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Hozier's return to Saturday Night Live wasn't merely a performance, but a demonstration of growth, a nod to heritage and a bold declaration of artistic range. Beyond simply showcasing his current chart topper and paying respect to traditional roots it ended being something unique because this showcase not only underlined just how wide range Hozier talents are but they also opened new paths for a very intriguing musical dialogue that combines many themes which require deeper analyses beyond casual listener experiences. Therefore, instead of a typical 'performance review' this will become an exploration of the impact and implication that can be observed within that given performance in several different formats.
Hozier's initial appearance on SNL back in 2014 with the deeply powerful 'Take Me to Church’ presented an artist clearly defined by soulful power, emotional honesty, and a talent that immediately was recognized worldwide, as that debut single quickly moved up charts all over due to sheer vocal talent and deeply religious themes; that previous format had that song work on several narrative settings ranging from love, hate, longing, fear or hope, all with same deeply unique and almost unique style with very few contemporaries working at similar levels that most often got used to highlight its religious underlying components as core themes. Then in that performance from this recent cycle Hozier now comes across as a man far more sure of himself. With “Too Sweet”, he showed a different side—a slick, confident swagger that moves far from his prior styles and a more contemporary, almost retro, take on modern R&B that blends blues tones while still making his main theme ( deep underlying sorrow ) to remain clear, he doesn't abandon that particular identity from the past but rather takes elements to evolve into new spaces; its not a copy paste from others in that space, it’s now his take over what was previously established.
This performance serves not simply as new version to old well-worn musical pathways, this became a powerful example about Hozier’s capacity for change over an individual level; in under a single take this showcases someone who grew beyond just 'the soul singer’ into also a pop and rhythmic sensation by not forgetting that his very roots were always with emotional exploration and underlying hidden meanings. This adds an incredibly important component for new viewers and older followers, as it proves his intent isn't simply to reuse old formulas or simply cater towards his existing audience by showcasing his unique approach.
Hozier’s choice to cover The Pogues’ “Fairytale of New York” isn't just a homage, it's a conversation with heritage, a respectful nod with added creative ideas. The original track itself carries heavy Irish traditional folk elements as well as classic holiday themes with raw authentic expressions all brought forward by MacGowan’s gruff vocals with the beautiful ( often tragic or dark undertones) delivery from MacColl. These main features that originally give the core song its distinctive element are often what people mostly respond towards with those songs in an incredibly personal level.
In this particular new rendering, Hozier doesn't try a ‘note to note’ performance or simply make some 'safe cover choice'; instead it became a blend of familiar, core tones while simultaneously using those core themes with new interpretations to honor previous established values and through this small method he’s making a bold claim that his work isn’t meant to always stick within predefined and limited boxes or set boundaries but rather make connections with different musical languages without any form of limiting factors and all of those changes still make that new version of "Fairytale’ feel both modern as it is also timeless due to its unique personal stamp he provides without compromising the essence of its original core format. It does not feel manufactured and it never is seen as a shallow cash grab; but rather what every successful cover should try to strive for: unique approach that enhances both versions to a better viewing format. This isn't a copy but a conversation.
Hozier’s SNL appearance doesn't happen in an entertainment bubble, instead this becomes incredibly powerful on a cultural level for various groups or different audiences that can easily relate to each given performance. By not altering many small core values ( even that small lyric change for what often is viewed a ‘problematic’ slang ) he is showing intent towards the importance of respectful dialogue that never compromise art or unique values because the underlying messages ( and especially the core soul ) remain intact even through those more ‘modern tweaks’. It all has a strong value and meaning to each interpretation with new or old material, and the audience becomes always the main benefit of these changes.
The choice to perform this cover adds important gravitas too as both artists, Shane MacGowan and Kirsty MacColl had previously both sadly passed away and this show format acts as not only a musical performance but also as an offering to show continued long-lasting relevance of their musical styles which also goes hand in hand for Hozier core philosophical takes within other musical outputs; showing just how dedicated this person can be over what is commonly presented, through deeper analysis. What it could’ve easily been just a set of high rating show is instead turned into an honest form of homage or reverence, where his deeply personal choice helps bridge traditional formats with contemporary elements that still retain all original importance.
Hozier's appearance on SNL wasn't simply a showcase of songs, but rather his personal values. By performing his old material but through new approaches he shows creative growth. Then when reinterpreting a Christmas classic ( or at least a modern classic of holiday traditions) those choices all showed more elements to not dismiss important details through what would’ve felt as 'a simple marketing opportunity’ by being so explicit within his unique choices to do cover song . He doesn’t simply perform but rather tries to engage his personal perspectives with the shared audience experience.
Through those two carefully selected performances Hozier solidifies himself not as simply a performer that relies solely on already known territory but also as an artist with important cultural ties and who is able to understand that any good musical performance carries a responsibility; both on its ability to deliver original and familiar styles while also presenting long lasting underlying ethical and philosophical perspectives for every audience member; giving deeper understanding beyond simply what’s heard by using a musical performance with underlying social comments rather than just focusing entirely on sales and profit.