Noah And The Whale, Husky @The Corner Hotel, Richmond(03/08/11)

Fri 5th Aug, 2011 in Gig Reviews

In their debut trip down under, indie-folk popsmiths Noah And The Whale would not only help fill out a comprehensive Splendour In The Grass bill, but indulge in some sideshows along the way. With the band boasting three studio albums and a swag of acclaim for each, Melburnians would be fortunate enough to finally receive a taste of the English quintet’s delightful music.

The Corner hosted a great number of punters early on – a particularly surprising revelation for a Wednesday evening. Husky were charged with the role of supports for the evening, flexing their muscles for a bout of soulful melancholy strewn throughout a fairly predictable folk output. Though the locals have built an impressive momentum over the last year, nothing about their set at the Corner neared justifying such a feat. Husky are frequently found hot in pursuit of emotional resonance but their musicianship – though admirably cohesive – only ever manages to yield beige acoustic-driven balladry. Their craft appears highly congenial to strict genre-based ideals with few risks on offer, the band apparently content to play things safe. Only one cool spot secured a memorable break in the monotony, a sweet piano solo twinkling gloriously to draw great applause from the crowd. Interest in Husky appeared to live and die with the band’s brief impulsive nature, however – an element that went missing for much of their set.

Single History’s Door galloped ambitiously with some intensity on show, yet the song failed to make any great lasting impression. As a single, it’s simply not essential enough, missing a radical element to propel it towards long-term memory. Many elements of the song informed Husky’s approach well, displaying a lean towards evocative, introspective folk fundamentals that beg for patience and concentration. Unfortunately, this formula is not only unbelievably difficult to nail, but it’s one that doesn’t always fall into place live. The insistence upon this approach combined with timid, uncomfortable between-song-banter made for a wholly average introduction to the evening’s proceedings. It’s true that there is a market out there for Husky and equally true that they displayed some appeal to fans of Noah and The Whale. As long as the band lack a dash of the charm and exotic spark of, for instance, the evening’s headliners, it will be tough going though.

Half an hour later, as the stage lay bathed in blue, a gorgeous piano score would introduce Noah and The Whale. The deftly optimistic Give A Little Love opened their set, an apt peace-offering for the band’s first encounter with Melbourne. Though initially reserved, the band’s introduction would erupt to indulge in a disarming crescendo, led in part by the emergence of a sugar-sweet violin within the mix. Such a trend would provide great insight into one of the band’s most notable assets: though their foundations are frequently rooted in fine indie-folk subtleties, Noah and The Whale possess an alternative rock dimension, a grittier disposition by contrast. It became apparent, however, that whichever mode the band preferred in any given interlude, they consistently produce an amazingly dense output, with elements layered meticulously to forge a rousing, emphatic result. Though the studio renditions of their songs don’t inform any such conclusions, Noah and The Whale presented themselves as a consistently bold and pronounced live band.

Give It All Back would prove a key highlight in the set, a cute Crash-Bandicoot xylophone tumbling out before an inevitable ignition towards an impassioned pop-rock gem. Meanwhile, Love Of An Orchestra would bring the band together for all-in vocals, the song unfolding beautifully and teeming with hope as an energised slice of galloping, cinematic bliss. Of course, Five Years Time – a powerful, assertive rendition presenting a considerable departure from the original recording, with no ukulele present – emerged a big hit with the crowd, as the Corner were found in fine voice. It was interesting to note the sheer abundance of young females throughout the venue, their numbers and devoted adoration audibly apparent between songs.

Whilst Noah and The Whale presented a fine Australian debut, there were opportunities for nit-picking. Elocution is hardly front man Charlie Fink’s forte, with most of his quieter sentiments represented through incomprehensible mumbling. Though the mood and tone were inevitably apparent by way of their music, a little more precision in his delivery would have worked wonders.

Overall though, the band offered a brilliantly pleasant experience, their beautiful harmonies and cohesive execution enduring throughout the night. Returning for an encore and ending with L.I.F.E.G.O.E.S.O.N., Noah and The Whale gifted their audience with a heartwarming glow, disarming any possibility of a furrowed brow upon exit. Leaving the Corner Hotel, you could only feel lighter – and that, ultimately, suggested a top evening of live music, courtesy of one of England’s hottest bands.