A View From The Back Of The Room: The Hu (Paul Hutchings)

The Hu / Skáld – The Prospect Building, Bristol, 01.10.26



The last fingers of summer are fading, and autumnal colours fill the trees. Time to brace for the intensity of the early winter tour calendar as gigs fall quicker than horse chestnuts. The first day of October and there’s an excitement in the air as a very healthy crowd gather at the cavernous warehouse in the heart of old industrial Bristol for the return of Mongolians The Hu.

Last seen on UK shores at Knebworth in a baking July for the Iron Maiden extravaganza at Knebworth, they’ve continued to increase their popularity with some I spoke to buying tickets for this show based on their support for Steve Harris and co. My last encounter with them was at the Great Hall in Cardiff almost four years ago. They’ve clearly increased their fan base as the equivalent Bristol show was at the O2 Academy. Tonight they’ve probably increased that number by close to 800-1000.

Before the Mongolians, French outfit Skáld (8) entertain the crowd. Despite being from the land of cheese and wine, their music is predominantly Nordic Folk, based on Norse mythology. They create a great image, with fur wrapped hamanic drums, whilst the band are striking in their imagery. Norsemen (and woman) is certainly the impression.

Great rhythmic structures are the basis of their songs, and they create a thunderous noise whithin the cavernous room, which is already three-quarters full. Heating up nicely, Skáld ease into an extended 40-minute set. They draw from a selection their discography including the very recently released Ørlǫg. The band are spaced across the stage, with ample room for their drums which form the central tenants of their songs. Mainly instrumental, the latter part of the set sees Marie Potosniak take the lead vocals although the use of several foreign languages means you tend to hum along rather than sing with them.

It’s not all banging away of the drums though, with bouzouki and fiddle prominent as well. There’s an intense power that Skáld bring. Very much in the Wardruna, Heilung and Faun camp, there’s a captivating style about the French outfit that makes this a very pleasant and carefully curated support slot. An impressive ovation is well earned.

I was unimpressed last time I saw The Hu (8). Tonight they change my mind; somewhat. They have benefited from many things. The light show is impressive. A big screen with imagery and bruising backlighting make it a challenge for the photographers in the pit but intensely rewarding for those located in the middle and back who benefit from a clearer sound as well as better visuals. It’s a bit of over stimulation at the front but those who have crammed to the barrier are here to roar and cheer as the band rage through a 15-song list that kicks off with Lost Soul, one of eight from latest album Hun.

The band are split into three sections; touring musicians on drums and percussion situated high at the rear, in front of who lurk two anonymous guitarists who hide in the shadows. It’s the front four who take all the attention. The founder four, Galbadrakh "Gala" Tsendbaatar, Nyamjantsan "Jaya" Galsanjamts, Enkhsaikhan "Enkush" Batjargal and Temuulen "Temka" Naranbaatar are slightly less static than last time, although they remain reasonable rooted to the spot for most of the evening.

What has changed most appears to my uneducated ear to be a reduction in the throat warbling and more actual vocals. Sure, there is still plenty of their unique delivery, but there appears to have been a subtle change. I may be wrong. These aren’t my go-to band but their live show has picked up. I think in part due to the visuals, such as on Shadow and Black Thunder, both of which sees intense excitement amongst the crowd.

It’s some of the older stuff that really gets the buzz going though; Yuve Yuve You and Wolf Totem at the end of the set get a huge reception. Inevitably it’s The Trooper that ends the set with the biggest cheer and the large audience leaves happy and slightly blinded. For me, it’s an improvement on last time, and whilst I am not desperate to get back and see them again, their efforts in crowd contact and thicker riff-edged songs are at least bridging the gap a little.