Irish singer-songwriter Andrew Hozier-Byrne, better known by his stage name Hozier, is no stranger to exploring topical issues in his music. In 2014, the video for his single “Take Me to Church,” featuring a same-sex couple being ostracized in their small community, took the music world by storm. The song was the opening track on Hozier’s self-titled first album, which featured a blending of several genres, including rhythm and blues, gospel, folk and rock, to name a few.
Hozier made his long-awaited return to the charts on September 6, releasing a four-song EP called Nina Cried Power as a prelude to his second album, which is slated for release in early 2019. The 17-minute EP contains many elements frequently heard on Hozier’s first album, including use of choir singers and focus on stringed instruments rather than complex percussion.
On his new EP, Hozier takes on a slightly more political tone and features gospel singer and civil rights activist Mavis Staples on the title track, which is also the EP’s opener. The song serves as a call to action to listeners to protest injustices in the world’s current state by drawing motivation from past activists. Idols named include several musicians such as Joni Mitchell, James Brown, John Lennon and Nina Simone, who serves as the song’s main inspiration. Lyrics in the chorus and bridge play upon the refrain in Simone’s song “Sinnerman.” Nina Cried Power also showcases the talent of organist and blues legend Booker T. Jones.
Along with the soulful opener’s legendary lineup, the poetry Hozier employs to light a fire within his audience is effective, emotional and biting, in what Rolling Stone referred to as “a song about protest songs.” Limited instrumentation takes a backseat as several voices come together to convey Hozier’s message: even if the musicians referenced stopped releasing 40 years ago, art can still be a conduit for real change.
Though the opener is undoubtedly the centerpiece of the EP and brings in newer topics, the songs that follow it bring back issues from Hozier in refreshing ways. On the brooding “NFWMB,” Hozier further discusses toxic relationships, using dark, whispering vocals to enhance the mood. The subtlety of the musical accompaniment, sparse but strong percussion and keyboards paired with a repetitive acoustic guitar riff, compliments the intensity of the subject.
Hozier’s feelings of desperation and urgency continue on the third track, “Moment’s Silence (Common Tongue),” though choosing to switch roles for the story, becoming a narrator who worships his partner. Employing desert rock, electric riffs on the song calls back a similar style to Hozier’s “From Eden.”
However, atmospheric embellishments that appear throughout the EP manage to make even Hozier’s tried and true sounds seem fresh, like the snaps that pop up in many sections and the vocal layering that is at times used to create a haunting echo, like with “NFWMB,” or an empowering choir on “Nina Cried Power.”
If the songs on Nina Cried Power are indicative of the themes that will appear on Hozier’s full-length sophomoric effort, listeners are in for a charged, soulful record, with interludes of style similar to that of the dark ballads on his 2014 debut. Hozier’s messages are clear and impactful, and his trademark brand of soulful folk-rock does not overshadow or lessen the new issues he brings to light with his lyrics. The artists he features are relevant and their musical input feels natural and welcome. His talent as a musician is rivaled only by his ability to unify and empower the listener with his words.
