About an hour before they were due on stage, I had the pleasure of meeting Brummie quartet Peace in their minibus. The indie newcomers have exploded onto the scene (you can’t seem to turn on Radio 6 or Radio 1 without hearing them) and scored the accolade of Zane Lowe’s `Hottest Record’ with their single ‘Bloodshake’. Touring with debut EP Delicious they visited Fibbers, York fresh from a day off, which they told me they spent indulging in two of their biggest passions: cheese and walking. 
When I asked them what they did before the band they (Harrison Koisser, Samuel Koisser, Douglas Castle and Dominic Boyce) explained that they all studied music related things at college, Sam even got a degree in Music Production, so it would seem they’re all pretty clued up on what they’re doing. They were also holding down jobs as pizza boys and in events management, which apparently involves sitting on Facebook for hours on end on a daily basis.
A definite influence on the band’s style has come from Doug and Dom’s experience in a funk band whilst at high school. They told me their other influences have been heavily sculpted by their parents’ listening habits: so a lot of ‘60s music, as well as what was around when they were growing up in the ‘90s, namely Britpop. Harry made sure to tell me of his passion for the Spice Girls and how they have really influenced Peace’s music but on a more serious note they named Battles as their main influence as well as “the pingly guitar style” associated with Radiohead.
This mixture of influences has led to a new sound which many in the music industry are finding difficult to categorise; so I asked the boys if they could give us any clues as to what they have created. There was confusion amongst the ranks before the final statement was given that they have less of an idea than anyone else: they just write stuff that they themselves will like and hope for the best.
And the best has definitely happened. Responding to this growing praise, they told me they were so happy that people enjoy what they do because “it would suck if people didn’t like it”. They also commented on how glad they were that people are getting involved at their gigs rather than standing politely and clapping even though, admittedly, they never thought their music was “mosh-worthy”. Another thing worth asking them about was getting the ‘Hottest Record’ title; the boys said it was “really nice” of Zane to recognise ‘Bloodshake’ and they were thoroughly appreciative of the honour. They said it was still amazing but weird to hear themselves on the radio, Dom’s radio alarm clock woke him up to ‘Bloodshake’ the other day. They feel incredibly privileged to be part of an indie scene infiltrating what is otherwise an industry taken over by manufactured pop.
All of this success is thoroughly deserved as these boys have really been working for it. Between March and May this year, they set off on a “supertour” and after the current Delicious tour is over they’re touring over the festive season too. It’ll be their first time in America and Italy so they’re looking forward to it and said they will definitely be taking advantage of the nightlife after their shows (“Why not eh? It’s Christmas!” as Harry quite rightly said).
I asked whether they prefer touring or recording in the studio and the answer, as is typical, was that they’re both good for different reasons. Because they had been touring so long though, they said being in the studio to record the upcoming (yet to be named) album was a welcome change because it gave them a chance to get more settled and focus on fine tuning and honing their sound. What was nice to hear was that they all play and record together at the same time so it’s very similar to playing live, just without the audience obviously.
Harry, the songwriter of the band, told me touring is very important in the process of producing new material. As a particular example, he told me that the new single ‘Wraith’ was born from an initial idea that was then taken to the stage without even a full set of lyrics and developed until it felt right. He was very open in telling me that for their first year of performing, they had a solid three song set with an experimental fourth song which he often used to mumble random lyrics because he didn’t think anyone would notice.
After hearing that they asked for a billboard in Birmingham sporting their faces and the slogan “What the fuck, Birmingham?” to celebrate their signing to Columbia earlier this year, I was intrigued and slightly worried about meeting Peace. But that request was simply down to the band not wanting to be “cool” about being signed. These boys are thoroughly enjoying what they’re doing, leaving me on the note that “it’s all a bit of a laugh” and they also pushed that everyone needs to chill out and “take care of one another”. They’re genuinely lovely guys and they’re not too bad live either.
That evening, the atmosphere electrified when they took to the stage in a close-to-capacity Fibbers. Opening with the first track of the EP ‘Ocean’s Eye’, it could have been easy to feel like you were listening to it in your bedroom. However, regardless of their lack of obvious charisma, the boys have an overwhelming stage presence quite dissimilar to anything I’ve seen before.
Despite only being released online very recently, their upcoming single Wraith was very well received, provoking a lot of head bobbing and rhythmic swaying. When reaching ‘California Daze’, the crowd gave a unanimous “awhhhh” when Harry announced they were going to play their “softest and most mushy song”.
The most epic moment of the set had to be the 10-minute long, quasi-anthem 1998. Their unique stage presence was most effective at this point, notably Sam (the bassist) who bears a huge likeness to Alex James of Blur fame both in looks and just general being, keeping you captivated when your attention could easily slip.
The boys left the crowd on a complete high, giving an energetic and flawless performance of ‘Bloodshake’. Their 40-minute set was impressive for such a young band, showing that their dedication to touring has not gone to waste. I could easily see them playing the same material to sold out arenas and thousands-upon-thousands at festivals without any tweaking or juggling about; my only complaint is that we were left wanting so much more.