Hozier in Bogotá: the singer filled the Movistar Arena with the fantasy and power of his songs.

Yesterday, the Movistar Arena was immersed in a magical atmosphere. With lighting in shades of blue and purple, a root decoration descending from the stage, and the immersive sounds of a large band and a gospel-style choir, Hozier gave his fans a show that immersed them in the universe of his music and, especially, his latest album, "Unreal Unearth."

The Northern Irish singer, who later said in the concert that he and his musicians find it challenging to play at such an extreme altitude, sang 22 songs live with a voice that was in no way different from his recordings. This vocal performance was accompanied by an energy that perfectly suited each of his songs, alternating between the majesty, sweetness, fantasy, power, and sensuality of his various albums.

Her performance was preceded by that of American singer Gigi Perez. The audience greeted her enthusiastically and screamed throughout her set, reaching its peak with "Sailor Song," a song made famous by TikTok and already accumulating more than a billion streams on Spotify. This closeness to the social network was present throughout the concert, from the music playing while attendees waited for the show to begin, to Hozier's performance itself, where he sang at least four of his songs that went viral on that platform.

A spotlight on the singer and a starry backdrop kicked off the show. "De Selby (Part 1)" played, set to the backdrop of the violin and viola, and marked the future of the next two hours. Both he and his entire band were dressed in gray, contrasting with the burgundy, green, and brown colors of their fans, many of whom also wore long skirts and flowers in their hair, evoking the earth and fantasy that characterize "Unreal Unearth."

On several occasions, some of that same audience raised bouquets of daisies toward him and even threw them in his direction, praising his performance. “It’s an absolute joy and pleasure to be in your beautiful country,” he said after the first two songs, praising the audience who filled the arena with their shouts and chants even though it wasn’t full. The singer had already visited Colombia in 2024 with the Estereo Picnic festival, but yesterday was his first solo show.

The ethereal and the fantastical, while always present in the atmosphere his band managed to generate, the effects of his voice, and the singer's flowing hair that made him look like he was in a breeze, were further channeled with certain songs, such as "Abstract (Psychopomp)." During it, the spotlight fell on some attendees, and one fan, with her hand on her heart, sang along while tears streamed down her cheeks.

But the real ceremony was with "Take Me to Church," his most famous composition. At one point toward the end of the song, Arena chanted "Amen, Amen, Amen," and let the power of those lyrics, sung with a defiant attitude, take over, turning it into an LGBTIQ+ anthem and culminating with thunderous drums.

Hozier's most romantic melodies and verses resonated with songs like "Like Real People Do," lit by the audience's flashlights; "Cherry Wine" and "Unknown (nth)," accompanied only by his guitar on a small secondary stage at the far end of the arena; and "I, Carrion (Icarian)," a love poem inspired by the myth of Icarus.

The Northern Irishman also demonstrated his tenderness and gratitude in his constant thanks to the fans and his insistent recognition of the members of his band and crew, whom he honored on several occasions. The fans responded enthusiastically, and several times we heard "we love you" from the audience and a couple of "papacitos." At one point, when everyone left the stage before the singer's appearance on the other stage, some fans chanted "Hozier, Hozier, olé olé olé olé," as if it were a football match.

The most sensual moments of the night were offered by 'Movement' and 'To be alone', with red atmospheres and strident sounds that perfectly illustrated the sensuality of the lyrics and ended in a climax of choirs and instruments.

"To Be Alone" gave way to a yellow, distortion-filled interlude that led to the opening of "Dinner & Diatribes," enhanced by hand percussion in the form of claps and clicks, contributed by the musicians and the audience. This force wasn't unusual yesterday, as it was present every few songs, or even in continuous stretches, thanks to the rock aspect that recurs on all of Hozier's albums. The stridency of "Francesca," the Led Zeppelin-esque seventies vibe of "It Will Come Back," and the powerful performance of "Nina Cried Power" offered some of the most energetic moments of the night.

However, if there was anything truly powerful about the song, it was the speech that preceded this final song. Taking advantage of the theme of his collaboration with Mave Staples, which speaks of unity and resistance, Hozier gave a speech discussing the civil rights movement in the United States, the resistance in Northern Ireland, and even the Colombian conflict, inviting the audience to use their voices through democracy to advocate for humanity. He took the opportunity to speak out in favor of a ceasefire in Gaza after 16 months of horror for the Palestinian people and concluded with a call against imperialism, which he said manifested itself in polarization, racism, and the appropriation of land and resources. “Every day we have the opportunity to reject imperialism,” he expressed.

The show ended with "Work Song," and a grateful Hozier told the audience he would return to the country. When the lights came up, the audience slowly rejoined, some wiping away tears or walking among the daisies scattered on the floor, with Creedence Clearwater Revival's "Have You Ever Seen the Rain" playing in the background. "It was great, I really liked it. I don't know, it was like magic," said Valentina, a Hozier fan for 10 years, who was wrapped in the Colombian flag. Her voice sounded hoarse from singing at the top of her lungs.

LAURA MANUELA CANO LOAIZA

El Tiempo School of Multimedia Journalism