Take Me To Church

Hozier's "Take Me to Church" is a powerful critique of organized religion, particularly the Catholic Church, and its condemnation of certain forms of love and sexuality. The song uses extensive religious metaphors to contrast the perceived hypocrisy and oppressive doctrines of the church with the purity and redemptive power of a loving, physical relationship. Hozier has stated that the song is about finding humanity and asserting oneself through an act of love, especially in the face of institutions that teach shame about sexual orientation. The lyrics equate the lover with a deity and the act of love-making with a form of worship, suggesting that a genuine human connection can be a more sacred and fulfilling experience than traditional religious practices. The song was also inspired by Hozier's frustration with the Catholic Church's influence in his native Ireland and the persecution of the LGBTQ+ community in Russia.

The song begins by painting a picture of a lover who is unconventional and perhaps even irreverent, finding humor in somber situations like a funeral. This person is aware of societal disapproval but remains unfazed. The narrator expresses a deep sense of admiration and belated devotion, feeling they should have revered this individual sooner. This lover is elevated to a divine status, described as the last true voice of heaven, making the traditional weekly religious services feel increasingly empty and toxic by comparison. The teachings of the church, particularly the concept of being 'born sick' or with original sin, are presented as a harmful 'poison'.

In stark contrast to the rigid and judgmental nature of organized religion, the narrator finds solace and a sense of sacredness in their romantic and physical relationship. Their 'church' is the bedroom, a private space for worship and intimacy. The only 'heaven' the narrator believes in is the state of being alone with their lover. They defiantly embrace the idea of being 'born sick,' finding a sense of liberation in it. The repeated 'Amens' serve as a powerful affirmation of this personal and alternative form of worship.

The chorus is a direct and sarcastic address to the church. The narrator offers to perform a subservient form of worship at a 'shrine of lies,' suggesting that they see the church's doctrines as deceptive. The line about confessing sins so the church can 'sharpen your knife' implies that vulnerability within the institution is met with judgment and punishment rather than forgiveness. The plea for a 'deathless death' is a complex metaphor, alluding to both the promise of eternal life offered by religion and the concept of orgasm, known as 'la petite mort' or 'the little death.' By offering their life to their lover, the narrator is choosing a more tangible and human form of devotion.

The second verse further develops the idea of finding divinity in the secular. The narrator identifies as a 'pagan of the good times,' with their lover being the 'sunlight.' To maintain this 'goddess' on their side, sacrifices are required, described with sensual and earthly imagery like 'draining the whole sea' and wanting 'something meaty for the main course.' This is contrasted with the perceived hypocrisy of the church, which sits on a 'high horse' while many of its 'faithful' are 'starving.'

The bridge of the song describes a space of pure equality and innocence within the romantic relationship, where there are 'no masters or kings.' Their 'gentle sin' is portrayed as something sweet and pure, a stark contrast to how the church might view it. It is only in this 'sad earthly scene' of intimacy that the narrator feels truly 'human' and 'clean.' The song concludes with a final, resounding repetition of 'Amen,' solidifying the narrator's commitment to their personal form of worship and love as the ultimate source of spiritual fulfillment.

Andrew Hozier-Byrne, a struggling musician at the time, wrote and recorded the demo for "Take Me to Church" in the attic of his parents' home in County Wicklow, Ireland, in 2013. The song was born out of a period of personal frustration and a difficult breakup. The initial demo, created with a programmed backing track, took about three months to write. The powerful vocals from this original demo were kept in the final version. The demo caught the attention of the independent label Rubyworks, which paired Hozier with producer Rob Kirwan. The song features only two musicians: Hozier on vocals and instruments, and Fiachra Kinder on drums. "Take Me to Church" was released as Hozier's debut single on September 13, 2013. Its popularity skyrocketed after the release of its music video, which went viral and led to Hozier signing with Columbia Records in the US and Island Records in the UK.

The song is written in the key of E minor and has a slow tempo of 63 beats per minute. The rhyme scheme is not strictly consistent throughout, but it often follows an AABB or ABCB pattern within the verses, which gives it a hymn-like quality. The pre-chorus and chorus have a more structured rhyme and rhythm that contribute to their anthemic feel. The rhythm is steady and deliberate, building from a sparse accompaniment in the verses to a fuller, more driving rhythm in the chorus, propelled by the drums and hand claps. This dynamic shift in rhythm enhances the emotional arc of the song, moving from introspection to impassioned declaration. The interplay between the lyrical rhythm and the musical rhythm is crucial, with Hozier's phrasing often syncopated against the beat, adding to the soulful and heartfelt delivery.

"Take Me to Church" is characterized by its powerful blend of musical and literary elements. Musically, it is a mid-tempo soul and blues rock song with a gospel-pop influence. It features a simple arrangement that builds in intensity, starting with a piano and vocals and gradually incorporating drums, guitar, and a choir-like backing vocal arrangement. Hozier's vocal performance is a key feature, moving from a gentle, melodic delivery in the verses to a soaring and impassioned belt in the chorus. Lyrically, the song is rich with literary devices. The entire song functions as an extended metaphor, comparing a romantic relationship to a religion. It employs alliteration ("deathless death") and powerful, often dark, imagery. The narrative voice is that of a defiant and devoted lover who critiques organized religion. The use of religious terminology in a secular, and at times, subversive context is a defining stylistic choice.

"Take Me to Church" achieved massive global success, significantly impacting both popular culture and social discourse. It topped the charts in 12 countries and reached the top 10 in 21 others, peaking at number two on the Billboard Hot 100 in the United States. The song was Spotify's most-streamed track of 2014. The song's music video, which depicts a homophobic attack in Russia, went viral and was instrumental in the song's rise to fame, drawing attention to LGBTQ+ rights issues. "Take Me to Church" was nominated for Song of the Year at the 57th Annual Grammy Awards. It has been covered by numerous artists, including Ed Sheeran and the cast of Glee. The song has become an anthem for social justice movements and has been used in protests globally. It solidified Hozier's reputation as a politically conscious and artistically significant singer-songwriter.

• The Church: The song uses the concept of 'church' as a central metaphor, not for a place of traditional worship, but for the intimate and sacred space of a romantic relationship.
• Worship: Acts of love and intimacy are described as forms of 'worship,' elevating them to a spiritual level. The line "I'll worship like a dog at the shrine of your lies" is a sarcastic critique of blind faith in religious institutions.
• Sickness and Sin: The lyric "I was born sick, but I love it" is a direct reference to the doctrine of original sin, which Hozier repurposes to embrace what the church might deem sinful as natural and even beautiful. This is inspired by Fulke Greville's poem "Chorus Sacerdotum."
• Deathless Death: This phrase is a double entendre, referring to both the promise of eternal life in religion and the French expression for orgasm, 'la petite mort' (the little death).
• Sunlight and Goddess: The lover is referred to as 'the sunlight' and a 'goddess,' further deifying the beloved and placing them at the center of the narrator's personal religion.

• "Take me to church": This is the central recurring phrase and the song's title. It is used ironically to signify a desire for intimacy with a lover rather than a wish to attend a religious service. Its repetition in the chorus serves as a powerful and memorable hook.
• "Amen": The repetition of "Amen" at the end of the pre-chorus and the bridge is a significant motif. It functions as a solemn and personal affirmation of the narrator's alternative faith and devotion to their lover.
• Religious Imagery: The song is replete with recurring religious motifs such as 'worship,' 'sin,' 'heaven,' 'shrine,' and 'sacrifice.' This consistent use of religious language in a secular context is the primary lyrical device of the song.