Husky’s Punchbuzz, released in August this year, was a real change of pace for the Australian band, seeing them ditch their more folky traditions for a whimsical, slightly experimental record that was refreshing in its terseness. Written away from their native Australia, it appeared to have reflected the more hipster location of Berlin, where it was recorded. The record saw them hit the road to promote the release at The Hope & Ruin to a disappointingly small crowd, which showcased what a difficult position the band are in at the moment, straddling their new record with fan favourites from their older albums.

Canadian singer-songwriter Jordan Klassen opened for Husky on the night in a very charming, impressive set. Playing songs dominated by his latest album, Big Intruder, and 2016 record, Javelin, he instantly warmed himself to the crowd through his chit-chat where he explained what his songs were about and entertained the crowd with his wit. Not only that but songs like ‘Baby Moses’, ‘Sylvia Plath Girl’ and ‘Dominika’ are all wonderful, acoustic-driven songs that focus around Klassen’s everyday problems including depression and his friends. His openness is fresh and invigorating.

Arriving onstage to a discouraging crowd, partly due to Halloween I’m sure, Husky opened with two songs from their latest record. Starting out with the album opener ‘Ghost’, swiftly followed by titular track ‘Punchbuzz’ there’s a War on Drugs vibe to this invigorated Husky. With a deeper, dreamier substance to their songs, the start of the gig had a more dynamic, vigorous vibe and the audience seemed to react well. The middle of their set was dominated by their old work. Forever So opener ‘Tidal Wave’ received the biggest reaction of the night, while ‘Dark Sea’ was greeted by the biggest applause. For me, however, the earlier songs seemed mawkish and somewhat awkward considering the size of the crowd.

Halfway through the performance, keyboardist Gideon Preiss said “There’s not many of us here, but the spirit is strong”. The audience showed them a lot of love throughout the night, but seemed indifferent to the new stuff that they continued to play. Strangely, it’s here where the set began to turn back to the more upbeat songs from the new record. ‘Cracks In the Pavement’ was paced wonderfully, with a much rockier edge, while album closer ‘Spaces Between Heartbeats’ was a congenital love song that perfectly blends the rock of Punchbuzz with the folk of Forever So. Ending on single ‘I’m Not Coming Back’, arguably their biggest song and an impressive example that they can write a hit worthy of a bigger crowd, was one of the highlights of the set and left the audience with a spring in their step as they left the venue.

Husky are a strange band in a peculiar position right now. Having spent the last five years building a fanbase through their folk-led traditional ballads, they’ve now released an album more in line with off-beat indie in the ilk of Kurt Vile, The War on Drugs and Real Estate. On the night, it was their new songs that seemed fresh and different to me, but they didn’t transition particularly well with their earlier work. However, it’s their older, folkier songs that hit with the depleted crowd. Husky are ultimately a band in transition and it was clear to see with their uneven set and reduced fanbase at The Hope & Ruin.

Liam McMillen

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