![Hozier at London's OVO Arena Wembley last week [Photo by Lorne Thomson/Redferns/Getty]](https://www.rte.ie/images/001f5b83-800.jpg)
13,000 fans stood in thrall in Dublin's 3Arena on Tuesday night as Wicklow music sensation Hozier performed the first of three sold-out shows in the venue this week.
Rattling through hit after hit, the setlist blended his most recent material from his latest album Unreal Unearth, and his much-loved older songs, including Work Song, Cherry Wine, From Eden and Like Real People Do. All of these works are wonderful and timeless, and hearing them reminds you how many songwriters would kill to be able to write even one of these songs.
Despite a gruelling touring schedule behind him – and a further heavy US schedule for next year – the singer’s voice was somehow as powerful as ever, both in the big moments and also in several of his quiet and intimate acoustic performances.
His rendition of the hit that sprung him to global prominence ten years ago, Take Me To Church, felt as fresh and relevant as it did then, with the singer delivering arguably his most passionate performance of the evening on the song. A pleasant surprise, considering it is probably his most-performed track - but there was no sense of him being jaded.
With many Hozier fans admiring his ability to speak out on social issues almost as much as his music, during the encore he used an extended intro of Nina Cries Power to speak on several international issues, and also of his pride that Ireland has stood on its own two feet regarding the conflict in Gaza.
His band, bolstered by members of support act The Last Dinner Party, were well-oiled and superb, and an interlude in Almost (Sweet Music) gave each talented member a much-deserved moment in the sun. While most of the group hail from Nashville and New York, the biggest cheer went to Co Kerry bassist and musical director Alex Ryan, a musician who has performed with Hozier almost from the very start.
Another touching moment came towards the end of the gig when the singer thanked approximately 30 of his crew – namechecking each one, including carpenters, lighting directors and logistical managers.
But the music and talent of the main man outshone it all. The only faults to be found would be occasionally the band’s wall of sound seemed to compete too much with Hozier’s voice, and even more so with that of the female vocalists from The Last Dinner Party who duetted with Hozier on several tracks - but were somewhat lost beneath the intricate layers of music.
Besides that, and the nitpick that sometimes the on-stage graphics occasionally veered into Windows desktop screensaver territory, this was a soothing and accomplished performance from an artist we are lucky to call our own.
