Following a barrage of hype from the UK music press, most of the talk surrounding Peace has centered around their apparent baggy leanings. Comparisons to the big-name luminaries of that period – Stone Roses and Happy Mondays, for example – have been common.
But truth be told, any comparisons to those bands should stop at the restless dance drum beats that pulse through a few of the songs on Peace’s debut album In Love. And to pigeonhole the Birmingham quartet as baggy-revivalists, just for that, would be unfair.
After all, as In Love demonstrates, Peace are quite the scholars of British guitar pop. The indie-dance crossover vibe of baggy is a certain touchstone, but there are strong streaks of shoegaze and the more conventional Britpop sounds of the early to mid 90s, too. In fact, much of In Love plays like early Blur and many of the tracks would sit neatly alongside ‘There’s No Other Way’ and ‘She’s So High’.
Considering their melodic guitar-pop sound, the two supports for tonight’s Northcote Social Club show are entirely appropriate.
First cabs of the rank, Atolls, are a noisy-pop trio from Victoria. They have associations with King Gizzard and the Lizard Wizard (frontman Lucas Skinner plays with them) but they play music rooted in the 90s, not the 60s.
Their set is solid and the trio showcase a good ear for melody alongside the obligatory fuzz and hum of Skinner’s Fender Jaguar. Though the crowd isn’t 100 percent attentive, those that are seem appreciative.
Following Atolls are Brisbane’s Millions. Anyone who has glanced towards the merch desk and seen the band’s Wu-tang Clan inspired t-shirts may be unsure what to expect, which is a 40-odd minutes of great, though never exceptional pop. A bland cover of Rodriguez’ ‘Sugar Man’ is perhaps their only misstep.
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A comparison to Hungry Kids of Hungary might be appropriate for Millions on account of their Brisbane origins, singer Dominic Haddard’s voice and their generally sunny disposition.
As with Atolls, Millions’ performance is totally likeable, but the room has also filled up considerably and those now inside are paying far much more attention to the stage. It’s hard not to think Atolls deserved similar respect, but suppose that’s the nature of the support act game, isn’t it?
Next, Peace bound onto the stage to a particularly English-accented reception (yes, there are noisy Britons in attendance) and kick into a cover of Binary Finary’s ‘1998 (Delicious)’ (Google it, you’ll know it).
When they move onto ‘Follow Baby’, one of the most hooktastic cuts off In Love and a key reason why many punters are here tonight, one thing becomes clear: frontman Harry Koisser is an formidable live singer and Peace are a polished, well-oiled outfit. Surprisingly so, even.
While they carry themselves with a kind of swaggering indifference you’d expect from a group of their age and precocious talent, they man their instruments remarkably well, too.
Each song is played with confidence and force – the persistence of the hooks in their compositions is matched by a steadfast determination to connect.
The beautiful, Beatles-like ballad ‘Float Forever’ sends instantly memorable melodies into their air like free singalong candy for a sugar-loving audience. A little later, ‘Float Forever’ part two, AKA ‘California Daze’, has a similar effect.
The Foals-y math-rock guitar of ‘Wraith’ gets the crowd moving, while ‘Toxic’ sends them into a frenzy with its squealing wind-up guitar riff and infectious chorus.
They end with a scuzzed-up rendition of ‘Lovesick’, the shortest and most peppy track from In Love. It’s a barnstorming finish and ties things together nicely. The song is like the show itself: its powerful and filled with memorable melodies but never overstays its welcome.
Tellingly – and as it should be for a one-album band – there’s no encore. This leaves the audience wanting more as many a manager will have surely advised throughout the ages. And while some may return for the group’s second show tomorrow, most of the rest will certainly be back next time Peace is in town.
