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Hozier proves he’s still got it with a sold-out show at the Rave/Eagles Club in Milwaukee

As a longtime fan seeing him for the very first time, Hozier’s May 30th show at the sold-out Rave/Eagles Club in Milwaukee truly did not disappoint.

The crowd itself buzzed with excitement, as fans of varying ages enthusiastically belted out every song. However, the downside of a packed venue on one of Milwaukee’s rare warm nights was multiple people fainting or being taken from the pit due to The Rave’s withholding drinking water until the heat became a blatantly obvious health risk.

Nevertheless, the energy remained high throughout the set, especially peaking at the popular “Nina Cried Power” and “Take Me To Church”, along with the addition of “To Noise Making (Sing)” to the encore. Hozier’s impressive range was most notably highlighted in “Nobody” and “Talk”, with the chilling effects of reaching notes and vocal runs on the recorded tracks amplified tenfold when played live. Before the final song of the encore, every single member of the road crew was thanked by name, from the lighting designer to the merch guy. The final song, “Work Song”, was hauntingly beautiful even in the admittedly terrible acoustics of the cavernous Eagles’ Ballroom, and brought a sort of magic to the heavy air.

Ultimately, Hozier is one of the only artists I’ve had the privilege to shoot whose mic stand alone towered over me and who left me gazing in awe song after song.

Meghan Quadracci
Meghan Quadracci is a portrait and music documentary photographer in Milwaukee, Wisconsin. See her work at megquadracci.com.

Hozier proves he’s still got it with a sold-out show at the Rave/Eagles Club in Milwaukee

As a longtime fan seeing him for the very first time, Hozier’s May 30th show at the sold-out Rave/Eagles Club in Milwaukee truly did not disappoint.

The crowd itself buzzed with excitement, as fans of varying ages enthusiastically belted out every song. However, the downside of a packed venue on one of Milwaukee’s rare warm nights was multiple people fainting or being taken from the pit due to The Rave’s withholding drinking water until the heat became a blatantly obvious health risk.

Nevertheless, the energy remained high throughout the set, especially peaking at the popular “Nina Cried Power” and “Take Me To Church”, along with the addition of “To Noise Making (Sing)” to the encore. Hozier’s impressive range was most notably highlighted in “Nobody” and “Talk”, with the chilling effects of reaching notes and vocal runs on the recorded tracks amplified tenfold when played live. Before the final song of the encore, every single member of the road crew was thanked by name, from the lighting designer to the merch guy. The final song, “Work Song”, was hauntingly beautiful even in the admittedly terrible acoustics of the cavernous Eagles’ Ballroom, and brought a sort of magic to the heavy air.

Ultimately, Hozier is one of the only artists I’ve had the privilege to shoot whose mic stand alone towered over me and who left me gazing in awe song after song.

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