![]() They’re musically catchy, and the lyrics are direct enough to be obviously political without pushing the envelope of people’s beliefs. Quite frankly, I wouldn’t be surprised if But the Wages gets the same treatment when it’s eventually (officially) dropped. TMTC and NCP have kept their main messages because it’s easier to digest them. To go back to Nina Cried Power for a moment, because it absolutely needs mentioning: half the time when NCP is brought up is when fans (especially fans of color) comment on the fact that Hozier’s influences aren’t being paid enough mind when people talk about his work as a way to shut down the conversation.Īnd it’s not necessarily political, but hell, Cherry Wine still gets touted as a love song, rather than as a painful account of abuse and of confusing that treatment for love. Movement seems to be completely divorced from its political context (the wave of protests around 2015-2016), if it’s ever even mentioned. Moment’s Silence (Common Tongue) is literally referred to as “the song about getting head” and never talked about in terms of its politics (similar to TMTC - the grip of power the Catholic church holds, as well as its relationship to sex). Be gets praised a lot, but moreso for the poetry of the lyrics (and joking about the “same sweet shock as when Adam first came” line) rather than the actual message (the atrocities of immigration policy in Europe and the US) Jackboot Jump was talked about for its politics (authoritarianism and the continued use of militarized forces against peaceful protesters, specifically in Standing Rock, Moscow, and Hong Kong) for maybe a week after it was first released, and for another week after he pledged the royalties to BLM and the NAACP (although that was more about “look what he’s doing!!!” than the actual message). ![]() Foreigner’s God as well, but it’s rarely mentioned in the first place. Take Me to Church and Nina Cried Power are, from what I’ve seen, the most talked about political songs in his discography where people have a tendency to stick to the actual politics behind it. There’s a line between having fun with interpretations and only ascribing one absolute meaning to the songs and it constantly gets walked over. It presents a completely false image of the body of work and not only of his political messages, but of his influences as well.Īnd yes, the fandom itself actively does water down the political messages of his songs. ![]() Like yeah it was fun at first but it’s super overplayed and they’re rarely funny anyway.Īnd I know a lot of people want the best of both worlds on this but when his work has been erased to the point where people outside the fandom only recognize him as that (if not “the guy who did TMTC”, which, at least, is understandable) - that’s a huge issue. ![]() Irt: the Hozier discourse - the “bogman/fae king/etc” jokes absolutely do need to be dropped. ![]()
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