HOZIER: Wasteland, Baby! (Island) Verdict: Potent Celtic soul Rating: TOM WALKER: What A Time To Be Alive (Relentless) Verdict: Hit-and-miss debut Rating: Coming up with the sequel to a huge global hit can be daunting, and Hozier has clearly thought long and hard about it. The Irish musician broke through five years ago with Take Me To Church, a single that helped his eponymous debut album sell millions. Take Me To Church topped charts worldwide to become the most streamed track on Spotify in 2014. Only Taylor Swift’s Blank Space prevented it from reaching No1 in America. No wonder the 28-year-old from County Wicklow paused for breath. The singer — full name Andrew Hozier-Byrne — is now back with a set of songs that plunge more wholeheartedly into swampy blues and soul. The former chorister, who fronted a blues band in his teens, wears his inspirations proudly. Coming up with the sequel to a huge global hit can be daunting, and Hozier has clearly thought long and hard about it The album opens strongly. Nina Cried Power is every inch as compelling a single as Take Me To Church. A celebration of ‘the human spirit rising’ that Barack Obama included on a recent online playlist, it complements Hozier’s voice with impeccable contributions from organist Booker T. Jones and gospel queen Mavis Staples. The bar stays high on the lovelorn Almost (Sweet Music), driven by handclaps and shimmering Afro-beat guitars, and the tuneful ballad Movement. Like several songs here, the latter starts softly before rising to a crescendo buttressed by pounding drums, keyboards and gospel harmonies. Hozier, on these tracks, attempts to underline his authenticity by name-dropping classic artists: Nina Cried Power mentions Nina Simone and Curtis Mayfield; Almost (Sweet Music) refers to Chet Baker and Duke Ellington; Fred Astaire tap dances his way into Movement. It’s a time-honoured trick — seeking credibility via association — but it rather labours the point. As he continues ‘turning out his pockets’ for 57 minutes, Hozier loses focus. The throwaway Nobody suggests he should leave breezy, gap-year pop to George Ezra. As It Was is a pleasant folk tune, but no more. Maybe, after five years, he feels his fans need bang for their buck, but they also deserve consistent quality. When he does deliver, he does so in style. With poetic lyrics that owe something to the Irish literary tradition, he uses a predatory songbird as a metaphor on the evocative Shrike. The title track, too, is a fine finale. Despite a tendency to drift, it’s good to have him back. Let’s hope he doesn’t leave it so long next time. Tom Walker has also given himself something to live up to. The Glaswegian singer-songwriter last week won a BRIT as the country's best breakthrough act, but his popularity is down primarily to Leave A Light On, a Top Ten single released 17 months ago. His first album places Walker, 27, in the big-voiced, pop-soul tradition of Paolo Nutini and Rag'n'Bone Man. Helmed by a team of hotshot producers, including Adele collaborator Jim Abbiss, the record strives to be mean and moody but often ends up overwrought. The plight of pals who have fallen on hard times is a recurring theme, giving many songs a downbeat feel. Leave A Light On addresses drug abuse. Not Giving In finds a friend 'begging passers by for change'. Walker tries to look for positives, but What A Time To Be Alive is clearly an ironic title. The earnest singer occasionally lightens up. His fervent singing blends well with Zara Larsson on Now You're Gone. The lilting How Can You Sleep At Night? wouldn't be out of place on a Coldplay album. The addition of Walk Alone, a Rudimental single with Walker on guest vocals, brings some variety. And, as dejection threatens to take hold again on Just You And I - 'This year's been hard for us, no doubt' - Walker delivers his most convincing moment on The Show. Exploring similar themes to Paolo Nutini's 2006 song These Streets, its depiction of a Glaswegian lad adrift in London is wonderfully vivid. Both albums are out now. Hozier’s UK tour starts at Birmingham Symphony Hall on September 15, (livenation.co.uk). Tom Walker’s tour commences on April 23 at Rock City, Nottingham (axs.com). Re-issue of the week The second compilation to emerge since Tom Petty’s death is an excellent companion piece to last year’s An American Treasure TOM PETTY & THE HEARTBREAKERS: The Best Of Everything (Geffen) Rating: The second compilation to emerge since Tom Petty’s death is an excellent companion piece to last year’s An American Treasure. That was a collection of rarities and live material. This, out as a double CD or four-LP vinyl set, homes in on the Florida frontman’s hits. Petty, who died in 2017, emerged alongside punk in 1977, but his music had more of an affinity with Sixties radio rock. American Girl and Free Fallin’ were simple songs, brilliantly played. Both feature here, as do the jazzy Breakdown and Stevie Nicks duet Stop Draggin’ My Heart Around. There’s also an unreleased version of the album’s title track that restores a long-forgotten verse. New releases - Rock & Pop YOLA: Walk Through Fire (Easy Eye Sound) Rating: Produced in Nashville by Dan Auerbach, of The Black Keys, Yola Carter’s debut combines retro-R&B and careworn Americana. Once a backing vocalist for Katy Perry, Carter hails from the deep South West, but we’re talking Portishead rather than Phoenix, and she brings a British flavour to Fifties-style weepie Deep Blue Dream and the warm, soulful Faraway Look, which looks to Dusty Springfield. Country superstar Vince Gill guests on Keep Me Here. BRYAN ADAMS: Shine A Light (Polydor) Rating: The Groover From Vancouver reconnects with long-term writing partner Jim Vallance and returns to the styles that made him a star here. Buoyant pop and heartland rock dominate, with Driving Under The Influence Of Love an exuberant Stonesy rocker and Talk To Me a Lennon-esque ballad. Some famous pals get in on the act, too, with Shine A Light an Ed Sheeran co-write and That’s How Strong Our Love Is a string-driven duet with Jennifer Lopez. All rights reserved for this news site dailymail and under his responsibility