When Allison Russell and her band took the stage at St. Paul’s Xcel Energy Center to open for Hozier, it became immediately clear that the audience was in for something special. Though most of the crowd may not have been familiar with her, Russell is an artist far beyond the “rising star” label that can sometimes feel endless for many artists. With a career spanning back to the early 2000s, two solo albums since 2021, and multiple Grammy noms for both of those albums—winning one for Best American Roots Performance earlier this year—Russell has more than earned the right to command a large, engaged audience.
And engage them she did.
Even when an artist is established, the opening act slot means they can often risk being overlooked, especially when the crowd is anticipating a party atmosphere. But Allison Russell is not an act to be sidelined and talked over. While she takes her craft seriously and performs with intention, her set was anything but a downer. During her performance, she addressed issues close to her heart, such as the need to forgive (but not forget) those who have caused abuse, honoring the memory of slain Black lives like Minneapolis’s own Philando Castile, and advocating for peace in our world, calling for ceasefires now and in the future. It takes immense confidence to perform your music in front of twenty thousand people, but even more to share your views so openly. Yet Russell did this without ever making the audience feel lectured. Instead, they cheered her on, embracing the raw honesty of songs like “Eve Was Black” and “Hy-Brasil.” Her words, both spoken and in song, weren’t just heard—they were needed. Rarely does an opening act have the power to comfort and validate an audience in such a profound way.
But it’s clear that Russell shouldn’t be confined to the “Opener” label. She treated the Xcel Energy Center’s audience as if there was no headlining act to follow, commanding the stage so fully that, at times, I nearly forgot there was another act.
That’s not to diminish Andrew Hozier’s role in the evening—far from it. His choice of opening artists has consistently introduced me and others to incredible new music. Back in 2019, during his show at Minneapolis’s State Theatre, he brought along the sibling group Bailen, whose performances I’ve sought out in town as recently as this past April. And just last summer, during his small venue tour, Hozier handpicked local acts in each city, including Minneapolis’s own Mike Kota, to open for him. His selections are made with careful intention. Voices and music others need to hear.
She was not just an introduction to those unfamiliar with her work; she was a friend to longtime fans, taking requests via DM and wishing fans happy birthday from the stage. As an opener, Allison Russell didn’t just set the tone for the evening; she proved that her place in contemporary music is both significant and well-deserved. Her performance was more than just a prelude to Hozier—it was a statement of her own artistry.
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