You could be forgiven for thinking a genre-bending indie rocker from Ireland might get overlooked in the time of Taylor Swift, Sabrina Carpenter and the recent country music boom.
But if you asked some 13,000 people at Spark Arena last night, they'd tell you you're wrong.
Some five years on from his last NZ show, and with a new album under his belt, Hozier appeared on stage amongst a field of stars to a cacophony of screams from his adoring Kiwi fans.
His long curls billowing about his (beautiful) face, he effortlessly launched into 'De Selby' parts one and two, reminding everyone his command of the guitar is just as impressive as that voice of his.
Knowing how many pivotal moments Hozier's music has seen me through, I made a mental note to time how long it was before I experienced rolling, full body chills. It was approximately seven minutes.
Much like the gamut of genres Hozier's music runs, his voice has such RANGE. He sings entire songs in falsetto before belting a note that will shake you to your core. Seeing this in the flesh - he's one of those artists that sounds so much like the record it's hard to fathom - is further proof he is one of the most impressive singers on the scene, and will be for decades to come.
The rollicking 'Jackie and Wilson' got everyone in the mood for a party, but soon the undulating hums from the intro of 'Angel of Small Death & The Codeine Scene' filled the arena. A song from his debut self-titled album from 10 years ago, the resounding sing-a-long showed how many devoted fans Hozier has in New Zealand, and highlighted the pure poetry of his lyrics.
Flanked by a band that includes a cello and violin, and before a backdrop of cinematic visuals, the theatrics might not be 'Eras Tour' level, but they're there, and all-consuming. At one point, upside-down trees descended from the ceiling (they do call him 'Forest Daddy', after all), and the setlist kicked into high gear.
We were treated to a rare performance of 'Someone New', arguably Hozier's pop-iest song, which he said he hardly ever plays, but he was " in Auckland, so why not?".
As we inched towards the end of the two hours and everyone clung to the edge of their seat waiting for *the* song ('Take Me To Church'), my friend turned to me, gesturing to the crowd and said - "this is 'alone' music, together".
He's right - you don't always sing Hozier songs with your mates or put his music on at a BBQ, but his songwriting articulates those indescribable feelings so heartwrenchingly well, you almost forget other people can connect with him as much as you can. A LOT of other people.
'Movement', one of my personal favourites, filled every inch of the arena with its swelling crescendos - happy and sad at the same time - twinkling keyboard and Hozier's staggering vocal ability, alongside his talented backup singers.
Now, I know it's lame to say 'Take Me To Church' felt like a religious experience, but it did, and so I've said it. Sorry. It seemed like every person in the crowd knew every word, and even Hozier's voice had the gravitas of an organ in a cathedral. I'd challenge anyone - fan or not - to see if they could get through that performance goosebump-free.
Possibly because he's been on tour and doing promo for the 'Unreal Unearth' album for the better part of two years now, Hozier was perhaps a little less engaged with the crowd than one might have hoped for.
He didn't chat a whole lot although he did repeatedly say it was "so f*cking good to be back in NZ", and gave a couple of interesting explanations about the mythological backstories for 'I, Carrion (Icarian)' and 'Abstract (Psychopomp)'.
He's a humble guy - quite a few moments in the show see him only in silhouette, and you get the sense he wouldn't mind doing the whole show that way. But the one time he did stop to really speak to us, it was powerful.
Thanking New Zealand for having him, he paid tribute to the Hīkoi mō te Tiriti.
“I feel so moved to be here at a time where thousands of people are putting their feet on the street and walking towards Parliament to say ‘no, this is not what we agreed upon’," he said, commending Kiwis for "marching in the face of stripping away of indigenous rights".
The eruption of cheers from the crowd at this point was deafening.
He continued: "Nobody would want to see their neighbour live in fear of anti-semitism or islamophobia", adding that nobody would want to see what we've seen "every day on TV in Gaza".
Though at the heart of everything, he said, he believed people were good.
“I want to witness the sort of everyday compassion, empathy, everyday goodness that I experience out here in New Zealand. It's a f*cking incredible country that you have."
This launched into his epic track 'Nina Cried Power', a moving homage to protest songs from artists like Nina Simone, B.B King and John Lennon.
He finished with 'Work Song', a love song from his first album with lyrics that'll make your heart thump so loud you'll hear it ringing in your ears.
"When my time comes around/Lay me gently in the cold dark earth/No grave can hold my body down/I'll crawl home to her."
Damn.
Like the love described in those lines, Hozier is kind of transcendental. His mastery of songwriting, singing and musicianship is truly special to see live, and thankfully, a lot more Kiwis will witness it all at his two shows in Christchurch this weekend.
