the other extreme, this son of a blues musician can hard back to those roots so well, in noisy numbers like “Moment’s Silence (Common Tongue)” and the brand new “Jack Boot Jump,” that he could give the Black Keys a run for their money.

“Jack Boot Jump,” which is scheduled to go on an EP of completely fresh material that Hozier said he plans to put out before Christmas, was possibly the highlight of the night, even though — or because — it stripped his excellent band down to just him and longtime drummer Rory Doyle. Having earlier played the current album’s “Nina Cried Power,” which is maybe more of a tribute to other historic protest songs than one of its own, Hozier gave a lengthy introduction to “Jack Boot” indicating that he’s aware of the traps that come with the territory. “I do have some reservations about the words ‘protest song’ and ‘protest music,’” he admitted. “But if you’re familiar with an artist called Woody Guthrie, he wrote the evergreen anthem ‘Tear the Fascists’ down. I was kind of looking into songs in that sort of tradition, that singing out, and I was worried that this is 2019; it’s a very unsubtle way to approach songwriting.” But, he added, “it was a funny few weeks, with 70 people shot in Hong Kong and arrests obviously in Moscow; Chile now at the moment also. And I was thinking, forget about subtle art — what is not subtle is this murder of protesters, and what is not subtle is the jack boot coming down in Orwell’s picture of the future: ‘If you want to imagine the future, imagine a jack boot stomping on a human face forever,’ that chilling quote from ‘1984.’ Anyway, I was just thinking, yeah, f— it, it’s not subtle, but let’s do it.” His electric guitar proceeded to be a machine that kills fascists, and also just slayed as maybe the most rock ‘n’ roll thing he’s written. (Evidence of the new song on the web is scant, or should be, anyway, since he begged the audience “in good faith” not to film it.)

If there’s a knock people have on Hozier, it tends to be the sincerity thing. He’s a nice guy who’s finishing first, which doesn’t necessarily help him become an indie-rock darling or Pitchfork favorite. (Predictably, “Wasteland, Baby!” got a 4.8 rating there — that’s out of 10, not 5.) At the Greek, there was an almost wholesome feeling that would’ve been an immediate turnoff to anyone who insists on having their rock rough, starting with his graciousness in repeatedly naming the band members and repeatedly thanking his opening act (Madison Ryann Ward, a fetchingly husky-voiced Oklahoman filling in on this part of the tour for a laryngitis-stricken Freya Ridings). That extended to a sense of uplift in many of the songs that doesn’t always match the themes of the material. But then, there was the impossible good cheer and attractiveness of the young players, to match Hozier’s own; this is a group where everyone looks as if they could be in Taylor Swift’s band or actually looks like Taylor Swift. The swoon factor in Hozier’s appeal is undeniably high, and it’s safe to say no one left Griffith Park less smitten.

But ladies (and gentlemen), do be aware that Hozier has some dark-side moments that can almost make Leonard Cohen look like Stephen Bishop. The only time he really overtly accentuated that in concert was in introducing and playing the new album’s “No Plan,” a love song that is also an amiable statement of atheism in which Hozier reminds his beloved that the universe is going to collapse upon itself someday. This may be rather like the gambit in which the ‘50s boy gets the girl to make out with him in a fallout shelter, but in any case, Hozier didn’t stint on the end-of-all-things aspect of it, even putting up on screen behind the band a statement from astrophysicist Dr. Katie Mack pointing out humankind’s and the galaxy’s ultimate fate. (“Honestly I never really imagined I’d end up being name-checked in a song for talking about how the universe is eventually going to fade out and die so this is all very exciting for me,” Mack tweeted in replay earlier in the year.) Suffice it to say that with that soulful a vintage ‘70s groove and that fuzz-tastic a guitar line, many babies will be conceived to the tune of “No Plan,” whether it foresees generational lines ending in a godless black hole or not.

Other Hozier songs reveal darker gets more estimable the more you dig into it. With its bird talk, “Shrike” sounds sweet enough, till you realize that a shrike is a kind of bird that impales its prey on thorns, which does add a rather bloody metaphoric undertone to what sounds like a reasonably pacifist breakup song. “Dinner & Diatribes,” meanwhile, is just deeply horny, not thorny. The most brooding song of the set, “Talk,” has verses where Hozier sings in lofty, literary terms about the romantic myth of Orpheus and Eurydice, only to reveal in the chorus that he’s talking to this woman in such high-minded terms because he just wants to charm her into the sack. As a piece of writing, it’s hilarious, establishing a devilish side of Hozier it’s good to hear. As a piece of performance, it’s just sexy.

But as enriching as it is to realize Hozier has a healthy sense of humor in his writing, bad-boy wit is never going to be what you’re going to come away from a Hozier album or show with. The main part of Friday’s concert ended, as expected, with “Take Me to Church,” his outraged take on abuse and homophobia in the scandalized Catholic church — which just happens to be easily taken as a lusty hymn to sexuality. Following that, the large band returned to a stage that had now been decked out in some kind of ivy, as Hozier talked about his love for the late Irish poet Seamus Heaney (whose last words he has tattooed on his arm) and, “since I’ve come this far,” went ahead and recited his poem “Mint,” sharing his hero’s affection for the plant and its “tenacity for life.”

Tenacity is likely to be a buzzword, too, for Hozier, given his leaps and gains as a writer-performer and seeming level head atop his tree-top shoulders. Taller still of voice, musical dexterity and good will — and still just 29 —  he’s somebody the swooners and even some cynics should feel good about settling in with for a very long Irish ride.

[themusicenthusiast]

Friday, March 29th, 2019 – Hozier Leads Fans on a Compelling Trek Through the Wasteland as the Wasteland, Baby! Tour Hits Dallas

Photos by Jordan Buford Photography South Side Ballroom has hosted plenty of sold-out shows during it’s time, some stellar talent gracing the stage just in the past year and packing out the venue that can accommodate a couple thousand or so people. However, it had been a while since a show had taken place there with the sheer amount of excitement that enveloped the one occurring on this final Friday of March 2019. Andrew Hozier-Byrne, or as he is professionally known, Hozier, was returning to Dallas for the first time in roughly four years. Four years that have seen the artist growing more and more acclaimed, his successes most recently culminating with the release of his highly anticipated second studio album, Wasteland, Baby! (out via Rubyworks Ltd./Columbia Records). Nearly three weeks in to the North American leg of the Wasteland, Baby! Tour and Hozier and his band were finally getting to North Texas for a performance that likely could have taken place at place even more spacious than South Side Ballroom. No fans were complaining about it though, recognizing this was surely the last chance they would ever have to see Hozier in a venue whose layout boasts some sort of intimacy with the artist. They had been anticipating this for quite some time; the line to get in snaking from the door to the street a ways behind the venue, down it and into the parking lot where it continued to zig and zag. The staff worked to get people in as quickly as they could, making the wait time more than acceptable, yet the line consistently stayed the same as more people arrived and joined. And that was even before when the doors had been scheduled to open at seven, more than a couple hours yet to go before Hozier would ever take the stage. Those attendees were comprised almost exclusively of a young demographic, from teens to early twenty-somethings – a few parents seen bringing their kids to what was surely the concert of the year in their eyes – and of those it was largely a female fanbase whose adoration for Hozier was readily apparent. Jade Bird commented about that stark contrast as she warmed up the audience, asking the ladies in the crowd to make some noise followed by having the guys do the same. She made a quip about them being outnumbered, grinning as she spoke. It was just her, armed with nothing more than an acoustic guitar as the young, British singer-songwriter treated listeners to some bare-bones renditions of her songs, giving them a preview of sorts of her debut LP that is due out in April. Patrons highly enjoyed what Bird did, though by the time she was done they were ready to get to the main act. Fortunately, they didn’t have long to wait. Hozier and his accompanying ensemble cast of musicians (seven in all) took the stage at 9:01, deafening fanfare officially welcoming them to Dallas.

As Hozier’s music is built on a foundation of impassioned emotions, so, too, was the performance he gave, and it was aided by a quality of production that was phenomenal, rivaling the level of what is expected from an arena show. Nothing extravagant, it was just a rich, luscious display that captivated the senses, accenting the music so that the songs felt bolder and stronger than they already were. It was noticeable as they took the stage, flickers of light barely illuminating the outlines of each musician. Soon, Hozier’s gentle plucking of the strings of his acoustic guitar rang out through the room, “Would That I” beginning the 81-minute display they had planned. As they progressed the center stage gradually filled with light, revealing the man of the hour for all to see; the climatic and impassioned choruses bringing more of the band into focus as short bursts of light struck them. An enthralling atmosphere had been established by that opening number, and to say it felt spiritual – sonically and visually speaking – would not be an understatement. The stark contrast of that track as it ebbed and flowed between something tranquil and beautifully striking was wonderous, and Hozier would only build upon that, seizing that moment to further immerse the audience in the spectacle that he had planned.

Several members of his backing band served in multiple roles, such as Rachel Beauregard and Kristen Rogers, both of whom had provided backing vocals for that opening number, and afterwards approached the front of the stage where they contributed to the percussion and keys, respectively. It was with “Dinner & Diatribes” where one was able to better appreciate the intricacies of Hozier’s music, given that everyone was able to see just how much effort goes into bringing the expectations from the recording to life. Everyone’s role was vital; most of the musicians clapping along with the percussion when they could, encouraging the spectators to do the same, which they did with glee. With that track Hozier and company made it apparent just what a force to be reckoned with they were, the energy skyrocketing off the charges, Hozier himself finding a moment to just wail on his guitar with absolute ferocity. They were in top performing shape thanks to being well into the current tour, their chemistry binding everything together as they really hit their stride with plans to go beyond it.

Quickly escalating with those first couple numbers, it all culminated with “Nina Cried Power”, the powerhouse, anthemic track being an ideal song for the live environment. Only occasionally did Hozier play a guitar during that one, instead embracing and owning the role of frontman for the only real moment of the show. He did carry his guitar along with him, holding it to his side and even lifting it slightly in the air, but for the most part he roamed about the stage and belted out every line with immense passion. The connection he had to that song was obvious, the emotions that went into it bleeding through on his face; the subtle movements, such as the little gestures of the hand that he did, being quite keen, and as minute a detail as that was it went a long way in further thrilling the crowd. What was so surprising about that was how strongly the spectators reacted to that first handful of songs. Wasteland, Baby! has only been out for a couple of months, yet those songs already seemed to be as beloved as those from his debut LP. It’s a reaction seldom had, one where fans of any artist or act enjoy the new material as much as what they’ve become so familiar with, and it speaks to the respect and even loyalty that Hozier’s fans have for him. That said, they loved hearing the couple classics that immediately followed, after which Hozier declared the crowd to be one of the most enthusiastic and simply best audiences that they had ever played to. Fearing that could be construed as just a statement he stressed his sincerity about it, the slight state of awe over the amount of love he and his band were being shown affirming how genuine he intended that comment to be.

The stage was awash with brilliant pastel lighting for “Talk”, piercing through what was otherwise darkness, the faint outlines of the majority of the band members being all that was noticeable; while “From Eden” drew a joyous response from the crowd once they discerned what it was from Hozier’s picking at the acoustic guitar he had switched out to. Perhaps one of the neatest things about this show was how Hozier worked to make it feel like an intimate affair by injecting a bit of a storyteller vibe into it. For example, in setting up the title track he spoke of what a “weird time” it had been when he first began writing for this new record, around the time that 2016 had ended. In case anyone had forgot, he reminded them that was the year a seemingly abnormal amount of celebrities – and musicians in particular – passed away, which in turn had him thinking about the end. Thus, “Wasteland, Baby!” was born, a gorgeous song that alludes to the fragile and fleeting nature of existence; the band being pared down to a trio for that primarily acoustic piece.

It was followed by another new song as well as a story to accompany it, Hozier speaking of a type of bird known as a shrike. Rightfully assuming that most were unfamiliar with the species he described some of their habits, like how they impale insects or small animals on things, even hanging them on what could be called a hook, earning them the nickname of “butcher bird”. “…They’re a beautiful bird, but also horrifying… So, I thought it would be an appropriate name for a love song,” he finished, earning a hearty laugh from the onlookers. The subdued “Shrike” portrayed Hozier and company in a different light; Suzanne Santo, who was on guitar duty for most of the night switching out to a violin, the restrained nature of that strikingly lovely track putting more focus on Hozier’s voice and the vast range he commands so impeccably well.

Patrons were elated to hear “To Be Alone”; the hypnotic drum beats Rory Doyle steadily served up enrapturing all, some clapping along ensuing before a portion of the second chorus was ceded to the fans, who shouted it at the top of their lungs. “Moment's Silence (Common Tongue)” also stood out as a fan favorite of the night, the song being so much more than what is portrayed on the recording. Amazingly intense, it allowed for arguably the most raw, primal moment of the night, Hozier proving he has all of the hallmarks of a bonafide rock star. It was straight up rock ‘n’ roll, a seductive beat and gritty guitar riffs ensuring it was a beast; the dazzling display of lights that went with it adding to the impressive scale. Adding some insight to “Almost (Sweet Music)”, Hozier explained it was about attempting to “escape the inescapable”, speaking of how music establishes a lasting connection to whatever a person is experiencing in their life at that moment, and who they were with. That really seemed to resonate with everyone, as that is one of greatest powers that music has: providing a tether to every crucial moment of one’s past, be it wonderful or awful.

The closer came abruptly, “Take Me to Church” catching everyone off-guard in the most wonderful way. Mainly, it was just difficult to believe that the night was already over. Unexpected as it was, the couple thousand people hastily got on the same page, echoing along to every last word of the now classic breakout hit; a collective shriek filling the room in the latter part, Hozier having jumped into the pit in front of the stage, getting as up close and personal as he possibly could with the lucky fans who had scored a spot at the front. A phenomenal display on all fronts, Hozier wasn’t quite done with Dallas, a couple songs planned for the 10-minute long encore. They weren’t done dazzling, either, “Work Song” showcasing another gorgeous side of the collective talent gathered on stage, as they nearly all harmonized with one another, the layers of the vocals being astounding, resulting in a stunning finish to what had been a concert for the ages.

Hozier definitely has a throng of ardent supporters, but on the other hand, there are still just as many people out there who probably view him simply as the man who performs “Take Me to Church”. He is so much more than just the guy who crafted one massive chart-topping single, though. I’ll confess, even I was inclined to believe that notion prior to this night, but this performance totally revolutionized my perceptions of Hozier. The level of artistry he possessed was jaw-dropping, epitomizing what a legitimate artist is throughout every second of the performance. Whether he’s sweetly crooning on a more tender balled or investing everything into belting out something more spirited his voice is phenomenal and brimming with emotion. His guitar work may have been secondary for him, though when he was able to dedicate more of his focus to it his chops were readily apparent; and those rare moments where he acted solely as a frontman he stood as a vigorous one.

Furthermore, he is a true singer-songwriter, and in an age where it has become more prevalent for musicians to perform music that was written by a third-party, you have to respect that. Because of that, there’s a more personal connection formed, the life events that led to these songs and how much they really meant to Hozier being noticeable as he performed them, as if baring a portion of his soul for all to see. Hozier is the kind of talent that comes around about once a generation. Considering how relatively new he still is it’s remarkable how refined his talents are, already carrying himself and executing the songs in a manner that makes it appear as if he has spent a lifetime doing this. Yet he’s remained humble enough to still be slightly shocked over the reaction people have to his music, which is refreshing to see.

As high as fans’ expectations were going in to the concert this night, they were exceeded. The band he has surrounded himself with was responsible for part of that, all being top tier talent who fleshed out the music perfectly and made sure to invigorate the audience to boot. However, a lot of credit for that needs to go to the crew as well, especially those in charge of the lighting. A key element of any show, the production for this one was stunning. It worked in brilliant harmony with the music, allowing the songs to sound bolder and more emotive. It was artistic, further accenting the artistry that went into the performance. A once in a lifetime talent, it’s easy to envision Hozier moving up to arenas of various scales in the near future. And based on what he gave Dallas this night, he’d have no trouble commanding a crowd of thousands upon thousands of people. In fact, I’d be quite interested to see how the performance would be elevated for venues of that scale, because as much as he offered up on this Friday night, Hozier still has so much to give to the world. This North American leg of the Wasteland, Baby! Tour will run through April 14th, when it will conclude in Spokane, WA at First Interstate Center for the Arts. Other stops include The Pearl in Las Vegas, NV on April 7th and Hollywood Forever Cemetery in Los Angeles, CA on April 9th. Most of the shows are already sold-out. They’ll return to the U.S. in May and June for shows in the south and mid-west, including a performance at Hangout Festival in Gulf Shores, AL on May 17th. A complete listing of Hozier’s upcoming events can be found HERE; and check out Wasteland, Baby! in iTUNES or GOOGLE PLAY. Set List: 1) “Would That I” 2) “Dinner & Diatribes” 3) “Nina Cried Power” 4) “Jackie and Wilson” 5) “Someone New” 6) “Talk” 7) “From Eden” 8) “Wasteland, Baby!” 9) “Shrike” 10) “No Plan” 11) “To Be Alone” 12) “Nobody” 13) “Moment's Silence (Common Tongue)” 14) “Almost (Sweet Music)” 15) “Movement” 16) “Take Me to Church” Encore 17) “Cherry Wine” (acoustic, solo) 18) “Work Song”

[thebisexualmandalorian]

12 20 28 30?

12. Tell us about your favourite relationship (platonic/familial/romantic/etc) between your OCs!

I don’t think I can pick a favorite!  Killer and Anomaly are disgustingly in love and absolutely precious, and I’ll never be over it.  Rán and Aure are queerplatonic partners, and they are also precious except in canon-verse and the Inquisitor verse :))).   Then there’s X, Sharps, and The Lady, and they’re so good and they still hurt??  Sparrow and Nibral are so deeply unhealthy, but it’s really interesting to explore what that means for both of them.  Then there’s Tracyn and her kids, I haven’t explored them too much, but she loves all of them so much, and they love her.

20. What do you usually make up first about your OCs (appearance, personality, concept, relationships, etc)?

A lot of times, I start with a sudden idea for a feature and go from there.  I came up with Killer because I thought a clone would look so pretty with pastel hair; with Nibral, I wanted to write a true villain; Shrike came around because I liked the idea of a Chaotic Bastard; Haastal was because I’ve had the image of a clone with scarification for at least a year, and combined with the idea of a storyteller, he just sort of developed from there.  Rose, Caliber, and Sharps were all from dreams.

It just depends, I guess.

30. Tell us about an OC whose personality is totally different than when you started out with them!

Hmmm.  Anomaly, probably.  He started out as a friendly, cheerful kind of guy, and now he’s a deeply traumatized flirt who’s always looking for a thrill to ignore how he feels.  

28. If your OCs had tumblrs what kinds of blogs would they have?

Under a cut for length:

Caliber: Gym blog.  Her own gym pics, inspiration, workout mixes, that kind of thing.  Always encouraging, never shaming.  Slam dunks haters.  Will make you super gay.  Lots of thirsty anons.

Loudmouth: A lot of flowers and self-care encouragement.  Posts his art, but also a lot of selfies with Rabble.  Flower Crown Fridays are a thing.  How is he real?

Anomaly: Hoe on main.  A lot of NSFW, interspersed with personal posts.  Probably a lot of music too.  Names and shames the awful Tumblr doms that show up in his inbox.

Killer: Pastel grunge everywhere.  Everything is soft colors and sweaters and kittens.  His blog is his escape, and he already has way too much stress to post anything too upsetting.  Occasional videos of him playing the piano.

Nova: Space blog.  Always happy to answer questions about space, and shares as much information as he can.  

Sharps: A lot of personal posts, his blog is a public journal, in a way.  Most of it is funny stories, but there are a lot of poignant moments.

X: Photos from wherever he’s stationed - beautiful scenery, animals, and battles.  He wants it all recorded so everyone can see the reality of military life.

Sparrow: A lot of music, whatever they’re listening to that day.  A handful of recordings of them singing whenever they work up the courage to post it.  Always sounds wistful and sweet.

Nibral: An aesthetic blog absolutely dripping with luxury.

Arrow: A medical script help blog.  Mostly answers anons, but frequently posts crazy medical stories, written in a hilariously dry style.  

Haastal: Mostly war stories.  No one is ever sure if it’s fiction or reality written like fiction, Tim O’Brien style.

Rán: The most zen of zen blogs.  Soft, light, pretty, a lot of guides on meditation and self-care.

Aure: A landscape aesthetic blog, something he can queue for a while if he’s away, and something pretty to look at when he needs a break from whatever crappy place he’s been stationed.

Tracyn: Very proud parenting stories, and heavy weaponry.  A lot of parenting stories involving heavy weaponry.  Exactly the kind of blog you’d think a Mandalorian parent would run.

Rose: Gore blog.  Nothing really nasty, but bruises and blood and the kind of thing that makes you wonder what kind of person is running it.

Iasmin: Gardening, but unsettling in a way that no one can really put a finger on.  Was that a hand coming out of the dirt in that last photo, or just a weird root pattern? 

Kamren: The most eclectic collection of photos - pretty people, pretty places, pretty objects, whatever catches her eye.  A lot of Bi Pride.