Husky Gawenda, the man at the centre of Melbourne four-piece Husky, is a sophisticated songwriter. Their sound includes remnants of Jackson Browne, Richard Thompson and some Bad Seeds-like arrangements. When the band were on target tonight at The Corner Hotel it was a momentous triumph. During Set opener Tidal Wave, and singles History’s Door and The Woods, the band sat comfortably alongside contemporaries The Decemberists, Midlake, and slotted somewhere between Boy & Bear and Angus Stone (if we’re to look closer to home).
Husky’s tunes deal with individual drama and contain thought-provoking imagery. Without being exclusive, Husky relates impressions and interpretations of some of existence’s more challenging elements. Gawenda’s pitch-control was exact and his confident restrained ‘husk-ing’ voice, with the occasional impassioned extension, was lovely honey to the ears. Despite this, there was an undercurrent of reticence in Husky’s show tonight. Formally speaking the sentiments are there, but for the most part they failed to strongly connect.
The band played exceptionally well, in fact, in a technical sense Husky did not put a foot wrong. Similar to his vocals, Gawenda’s guitar playing had a sweet fibrous quality as he competently picked his way through curiously structured chord progressions. The backing vocals are one of the band’s most impressive features; tonight the three-part harmonies boosted the songs’ rustic allusions. The electric piano, especially the wurlitzer sounds, intensified the drama, leading them into ‘prog-folk’ territory, and the drums and bass were sturdily unwavering. However, there was not much danger in the execution of each member’s parts and the imperturbable playing impeded upon the heart-beat of the songs.
The quasi-virtuosity displayed by the band was a little too studied and precise. For example, the piano playing was incredibly dexterous, and the pianist behaved as if he was getting lost in what he was playing (the only animation to be seen anywhere on stage), however he seemed very aware of what he was hearing, rather than overcome by the forces driving him.
Additionally, while Husky are all great players, charisma sure isn’t their strong suit. Admittedly they were fresh off the plane after a lengthy period of overseas touring and it took them a while to ease into proceedings. Not everyone is an engrossing public speaker, but the band’s body language also conveyed distance, particularly in the first part of the show. Although it was presumably out of respect and anticipation, the crowd too kept very quiet, making it somewhat awkward.
A highlight of the setlist was a new tune performed solo by Gawenda. He explained that the song, tentatively titled Wolfman, is written about things that “should be controlled but can’t be” (i.e. animal impulses, possibly a nod towards Herman Hesse’s Steppenwolf). Performing on his own and playing something that hadn’t been rehearsed and perfected, Husky’s most alluring aspects came to the fore. His honest vocals and understated song-craft (he does traipse around the fretboard but it’s not to show-off) have the ability to encourage a unifying embrace.
BY AUGUSTUS WELBY
LOVED: Support act Elana Stone’s infectious tunes and hilarious banter.
HATED: The cold weather making The Corner’s rooftop a no-go.
DRANK: Coopers Pale Ale from the bottle it was brewed in.
