Growing up, I was seriously in love with Tom Waits’s work, and he sometimes refers to these types of songs as bad news from a pretty mouth,” offering something terrible in a very beautiful way.
hozier take me to church subway – Hozier Performs A Stunning Set Of Songs On Oake And Riley In The Morning
In September 2018, Hozier released the song Nina Cried Power,” which features the legendary gospel singer Mavis Staples In this episode, Hozier breaks down how he made the song, and Mavis Staples tells the story of how she got involved. With several guitars in constant rotation, Hozier stuck mostly to moody tracks from his latest album. Although the official release date was March 1, the crowd already seemed to cherish the new songs. A grandiose, percussion-heavy opening immediately got everyone on their feet.
Every ticket purchased online for the US shows will include a CD copy of Hozier’s new album Wasteland, Baby! Fans will also have the option to upgrade their CD to a standard LP copy of the album for an additional charge. Visit for tickets and more information.
This heavy-handedness was most offensive during Nina Cried Power, taken from US-chart topping LP Wasteland, Baby! Its wailing church organ and cacophonous six-part harmonies felt like an aural assault.
In September 2018, Hozier released an EP, titled Nina Cried Power , featuring the title track as a single. He released his second album, Wasteland, Baby! , in March 2019. It debuted atop the US Billboard 200 and was followed by a tour to promote it.
Andrew John Hozier-Byrne (born 17 March 1990), known professionally as Hozier ( HOH-zee-ər), is an Irish musician, singer, and songwriter from County Wicklow. He had his international breakthrough after releasing his debut single “Take Me to Church”, which had been certified multi-platinum in several countries, including the US, the UK, and Canada.
The two ‘tele’ voices at the top are backing vocals. I think they were ‘oohs’ and ‘aahs’ that came from the demo. They don’t sound like telephone voices at all, so I’m not sure why they’re called that. Instead they almost sound like church voices. Below are two aux tracks for those vocals, with Bomb Factory compression, Focusrite EQ and an Echo Boy delay. The backing vocals below that — ‘BV1-4′ — are the ones with the signature Leslie effect on them, and they again have some Focusrite EQ and Bomb Factory compression, and I gave them some Echo Farm slap delay to add depth to the reverb.
The singer-songwriter Hozier is out with his second album that debuted at number one on the charts last month. You dealt with this directly in Take Me to Church.” But there’s an irony at the core. The song critiques the church but also expresses the power of faith.
The sweep of the conversation wasn’t a dodge from Hozier’s music. It was a dive into it. On March 1, the 28-year-old star will release Wasteland, Baby!, the crucial follow-up album to his self-titled debut, on which he tackles every one of the themes above, matched to a darkly romantic mix of rock, gospel, folk, and soul. It’s another leap ahead for a college drop-out who had no profile outside his native Ireland until 2014. One year later, he found himself with a platinum album in 11 countries and a nomination for the Song of the Year Grammy. Hozier’s 14-track follow-up recycles two cuts from the EP he issued last fall, Nina Cried Power, a salute to protest songs, highlighted by those of Nina Simone. The full Wasteland album expands Hozier’s political palette while reflecting the contention of the current world. At the same time, it grounds its politics in the concerns of the flesh.
A lot of people, certainly like a lot of Irish people … have a very, very close, healthy relationship with despair, which is not always a bad thing; you know what I mean?” he continues. I think there’s wonderful things to explore in that. I might be being a little too glib when I put it that way, but we’re living in very interesting times, and in many ways, unprecedented times. I’ve always held that there’s always that holding onto a sort of optimism at some point, finding some silver lining, something to hang onto, and something that provides you with some amount of hope and gives you some sense of faith in people and faith in the kindness that people are capable of.
An inspired melding of rap and thrash metal made Rage a pretty unique proposition for rock fans in the early 90s. As well as producing a string of killer tunes the group also gained reputation as one of the most overtly political bands of the decade too, with revolutionary messages featuring in many of their lyrics. Their politics would play a further role years later, when fans successfully campaigned to make their track Killing in the Name Christmas number one in the UK in a protest against the X Factor in 2009.
I had demo-ed a good amount of songs and knew my favorites, what the swimmers were. And Wasteland, Baby!” seemed to sum up the vibe, whether some of the songs are about enjoying taking part in a cultural wasteland or a moral wasteland. It has that sense of doom and gloom — and the weird little grin that they carry.
Andrew Hozier-Byrne, who performs under the name Hozier, played a dynamic set to a sold-out audience. He captivated the Charlotte crowd with delicate instrumentals and rousing calls for clapping and stomping. The drums thundered through the auditorium as the feverish crowd cheered and swayed to the somber rhythm of his music.
Roger McGuinn’s chiming 12-string guitar playing became one of the most influential and most frequently imitated sounds of the era after the Byrds emerged in the mid 60s. Original compositions like Turn! Turn! Turn! (To Everything There Is a Season) and Eight Miles High, as well as unforgettable Bob Dylan covers My Back Pages and Mr Tambourine Man made an indelible mark and the band’s psychedelic approach to folk rock would go on to influence countless musicians in the years that followed.
Hozier has announced his Wasteland, Baby! North American Tour 2019. Andrew Hozier-Byrne will release his new album – “Wasteland, Baby!” – on March 1. Irish singer-songwriter Hozier performed a special live version of his signature hit, ‘Take Me To Church’ for Offshore Live Sessions programme,The Circle, and you can check it out below.
The song catapulted him into a major-label contract for his eponymous debut, platinum certifications in 11 countries, and a Grammy nomination for Song of the Year in 2015. After several years of touring and promotion, he returned with the 2018 EP Nina Cried Power and his second full-length, Wasteland, Baby!, which hit number one in American and Ireland upon its release in 2019.
The Band first came to prominence as Bob Dylan’s backing band in the 1960s, before launching their own career with debut album Music from Big Pink. Their rootsy Americana sound and inspired songwriting helped the American-Canadian group become of the of the most critically-lauded groups of the decade. Their classic track The Weight, which was used in classic 1969 film Easy Rider and covered by Diana Ross & The Supremes & The Temptations in the same year, has gone on to become an American standard.
In September, Hozier released his second EP, Nina Cried Power, his first major project after a becoming Grammy-nominated household name. The ubiquitous Take Me to Church” and his subsequent debut album in 2016 cemented Hozier as a tall, long-haired and brooding Irishman with Adele-level vocals and a penchant for R&B and cafe-ready folk. With Nina Cried Power, Hozier suggested an elevated self: more rock anthems ready for the concert halls he’s now selling out, as well as an gospel sound influenced by what he listened to growing up. With Wasteland, Baby!, he presents the completed product of Hozier 2.0.
Given how the album includes many sarcastic winks about embracing the end, it’s surprising that Hozier has never seen 1964 classic Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb—though it’s one of his musician father’s favorite films.
With a couple days to get to their next tour stop, in Kansas City, Hozier and his band visited The Current studio to perform a set of songs and to talk to Brian Oake and Jill Riley on Oake & Riley in the Morning.
A native of Bray, County Wicklow, Ireland, he grew up as the child of a locally-prominent blues and soul musician. His birth name was Andrew Hozier-Byrne; he later adopted the stage name of Hozier. Hozier punctuated the performance with an evocative rendition of his hit single Take Me To Church”.
A key part of Rob Kirwan’s role as producer with Hozier lay in identifying the elements that made his sound individual, and enhancing them. To be blunt about it, Andrew is a white guy who sounds a bit like a black guy, and his music has a lot of black music influences. But there are many white soul singers out there today who produce really bland music. That was the danger. We could not go down that road. Andrew’s voice and songs are exceptional, and we wanted signature sounds to match and enhance them. The guitar sound I just described see main text was a signature sound, as was a really tough drum sound, which is really important to me. The record had to sound dirty and tough, otherwise we would have strayed into that white soul singer territory. There was one song on the record that was quite poppy, and we spent a good deal of time trying to make it less sweet-sounding.
Of course it helped when the budgets went up, because it allowed us to take more time. When we did the album, which took us three months, we did two or three versions of a couple of songs to keep the labels happy. In general it was Andrew and I working together, and then bringing in musicians as we needed them. The other difference between working on the first EP and the other material was that we recorded the drums for the first EP at my studio. Everything here is fully set up and integrated and ready to go, so I do 80 percent of the recordings of most albums here, but the acoustics are pretty dead and not great for recording drums.
Andrew Hozier-Byrne grew up in a musical family that inspired him to pursue a music degree at Trinity College Dublin. He dropped out soon after enrolling when he was offered a contract with Universal Music, beginning work on what would become his 2013 debut EP Take Me To Church. Since then his career has taken off, leading to an appearance on the David Letterman Show, a number of sold-out dates in the US, and a performance at the Sweetlife Festival in Washington. His 2014 sophomore EP From Eden is just a taste of what’s to come from the acclaimed artist, and he’ll treat fans to his incredible showmanship on a string of highly anticipated tour dates.
It’s testament to the band’s appeal that the Eagles sold over 100 million records in the US alone, with their music proving incredibly popular over the past five decades. Their carefree brand of soft rock on hits like Take it Easy and Hotel California is just about as quintessentially American as it gets and you can hear the heat of their native California reflected in The Eagles’ sun-drenched sound. As well as fabulous songwriting and crystalline harmonies, the band’s music features some of the slickest guitar playing you’re ever likely to hear courtesy of Joe Walsh.
Hozier has added dates to the fall leg of his Wasteland, Baby! Tour. These additional US shows follow Hozier’s West Coast run, which includes a performance at Los Angeles’ famed Greek Theatre on October 25, and will bring him to Chicago, Boston, Washington D.C., and more before concluding with a five night residency at New York’s Hammerstein Ballroom in November.
It’s a funny one. I try not to think about the pressures of other people’s expectations. They can’t concern me. So, I think I have pressures enough that I create for myself, and really they’re the most vital. And what they would be, and having kind of weighed them all up, is really just making sure that I’m making music, which I think feels worthwhile to me, and feels worthwhile to the music that I want to make, and it moves me, and I think is an adequate offering in some way, shape, or form to listeners. So, in the writing of this, I just want to take my time and approach the work in a similar way that I had done the first time around.
An instantly recognizable voice and stirring songcraft solidified Irish troubadour Hozier as an award-winning multiplatinum singer and songwriter. Driven by the thought-provoking quintuple-platinum anthem, Take Me To Church,” his self-titled full-length debut Columbia Records bowed at #2 on the Billboard Top 200 and went RIAA Gold in 2014. Following a year of sold out shows and festival appearances at the likes of Glastonbury, VH1 crowned Hozier Artist of the Year,” and he received the honors Top Rock Artist” and Top Rock Songs” at the 2015 Billboard Music Awards. In addition, he scored nominations for Song of the Year” at the 57th Annual Grammy Awards® and Favorite Artist – Alternative Rock” at the American Music Awards. In September 2018, Hozier released an EP, title Nina Cried Power, featuring the title track as a single. He released his second album, Wasteland, Baby!, in March 2019. It debuted atop the Billboard 200.
The bass guitar went through my ’70s Ampeg SVT bass amp, on which I had a Neumann FET 47, which went into a 1073 mic pre, and then through my Teletronix LA2A. Another big thing on the record is my Sequential Circuits Pro One synth, which became a big part of the sound of the bottom end. I tend to record that DI. Nick Seymour has a beautiful Bösendorfer baby grand in the studio, and I used my two beautiful Gefell M58s on them, which have a lovely, warm sound, and I’ll usually will stick them through my Summit mic pre and then the 1178 — as I do with the overheads. There are also strings on the album, which were done by two string players who came to my studio, and overdubbed using a Gefell M62 on the cello, and my Neumann KM84 on the violin. The preamps would have been any I had spare at that time.
I think Nina Cried Power,” because it was a tricky one to write; I nearly abandoned it so many times. When we got Mavis Staples on board — she’s incredible, such an important artist and someone the song is really written for and to that legacy, of artists who spoke and sang about things they thought were vital to sing about. And seeing Booker T. Jones play organ; that was an absolute dream.
Hozier-Byrne and his band are undeniably talented but live their lack of subtlety makes for a disappointingly one-dimensional show. Pedal to the metal at all times, the set heaved with oppressive layers of guitar, organs, strings and percussion, and the impassioned howl of Hozier-Byrne himself which — while initially hypnotic — rapidly became exhausting.
This meant that Hozier was a great record to work on for me. I love things that have character, and I love good performances. Energy and excitement are big things for me. Rock & roll music should sound exciting. The first record I ever bought was Motörhead’s ‘Ace Of Spades’, which is probably one of the most exciting records you’ll ever hear. That’s the template for me, as well as my experiences at Windmill Lane. You had to line up the tape recorder there every day, clean the heads, and so on, and you saw how producers worked. If you come from that background, you understand sound better, and you understand that everything is centred around the musician and the performances of the musician.