Almost (Sweet Music)

"Almost (Sweet Music)" is a jubilant and multi-layered ode to the power of music as a vehicle for memory, healing, and emotional expression. On its surface, the song is a love letter to the jazz tradition, with Hozier masterfully weaving the titles of numerous classic jazz songs and the names of iconic artists into the lyrics. This is not just a stylistic flourish but the core of the song's meaning. He's illustrating how these songs are not just background noise but are deeply intertwined with his life's moments and emotional states. He stated the song is about “what music brings to memory and what memory brings to music.”

A deeper interpretation, supported by lyrical cues, suggests a narrative of personal recovery after a significant loss or a period of sadness. The recurring lines, "I'm almost me again, she's almost you," point to a process of healing. The narrator is finding his way back to himself, and in this journey, he sees the essence of a loved one he has lost reflected in someone new—perhaps a daughter growing up or a new partner. This creates a poignant, bittersweet feeling of continuity and rebirth. His laughter is his own again, but her laugh echoes the past. Music is the catalyst for this healing, bringing "some colour back" into his life.

Ultimately, the song argues that life's experiences are so profoundly shaped by music that they become almost indistinguishable. The joy, the heartbreak, the longing—it's all expressed and understood through the language of these "sweet music" classics. The title itself, "Almost (Sweet Music)," can be interpreted as the narrator's humble aspiration to create something that is nearly as beautiful and meaningful as the timeless music that has shaped him.

The song unfolds as a deeply personal reflection on the solace and restorative power of music, particularly the jazz standards that have provided a soundtrack to the narrator's life. It begins with an admission of being at a loss for words, a state from which only music can offer a starting point. The melody of a song, "Stella by Starlight," illuminates the darkness, while the percussive intro to "Night and Day" mirrors the beat of his own heart, signifying a reawakening. There's a cautious plea to not disrupt this fragile return to self, a sentiment echoed in the line, "Be still my foolish heart, don't ruin this on me."

A central theme is the process of healing and rediscovering one's identity after a period of emotional turmoil. The narrator feels himself becoming "almost me again." This transformation is mirrored in a female figure, perhaps a new lover or his daughter, who is "almost you," suggesting she embodies the spirit of a past love. This parallel healing is a source of quiet joy; he sees color returning to his life, and she notices it too. His laughter sounds like his own again, while her laugh is reminiscent of the person he lost, creating a bittersweet symmetry.

The song is a tapestry woven from references to iconic jazz artists and their timeless pieces. He credits the tenderness of his affection to the smooth vocal delivery of Chet Baker. The music of Duke Ellington's orchestra provides a backdrop for his memories, both joyful and melancholic. The lyrics cleverly embed numerous song titles, transforming them into a narrative of lived experience. Phrases like "Let the good times roll" and the image of blowing "smoke rings" from a "paper doll" evoke a vintage, smoky atmosphere. These allusions are not merely decorative; they are the very fabric of his emotional landscape. He questions how he could possibly navigate his feelings without these songs, which give voice to his joy, his sorrow ("Am I Blue?"), and his highest spiritual aspirations ("A Love Supreme").

As the song progresses, the feeling of renewal strengthens. He finds himself able to get by, even in the absence of his past love, though with the lingering admission of "except sometimes." The music acts as a bridge between the past and the present, a way to process memory and emotion. Even a simple act like hearing a train and a saxophone brings him a sense of peace, a "Russian Lullaby." The conclusion brings a sense of joyful surrender to the music, an acceptance that everything is alright, a final nod to the comforting power of these well-loved songs.

"Almost (Sweet Music)" was written solely by Hozier (Andrew Hozier-Byrne) and was released on January 16, 2019. It served as the third single from his second studio album, Wasteland, Baby!, which was released on March 1, 2019. The album was recorded in various studios across Dublin, London, and the United States. Hozier co-produced the track with Markus Dravs.

The creation of the song was rooted in Hozier's deep appreciation for the jazz genre. He has described the song as a "dedication to some of the greatest musicians of our time." The lyrical concept involved intentionally weaving in numerous references to jazz standards and artists as a way to pay homage and to explore the theme of how music and memory are inextricably linked. Hozier stated, "since the song references music so much and is about the experience of listening to music, the concept of this video is kind of drawing from the jazz tradition." The song features the legendary Booker T. Jones on the organ, adding an authentic layer of soul and blues to the track. This collaboration underscores the song's connection to the musical traditions it celebrates.

The song represents a glimpse into Hozier's personal journey in the years between his debut album and Wasteland, Baby!, capturing a sense of both "jubilation and exhaustion." It was part of the body of work that marked his return after a nearly five-year gap between full-length albums.

The song's rhythmic and rhyming structure is key to its upbeat and accessible feel. The rhythm is characterized by a steady, mid-tempo beat, driven by persistent handclaps and a simple kick drum pattern, giving it an infectious, swaying quality that evokes folk and gospel traditions. This consistent, forward-moving rhythm provides a stable and optimistic foundation for the lyrical narrative of healing and rediscovery.

The rhyme scheme is relatively straightforward, primarily using couplets (AABB) and simple alternating patterns, which enhances the song's sing-along, anthemic quality. For example, in the chorus, "start" rhymes with "heart," and "me" rhymes with "on me." Hozier employs a mix of perfect rhymes ("too/you") and near rhymes or slant rhymes, which keeps the lyrical flow feeling natural and not overly forced. The interplay between the lyrical rhythm and the musical rhythm is seamless; the cadence of the sung phrases often follows the percussive handclap pattern, making the song feel cohesive and instinctively rhythmic.

Hozier employs a rich blend of literary and musical techniques to craft the song's nostalgic and celebratory feel.

• Literary Techniques: The most prominent technique is allusion, with the lyrics being densely packed with references to over a dozen jazz songs and artists, from Duke Ellington to John Coltrane. This creates a layered text that rewards listeners familiar with the jazz canon. Hozier uses a conversational, narrative voice, which feels intimate and personal, as if he is sharing a personal story of healing. There's also a clear use of parallelism and repetition in the lines "I'm almost me again, she's almost you" and "I laugh like me again, she laughs like you," which structurally reinforces the theme of mirrored recovery.
• Musical Techniques: The song is built on a foundation of handclaps and a driving, upbeat rhythm that gives it a folksy, celebratory feel. The instrumentation features acoustic guitar, a prominent bassline, and gospel-style choral backing vocals that swell in the chorus, adding a sense of communal joy and spiritual uplift. Hozier's vocal delivery is described as "honey-rich" and expressive, moving between a more subdued, almost "mumbled" verse and a full-throated, joyous chorus. A key musical element is the inclusion of Booker T. Jones on the organ, which lends the track an authentic soul and R&B flavor, directly connecting it to the genres it honors. The overall arrangement feels organic and live, reminiscent of the communal spirit of early jazz and folk music.

"Almost (Sweet Music)" was a successful single from Hozier's critically and commercially successful second album, Wasteland, Baby!. The album itself debuted at number one on the US Billboard 200 chart and the Irish Albums Chart, marking a significant achievement in Hozier's career. The song performed well commercially, peaking at number eight on the Irish Singles Chart and reaching the top ten of the Billboard Rock Digital Sales Chart. It has been certified Gold in the UK.

The song was praised by critics for its clever songwriting, upbeat melody, and heartfelt homage to jazz. Billboard lauded it as a "love letter to jazz" and a "bright and cheery homage to the 'sweet music' that shaped his growth as a songwriter." The official music video, released on April 16, 2019, features dancers interpreting the rhythm in various settings and has garnered over 12 million views on YouTube, further extending its cultural reach. The song solidified Hozier's reputation as a thoughtful and literary songwriter, capable of blending popular appeal with artistic depth. It is often cited as a fan favorite and a standout track for its unique lyrical concept of weaving classic song titles into a cohesive narrative.

"Almost (Sweet Music)" is built on a foundation of symbolic references, where song titles and artist names function as rich metaphors for emotions and memories.

• Jazz References as Emotional Shorthand: The primary symbolic device is the use of jazz standards to articulate feelings that are otherwise hard to express. For instance, "Night and Day" isn't just a song title; it symbolizes an all-encompassing presence, with its opening drum beat becoming the metaphor for the narrator's own returning heartbeat. "My Foolish Heart" becomes a direct, personified plea against emotional vulnerability. "Am I Blue?" is a direct metaphorical question about his own sadness. These references create a shared cultural and emotional language with the listener.
• Music as Light and Color: The lyrics use the metaphor of music bringing "colour back" into the narrator's life, symbolizing a return from a gray period of sadness or numbness to a state of vibrancy and feeling. The song "Stella by Starlight" is explicitly used to represent light in the darkness, a guiding force.
• The "Almost" Motif: The word "almost" is a crucial symbol of a state of transition and near-completeness. The narrator is "almost me again," suggesting he is close to full recovery but not quite there. The new person is "almost you," a near-perfect reflection of a past love but still distinct. This creates a feeling of bittersweetness and longing, a recognition of what was lost and what is being found. The title itself, "Almost (Sweet Music)," symbolizes the artist's own creation in relation to the masterpieces he admires—it's close, but humbly acknowledges its place in the shadow of the greats.

The most significant recurring motif in "Almost (Sweet Music)" is the extensive and continuous referencing of jazz artists and song titles. This isn't just a single occurrence but the central structural and thematic device of the entire song, with nearly every few lines containing an allusion to a classic piece by artists like Duke Ellington, Chet Baker, Ella Fitzgerald, and John Coltrane.

The key recurring lyrical phrase is the couplet: "I'm almost me again, she's almost you." This phrase, along with its parallel variation, "I laugh like me again, she laughs like you," acts as the song's emotional core. It appears multiple times, emphasizing the central theme of recovery and the bittersweet experience of seeing a past love mirrored in the present. Its repetition drills home the idea of being in a liminal, transitional state—a place of being 'almost' whole again. This refrain anchors the more abstract, referential verses to a tangible, personal narrative of healing.