Peace played to the first of their three sold out Newcastle dates last Thursday night and were average when issuing offerings of recent pop album Happy People but spellbindingly spectacular when reverting back to their indie Delicious days.
The three hundred capacity venue sold out in a matter of minutes for all three nights. The bands profile has rapidly grown in the past two years since the release of their debut album but it seems that image rather than consistent musical output is the driver. Peace are formulating a new form of cult following in a British indie scene embracing and utilising social network connectively with fans. If it isn’t fur coats it’s the overuse of emoticons on twitter; either way it adds up to screaming fans as the band take to the stage.
The gig gets off to a strong start with early songs like ‘Float Forever’ (a bona fide festival weapon) back up with ammo such as ‘Bloodshake’ and ‘Lovesick’. Songs from their second LP ‘Happy People’ follow; ‘Perfect Skin’ (a failed lyrical tribute to ‘Creep’ by Radiohead fails to capture the imaginative lyrical love incentives that ‘California Daze’ beautifully does, much to the delight of the audience.
In such brief moments we see why we felt in love with Peace, they were creating music out of their comfort zone whereas now they seem to me to be back-pedaling to a sound comparable to their genre pioneers, Suede and Supergrass to name a few.
Harry Kossier stands out on ballad ‘Someday’ but he doesn’t have it all his own way. ‘1998’ sees lead guitarist Doug Castle play the prominent role in a swirling eight minute masterpiece, so decorative it changes concepts and notion of timing through magical interludes and fretwork.
Sam Kossier then takes his turn as the main man on ‘World Pleasure’ from Happy People that unconventionally modernizes the rarity that is a bass solo.
As Peace left the stage the sense of a lost opportunity is realised. Just as true live as on record Peace’s recent flight to more familiar indie territory because makes them sadly less interesting and releavant as a musical force. Indeed, if it wasn’t for them playing a fair amount of old material this first night of three at The Cluny would have gone as unnoticed as a one pence tip.
Reviewer: Tyler Marriott
Photographer: David Wala