Normally, I am not one for rain at concerts- I think few are. But when the soft patter of Dublin drizzle falls over Marlay Park as Andrew Hozier Byrne plays 'De Selby (Part 2)' there's something otherworldly afoot.

Adding to the folksy, mossy and  enchanting world of Hozier, the rain does little to dampen the crowd's spirit and instead, feels like some kind of glorious special effect.

Of course, it's isn't all ethereal divinity during the Wicklow man's homecoming set, with the commanding figure strutting on to a stage which had been thoroughly warmed up by Ye Vagabonds, Lord Huron and Brittany Howard and saying "Well Dublin how the fuck are you?".

Hozier at Marlay Park. Copyright Miguel Ruiz.

The first banger of the evening comes in the form of 'Jackie and Wilson' with its rich groove and soulful vocal line- it gets everyone shimmying.

Swiftly followed up by 'From Eden', the musician maintains this run of retro sounding feel good tunes- indeed dressed in his tweed three piece suit there's a distinct feeling that Hozier is from another era.

Other buoyant moments include the performance of musician's first ever Irish no.1 'Too Sweet', which was of course greeted with an uproarious response, although that said- there was a strong feeling that many fans were following the artist long before his 2024 hit.

Hozier at Marlay Park. Copyright Miguel Ruiz.

The aforementioned rain kicks in about a third of the way into the artist's triumphant homecoming set- and this is when the tone shift from the soulful to the spiritual.

Playing Unreal Unearth's 'De Selby (Part 2)' a whole new dimension is revealed- it's positively scared.

'Would That I' also played to the special effect that was the rain, and it's was all the more romantic for it.

Cue, 'Take Me To Church', which proved to be a staggering moment. The song, which was Hozier's international breakthrough hit details motifs of guilt, shame and religiously ecstasy and there's something devotional about the crowd singing 'Amen' together.

Hozier at Marlay Park. Copyright Miguel Ruiz.

It's tough to follow up a moment of such intense drama, and Hozier opts to completely change the script.

The artist performed an insular acoustic version of 'Cherry Wine', off stage and away from the main band, instead standing on the runway between the barriers.

The tone shifts once more, and Hozier ends a damp night of high drama with 'Nina Cried Power' a rousing call to arms to encourage listen to speak truth to power.

The musician is gracious in naming and thanking his band and crew, and in his adamant support of Palestine. In his moving speech as part of the performance- he urged all attending to contact their public representatives on behalf of Gaza.

A night of ecclesiastical highs, as well as profane feel good dancing, Hozier signed off a truly majestic evening with 'Work Song', a gospel blues track, sending us homeroom the altar of Hozier.