My first impression of Hazlett was one made as a fan in a crowded room, next to my little sister and mother the night prior to the show I planned to attend as a music journalist.
My sister’s favorite band in the entire Milky Way (and other galaxies) is LANY, which meant that when the dates were announced for their “A Beautiful Blur” world tour, there were three GA Floor tickets added to her Live Nation cart. She knows my mother and I enjoy them too, so we were simply told we’d be attending with her and that was that.
I’m lucky that as a music photographer (and journalist, when I like to dabble in sharing my thoughts now and then), I get to attend dozens of shows a year. Concerts are how I’ve always loved to discover new music, be it through the opening band or a catchy tune on a pre-set playlist pumped through the venue. But that said, I don’t typically attend shows as a fan anymore. Am I a fan of many of the artists I’ve gotten to work with? Yes, of course. But as I’m sure many of my industry peers would echo, it’s not the same as being in the crowd, saturated in the energy an artist is throwing at the audience.
So, with that said, I made the conscious choice to not check out either of the openers ahead of either of the Orlando dates. It had been years since I was able to go a show, lean on the barricade, and just listen to something completely brand new. And after a rainy wait in the line to enter the Night One show, we were all to eager to get inside and see what the artists had in store.
The switch from the high-energy, punchy setlist of Conor Burns to the laid back, dreamy stylings of Hazlett may seem confusing on paper, but in reality proved to be equally as effective within the context of the show and who they were opening for. My sister, mother, and I chatted after the show about the sets, and we agreed that Hazlett delivered an evocative performance. He seamlessly fit into in a missing piece that (in my opinion) every other LANY show I had attended in the past needed filled: an opener who could tap into the quieter side of their sound, matching the yearning and emotion felt in some of the headlining band’s most popular songs.
My second impression of Hazlett was made before the show on Night Two, and though simple it was perhaps the most important to me, as someone whose day-to-day is spent surrounded by different artists and industry members: he was kind.
I’m the first to admit that I’m shy, and like to be quick about my portrait sessions with artists. I’m of the mindset that they have a million more important things to be doing, and while I’m appreciative for the time I get to have them in front of my lens, I don’t want to hold them there longer than they need to be. Artists are often tired, quiet or even silent as we snap a few photos before we go our separate ways. And they have every right to be; tour is often exhausting, with weeks spent away from home to entertain thousands of strangers. And yet, Hazlet spent our time walking around the venue taking different photos asking me about myself, candidly sharing his nerves and excitement for his set, and thanking me for being there.
The version of Hazlett seen online, humbly using his Instagram captions as tour updates and diary entries was the exact same version of him I experienced in real life. It’s something that seems so small in the grand scheme of things, but makes a big impact on me both as a professional working alongside the artist and a fan consuming their work.
I spent the Night Two show wandering around the crowd and balcony, capturing photos of Hazlett’s set. Hard Rock had noted that there would be no photo pit access that evening, but my nerves for how I’d photograph the set were soon replaced with a thankfulness that I got to instead see how so many were consuming the set themselves. While the crowd the evening prior had still enjoyed his set, there were plenty who showed up for the second night and did their homework in the few hours in between. From the floor to the highest balcony seats, fans were stood swaying back and forth as they sang his lyrics back to him. I caught myself doing it a few times too, specifically during “Missionary Feelings” (which has weaved its way onto my playlist for the month). Getting to experience some unreleased music in his set (“Bones Shake”) was an additional treat; many of us were discovering Hazlett for the first time on this tour, and getting to hear something no one else had access to yet was a special souvenir to take with us until we received a recording to go alongside our memory of the performance.
I err on the side of caution when comparing artists to each other, not wanting to throw names together which readers may disagree on belonging together, but it would be a disservice to Hazlett and what he’s crafted to not implore anyone who longs for new music akin to that of Novo Amor and Daughter (two artists who I hold on a specific little pedestal, as a frame of reference for top-tier emotive music) to give him a listen. Fans of Noah Kahan and Hozier would also find Hazlett’s discography to be exactly what they’re looking for more of.
I’ve always been a sucker for the more gentle side of alternative-indie, and Hazlett’s proven to deserve the spot he holds within the genre. His warm instrumentation paired with lyrics more honest than many artists have the confidence to share come together to create a soft but true sound that many (including myself) have been searching for. While the “A Beautiful Blur” tour may have been Hazlett’s first time in North America, I do hope it’s not the last.
