On the final night of Outside Lands 2025, Hozier did more than deliver a mesmerizing performance — he gave the LGBTQ+ community a moment of solidarity, love, and visibility under the foggy skies of Golden Gate Park.
As the first chords of his career-defining hit “Take Me to Church” rang out across the Polo Field, the Irish singer-songwriter stepped forward with the Progress Pride flag draped across his mic stand. Under warm stage lights, the rainbow, trans, and inclusive Black and brown stripes glowed as the crowd erupted in cheers, many fans holding up their own Pride flags and signs in response.
“I want to thank you, San Francisco, for the kindness and compassion you’ve shown me in this city,” Hozier told the crowd before launching into the final chorus. “Compassion is a form of resistance — for queer people, for displaced people, for all people.”
The gesture marked a poignant highlight of a set that had already woven together music and advocacy in true Hozier fashion. Throughout the performance, he used his platform to speak out for peace and human rights, delivering a passionate message in support of LGBTQ+ rights, immigrant communities, and a free Palestine.
“As we’ve been traveling over the last nearly two years, I’ve been inviting people, encouraging people, asking people to use their empathy,” he said earlier in the evening, before performing his 2018 protest anthem “Nina Cried Power.” “To support peace and safety and security for everybody in the Middle East. That includes seeing a Palestine free from occupation.”
But it was his embrace of the Progress Pride flag that resonated most visibly with fans — a powerful reminder that allyship is not just words, but action. It was also a full-circle moment for Hozier, whose debut single “Take Me to Church” became an international anthem for LGBTQ+ equality over a decade ago.
In a festival weekend filled with euphoric dance sets, rising queer stars, and political statements, Hozier’s closing act stood out for its sincerity. His set leaned into gospel, blues, and indie rock, moving from the intimate (“Cherry Wine”) to the anthemic (“Work Song”) with grace and conviction. Even as other headliners dazzled with maximalist visuals, Hozier captivated with vulnerability and purpose.
By the time the fireworks lit up the sky during his final chorus, it was clear: Hozier didn’t just close the festival — he gave it a soul.
