Hozier is on his Australian tour right now. Don't be envious if you can't be there. The new EP that dropped this April threw four new songs in our direction, making a perfect addition to “Unreal Unearth” which you can enjoy until watching a live show. The album, which came out late last year, had his typical style. Earthy imagery, irresistible melodies, and lyrics that feel so familiar and warm. It was almost annoyingly flawless, from the guest features to the cover art. But, honestly, I wanted more. That’s not even a critique, just a selfish gripe, which he somehow anticipated by adding these four tracks.

Hozier’s “Global” Approach

Hozier’s EP lays bare his strengths, primarily lyrical depth, raw vocal delivery, and that special talent for telling stories through music. It’s the kind of release that makes you wonder how songs like these ever ended up shelved in the first place. Then again, maybe that’s part of the charm. Pulling gems from the vault and giving them space to breathe. Not every artist can get away with it, though. Some unreleased tracks should probably stay buried, but with Hozier, it’s hard to imagine anything falling flat. Still, there’s always the risk of overloading fans with B-sides. But here? No complaints.

We see a very broad, almost global approach with both Unreal Unearth and now the EP. Through the use of world instruments, bold expression with electro beats and a mix of raw vocals, Hozier tries to approach music in a more universal manner. In a world where streaming songs dominate the music industry, where the whole entertainment sector moved online, a heavily digitalized world in which players prefer online slots rather than going to a real casino and musicians prefer uploading albums to Spotify so they can be heard worldwide in an instant, his approach seems like a smart move, almost calculated, but still very effortless. And that’s why I love Hozier. He’s so effortless and genuine that you can’t seem to find something deliberate about his music.

The EP With New Songs That Feel Very Familiar

“Unheard” kicks off with "Too Sweet," a track that had already made its way onto social media weeks before the official release. I’ll admit, I was one of those people who looped the snippet endlessly. I just couldn’t help myself. Did that ruin the impact of hearing the full version? Not really. In fact, if anything, it felt like stumbling across something familiar but still surprising, like realizing the preview had only hinted at the layers waiting underneath.

The track pulls together threads of rock, alternative, and pop, creating a blend that feels effortless. Then the chorus hits, a melody so “Hozier” that it almost feels nostalgic, even if it’s brand new. His voice, sliding between registers with that signature ease, pairs unexpectedly well with the faint clang of church bells in the background. It’s not trying to be the next “Take Me to Church,” but you can’t help wondering if it might end up there anyway, at least in the public’s estimation.

After a softer turn, “Wildflower and Barley” featuring Allison Russell steps in with a restrained, almost minimalist charm. Hozier and Russell’s voices complement nicely, creating a song that feels effortlessly sweet, almost tender in its simplicity. The melody sticks, and Russell’s backing vocals elevate the chorus in an understated but effective way. It’s catchy, but not in a way that demands your attention

Then comes “Empire Now,” a sharp pivot into something darker and more charged. The song leans heavily into techno-inspired production, with a pulsing, apocalyptic energy that brings to mind Imagine Dragons’ “Radioactive.” There’s a lot going on here. For me personally, too much. It’s ambitious but doesn’t quite land for me. I won’t be rushing back to this one anytime soon.

The EP wraps up with “Fare Well,” and what a better title for the closing track. What grabs attention here isn’t just the name but how the song unfolds, starting with stripped-down vocals and instrumentals that seem almost hesitant. Then, out of nowhere, it builds into this energetic chorus packed with clapping, layered vocals, and instruments you don’t hear every day. There’s a kind of global influence in the melody, a patchwork of styles that work great together. And those guitar riffs are understated but exactly what the song needs to keep it grounded.

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