“The way she shows me I’m hers and she is mine
Open hand or closed fist would be fine
The blood is rare and sweet as cherry wine”

As revealed recently by a series of wedding and concert videos posted on social media, the true meaning of the song Cherry Wine by the singer-songwriter Hozier is staggeringly lost on many people. When read as a poem or listened to in accompaniment of the music video, it is clear that the song is explicitly about domestic violence and an abusive relationship. In song form however, largely a result of its mellow, folksy tone and Hozier’s lack of clear pronunciation, many listeners take it as an affectionate love song. This leads to its significant misuse and misunderstanding, possibly most notably in the case of a man proposing to his partner while the song was being performed live at a concert. It could be argued, however, that the lyrics and their meanings can be separated from the song, appreciating purely its sound rather than its heavy implications. Ultimately though, especially when examined more closely, this song provides a nuanced insight to the mind of someone in a toxic relationship, and by trying to separate it from the very real struggle it portrays, both Hozier’s sensitivity and artistry, as well as the suffering of many people in similar situations across the world, is infinitely discredited.

The unbalance of power between the speaker and his abusive lover is eminently clear throughout the song. “She tells [him he’s] hers and she is [his],” in which her connection to the imperative verb and repetition of possessive pronouns emphasises how she is the one in control of this relationship entirely, to the point that she puts thoughts and beliefs into his mind. This is extended when she is elevated to a deity-like status in the final verse and pre-chorus through him being “all but washed / In the tide of her breathing.” In consideration of the extensive religious imagery Hozier uses throughout his music (most famously in Take Me to Church), this could have connotations of a Baptism and its purifying quality, further reinforcing how he believes she has changed him for the better. He also refers to her as “merciful” and their relationship as “divine,” which continues this portrayal of her as a goddess-like figure. Furthermore, the double standards present in the relationship also serve to emphasise her power over him. Whilst he walks “[his] days on a wire” and has “Calls of guilty thrown at [him]”, she “stains / The sheets of some other.” This metaphor could reflect how the speaker is forced to be a perfect party in this relationship, and is still accused of wrongdoing. The carelessness associated with the verb “thrown” highlights this contrast of how careful he is in comparison to her, as she is the one who holds the power and can therefore act as she wishes. Because of this, her infidelity is ignored as a result of the speaker’s own toxic desire for her. “Stains” implies a permanence to these affairs and a suggestion that no matter what the speaker does, he cannot prevent or undo them. This exhibits the seemingly illogical double standards present in this abusive relationship, as her unfaithfulness is accepted despite clear evidence of it, all the while she accuses him baselessly. Through this unbalanced power dynamic, Hozier forms the framework for this relationship’s narrative by putting the victim in a position of complete helplessness in the face of the woman he has put on such a pedestal as a result of misplaced love and desire.

This powerlessness is a self-reinforcing cycle. Because the speaker is so desensitised to the abuse he faces, he relentlessly excuses his lover’s behaviour, blaming himself for the pain that is inflicted upon him. Throughout the song, it is almost like he is trying to justify her actions to the listener and create an image of her that exists beyond her violence. It is possible that the reference to how she “throws with the arm of her brother” is an attempt to search her past for an explanation and therefore an excuse for his mistreatment at her hand. By drawing this link between her and another, it not only normalises her actions but may also imply this is an inherited trait of hers, and so the speaker absolves her from responsibility. The most pressing attempt at justification, however, is the final line of the chorus, and most recognisable: “The blood is rare and sweet as cherry wine.” This the most explicit reference to physical abuse in the song, and he immediately attempts to mellow it, promising it is “rare”, as if that makes it excusable. Additionally, this simile, as well as being the title of the song, brings with it connotations of alcohol and inebriation. This could reflect how the speaker recognises the relationship has an all-consuming and addictive quality to it, but accepts it for the sake of its apparent sweetness. Although this line perhaps implies a conscious decision, it also could also carry an implication of the speaker’s illogical decision making, as he is drunk on his love. As a result, this acceptance of violence is not one made in clear conscience, but one reinforced all the same. Moreover, his ask of “Oh momma, don’t fuss over me” also reinforces the extent to which he accepts this situation for what it is, and possibly believes that their relationship could never be properly understood by an outsider and therefore shouldn’t be judged by one. Unfortunately, this is a fairly typical belief of many in abusive relationships, and leads directly to isolation and further vulnerability. 

What this song most vividly and evidently illustrates, however, is the contradiction of how a relationship may appear and how it is actually lived. Full of contrasts and contradictions, Cherry Wine encapsulates the push and pull of a toxic relationship. Nothing follows consistent semantics in their descriptions, and these conflicts reflect the day-to-day conflict of the two lovers, as well as the conflict of appearance and reality in their relationship. Even the opening lines immediately establish this juxtaposition: “Her eyes and words are so icy / Oh but she burns / Like rum on the fire”. On one hand, she is cold, distant and unreachable, cruel with her words and unfeeling in her gaze. On the other hand, she is volatile and flammable. This particular contrast reinforces just how drastically unpredictable she can be emotionally, which in itself can lay the groundwork for emotional abuse in a relationship when all of these immense and changeable feelings are directed only at him. In the third verse, this conflict of hot and cold is continued – “Her fight and fury is fiery / Oh but she loves / like sleep to the freezing.” Once again she is fire-like and volatile, and this is now contradicted by the use of fricative consonance, which adds a gentleness to the phrase and perhaps creates a facade to the listener, who hears the tenderness he feels rather than the words that hold truth. Furthermore, this simile has notable connotations of death through love. Hypothermia, caused by freezing temperatures, is believed to feel much like falling asleep, and this is perhaps the phenomena that inspired this phrase. This implies how no matter if she is passionate or cold, the speaker will suffer either way, as he is completely at her mercy in this relationship. She both repels him and welcomes him, and he has learnt to be so grateful for that welcome that it surpasses all better judgement, which is reflected in how although her “fight and fury” comes first, more emphasis is put on how “she loves.” 

In consideration of the contrast of appearance and reality, it is the music video that most clearly depicts this conflict. Whereas at the beginning the couple appear as if in a video for a gentle love song, seemingly equals and romantically engrossed in each other, the end of the video sees the female lead (who is not, in this case, the perpetrator of the abuse, but instead the victim of it) wipe away her make-up to reveal a black eye. This is often used in media to portray the coverable nature of much of domestic violence, and not only emphasises how vulnerable she, or the male speaker, is, but also possibly how unseeable the emotional and mental impacts of domestic violence can be. This disjointed connection between appearance and reality is manifested even in the reception of the song itself – seen in the aforementioned, poorly-timed proposals, and the superficial acceptance of it as a love song.

Ultimately, Cherry Wine explores the endless depths and complexities of a toxic relationship through the eyes of the ‘love’s’ victims. Beyond this, however, the reception of this song acts as a microcosm for how a relationship’s appearance can conceal its true reality – despite the misunderstanding of many, this song cannot be removed from the very real issue of domestic violence. The final scene of the music video solidifies this by showing a black screen with the message #faceuptodomesticviolence. Attempting to separate this song from its true meaning is an injustice to not just the text itself, but to anyone who has experienced a similar situation.