Earlier this year, I attended Glastonbury Festival, with an almost unlimited list of bands on show. It is slightly overwhelming in comparison to most festivals, with more stages and acts on than one would care to count. As a result, getting to see every band you would like to becomes a mighty challenge and you are 100% likely to miss out on at least a couple of bands while you are stifling through Worthy Farm’s terrain.
On this particular visit, I missed out on a whole host of bands, none more namely than Peace. While not the biggest name on the lineup, prior to this years extravaganza I had been listening to their debut effort ‘In Love’ endlessly, in an almost flirty, adolescent way. I was hooked, and when my friends and I arrived at Glastonbury, they stood out amongst all the big names when discussing who we would like to see the most.
Lo and behold, Peace fell into the category of missed opportunities.
With support from Drenge (a two-piece grunge outfit from Derbyshire/Yorkshire), Peace did, what very little modern bands do these days: perform. For the first time in a very long time, I was watching a young band in full swing; carelessly perfecting every chord progression and lead lick, melody, harmony and cadence, whilst entertaining the audience with impeccable stage presence
Frontman Harry “Harrison” Koisser, who resembled a revitalised Carl Barât, jiggled his hips (albeit, to the extent that his jeans kept falling down) and caressed the stage with angelic precision, as he captivated the capacity crowd with his indie-fuelled antics.
Accompanied by fellow axe-men Douglas Castle (Guitars) and Harrison’s brother Samuel Kossier (Bass, Vocals), they all played a part in a compelling visual performance, with the latter embodying all the mannerisms and the fashion of Blur bassist Alex James, while still adding a certain Kossier aura to proceedings. Drummer Dom Boyce was the stand out performer though, excelling in beating seven shades of shite out of his drum kit but doing it in a way that the beat never fell on deaf ears, with grooves aplenty and a mean knack for expert fills.
The setlist, comprised mainly of songs from their debut album, was solidified by two extremely popular cover tracks, 1998 (Delicious), by Binary Faith and Wham!’s Last Christmas, which got the biggest roar from a fiesty Liverpool crowd on the night.
Of the original tracks played, it is hard to pick out a clear favourite. Wraith,the first single from ‘In Love’, was majestic; oozing with rhythm, as the crowd were encouraged to dance as if basking in the news of world peace. Float Forever, which sees H. Kossier urging his crowd to embark on a floaty, cloud nine voyage, was complete with a scintillating melody, lovely chord progressions and changes, and warmer-than-bed harmonies between the Kossier’s and Boyce. Perhaps saved to last (alike their album) Bloodshake left the crowd wanting to see it all over again, as they completed the set just as well as they started it; full of life, ambition and, at times, with subtle brilliance.
Looking for a negative element to this review? Well, it sadly doesn’t exist. I have, unfortunately, ran out of superlatives for Peace, who not only surprised me with their performance, but captured and locked the attention of audience on the night, with the sets pace not once feeling like a drag. More a perpetual bliss than anything else.
I would strongly recommend adding Peace to your ‘must-see’ bands, as they will have you singing and dancing in complete solidarity, and by the time the dust has settled, you will be scratching your head at how quickly the last 90 minutes of your life went.
By Jack Fitzpatrick