In the Middle with Hozier – Interview Magazine

If there ’ s one matter that ’ randomness brought Andrew “ Hozier ” Byrne to the music scene, it ’ mho heat. With his game, soulful, and blues-infused voice, the Irish singer-songwriter—who first surfaced final year with hit “ Take Me To Church ” —has continued to filter his passion for storytelling, social issues, and honesty throughout his music. Earlier in 2014, Hozier showed off his chops once again with his second EP From Eden—a preview of his self-titled debut .
Throughout his songs, Hozier has taken on issues of hate, domestic abuse, and violence—topics that aren ’ thyroxine frequently covered in favor of love and relationships. While some tracks do cover those subjects, Hozier has used eponymous debut album ( due tomorrow ) to truly explore the best and worst parts of himself. Accompanying his introduction record, Hozier will be touring throughout the U.S. and Europe through the conclusion of the year .
We caught up with Andrew Byrne on what makes him anxious, his bent for storytelling, and releasing his first record.

ILANA KAPLAN : Why did you decide to go with the nickname “ Hozier ” ?
ANDREW BYRNE : Hozier is a contribution of my full name. Andrew Hozier Byrne is my full name. There ’ s a long history of where it comes from on my grandma ’ s slope. I used to be under Andrew “ Hozier Byrne. ” After the beginning EP, I barely wanted to shorten it to Hozier. It was quite a mouthful. I just thought it was easier to remember .
KAPLAN : What ’ s the theme behind your record coming out ?
BYRNE : I suppose there ’ s no one composition. There are a bunch of recurring themes. It deals a batch with personal liberations—finding yourself, accepting yourself, and making sense of yourself. ultimately it ’ s good trying to be honest about some of the more fantastic and awed things of your daily .
KAPLAN : What ’ s the meaning behind the song “ Cherry Wine ? ” I ’ ve seen a lot of different interpretations .
BYRNE : It ’ s a love sung, but it ’ randomness about some of the more atrocious parts of love. It ’ s a song about ferocity : domestic ferocity and domestic disputes. It ’ sulfur about an abusive kinship and person who is trying to justify it to themselves .
KAPLAN : How did you decide you wanted to be a musician ?
BYRNE : I think it was constantly on my mind when I was a young kyd. As I sang and played more, I realized that it was something I got more rejoice out of than most things. By the time I was 15 or 16, I was writing. When I was in college, I had an opportunity to do some shape with a label here at home. It conflicted with my examination schedule, but I just knew : I knew that there was nothing more I wanted to do. Everyone I looked up to as a adolescent was a musician .
KAPLAN : What do you want fans to get out of your approaching debut phonograph record ?
BYRNE : I suppose, nothing. I hope people connect with it. If people are able to connect with it, then great. To be honest, the biggest reason I write music and became a musician was to create the amount of rejoice that I felt about music to anyone else. To me, that ’ s a job well done.

KAPLAN : With regards to your music, what ’ s the inspiration for your songs ? Do you work off of your own experiences ?
BYRNE : The songs come from quite a personal place. As I grow, I try to visualize the songs. I think of the people as characters and step back a little bite and think about the earth they live in. They do start from quite a personal seat. I try to go from there .
KAPLAN : What ’ mho been the most exciting feel you ’ ve had indeed army for the liberation of rwanda in the music industry ?
BYRNE : I would say being given the opportunity to play at music festivals, to meet people who inspire me and remind me that I ’ thousand doing what I love. I ’ ve never felt as skittish or heart-poundingly nervous as meet people who inspire me and I ’ m in awe of .
KAPLAN : Who are some of your biggest musical influences ?
BYRNE : Biggest musical influences would be people like Nina Simone and Tom Waits. A huge measure of writers like Leslie Feist and Paul Simon. My musical education was grounded in blues and Chicago blues—John Lee Hooker and Otis Redding. surely I think Nina Simone is close to my heart .
KAPLAN : I feel like over the past few months you ’ ve blown up. How has that conversion felt for you ?
BYRNE : Hectic. It ’ randomness been very rewarding. I think it ’ sulfur hard to taken in those moments as you ’ re going because everything you want is happening. You ’ ra very busy so you don ’ thymine get a chance to appreciate it. I ’ molarity not the kind of person to pat myself on the back or anything like that, so I feel like I have a batch of exercise to do hush beyond this record. I am thrill, though. It ’ s nice to take a breath and reflect on those sweet moments. I good remember New York and the crowd—they were so supportive. It feels amazing. It ’ s a shock because you don ’ thymine think about how busy you are—you just think about the sentiment that you feel when you ’ rhenium making music. You ’ re not thinking about the whirlwind of it .
KAPLAN : How did you develop a articulation for storytelling ? Are there some lyrics or works of writing that helped you with your compose ?
BYRNE : absolutely. I ’ ve said James Joyce, A Portrait of the Artist as a Young Man and Dubliners. There are a draw of recurring themes that I resonated with when I read A Portrait of the Artist as a Young Man. There are a few nods to that. I think Ireland has a fantastic tradition of storytelling—it has an oral tradition whereby history was carried down through songs and tales. I have a bite of a beloved affair with fairytales and some of the ideas of Irish mythology, like Oscar Wilde and W.B. Yeats who captured a set of that identical beautifully. I was never academically driven in English, but, again, Tom Waits is a perfect exemplar of an influence. He writes so immaculately and paints so perfectly a world and the characters within it. There are writers like that who are my influences, graphic and endow storytellers.

KAPLAN : What ’ s been the hardest subject to write and/or sing about ?
BYRNE : That ’ s a tough one. surely with anything, it ’ second some of the more personal stuff that cuts to the bones when you ’ rhenium dealing with the more awful parts of yourself ; who you are when you ’ re on your own. I think a lot of my first gear experiences being close up to person on the record—maybe loving person who ’ s quite damaged was difficult to write about, I suppose .

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