Peace, The Ritz, Manchester [11.12.13]

It has been a somewhat overwhelming 12 months for B-Town quartet, Peace. From being added to the bill of NME's annual new music tour, to releasing their highly acclaimed debut album, to constantly being dubbed as the front runners of 2013's new music scene, Peace are certainly doing everything right. 

After seeing Peace play live (properly) for the first time at Leeds Festival this year, it became blatant to me that this band have become a colossal force since the release of their first EP, Delicious, and so I was extremely excited to see what they had in store for us on the Mancunian leg of their December tour, accompanied by Derbyshire duo, Drenge.

Unfortunately, I missed the best part of Drenge's set, only catching the last part of 'Face Like a Skull,' which really miffed me off. However, the electric atmosphere that buzzed around the venue was enough excitement to psyche us all up for Peace. 

The Ritz proves to be the perfect sized venue for this band at the stage they are at now, with a similar mix of people cramped into every corner of the room. As soon as Harrison Koisser struts onto the stage, sassy as ever, the crowd's roar is deafening. Given the smallness of the venue, every sound can be heard, amplified. The Birmingham boys open the set with one of my favourite tracks from their debut album, 'Waste of Paint.' With a Brit-pop inspired drum beat and psychedelia smothered guitars, the entire crowd shove forward violently as soon as it kicks in, causing pretty much everyone (including me) to lose their acquaintances. Friends found again, the crowd wail "you're electric honey, electric" along with Harrison, dancing along to the jerky riff.

This is followed by one of Peace's most well known and earliest tracks 'Follow Baby,' its scuzzy opening guitars immediately send the crowd into circles of the expected, pathetic-looking indie boy mosh pits. But, this does not take away from the wonderful energy of the track and how well played it is compared to the last time I saw the band, with its Brit-pop inspired melody and endearing chorus sounding better than ever.

Tracks from the album follow such as 'Higher Than the Sun' and 'Float Forever' proving the bands back catalogue of brilliance. However, a definite highlight would have to be 'Drain.' It's infectious introductory drums sending the crowd to endeavour in waves of enthusiastic dance moves whilst they all shout "draaaaaain" in time with Harrison, who at this point, proves to be a wonderful yet understated front man, leaving it to the music to do most of the talking. He thanks us all for coming before muttering down the mic "this one's called Lovesick." The crowd instantly jump to attention as soon as the first chord is played, before singing every lyric word for word. This certainly proves to be one of the most memorable moments in the set as every member of the audience seems to come together, whether they know each other or not. With a smile strewn across every face, the crowd continue to sing along, with their arms cast around their friends in one big amorous blur of excitement and glee. The attendees stood up in the stalls look down at the lucky standing ticket holders with jealousy as the crowd wave their arms in time, not violently, but admiringly at the excellence of the band before us.

Peace then choose treat us with a brand new unheard track, 'Money.' The track opens with unusally sophisticated guitars, but Peace's signature funky drum beats are sustained. It is a rarity for a band to play a new song and maintain a moving crowd, but Peace manage it alright. By the sounds of it, its looking like it will be one of Peace's biggest and best tracks to date.

The set continues with favourites from Peace's album, In Love, like 'Toxic' and 'Sugarstone,' before making way for one of their more dynamic tracks 'Wraith.' With the infectiously dance floor worthy drum beat to that distinctive riff that's been stuck in our head ever since the end of 2012. This is then followed by Peace's most exciting track to date and all round crowd pleaser, a unique cover of Binary Finary's '1998,' a ten minute buzz of obscure vocals, guitars that have Peace written all over them and drums that eagerly anticipate something big. The climactic section of the track proving to be the rowdiest couple of minutes of the night with an energetic crash of drums and fast paced guitars. The original is absolutely unrecognisable.

Skipping an encore, Peace jump straight in with beautiful rendition of a track from their first EP, 'California Daze.' It's delicate guitars and lovey-dovey lyrics make for the perfect opportunity to simmer down after a sweat infused three quarters of an hour. And now for a bit of festive fun while the boys cover Wham's iconic Christmas classic 'Last Christmas.' Another taste of the band's ability to turn a song into a wonderful encapsulation of Peace's sound. This certainly goes down with the crowd who chant every lyric, shamelessly.

The set is then drawn to a close with Peace's biggest track yet 'Bloodshake.' It's tribal drums forcing the crowd into waves of enthusiasm-ridden daning rather than the usual fist pump and jump. This track definitely affirms how well the band manage to keep the crowd going with their set full of the most energetic riffs and infectious drums. The climax proving to be a clear highlight as the crowd all jump at once when queued by Dom Boyce on the drums. The final wretch of guitar ringing in every ear hole. 

Tonight has certainly proved Peace's undeniable ability to win over a crowd never mind their vast collection of brilliant tracks this early in their career. It is safe to say that 2014 is looking even more exciting for Peace than 2013. I wish them the best of luck, they absolutely deserve it.

White Lies, Manchester Academy [06.12.13]

(excuse the the bad quality, badly-taken iPhone photos)

Last Friday marked the return of Harry, Charles and Jack, aka White Lies, to Manchester Academy; a venue they have played a number of times since their whirlwind rise to fame back in 2009. White Lies, formerly known as Fear of Flying, have been a steady favourite band of mine ever since the release of their debut album To Lose My Life... which is going back around four years now. I was immediately struck by their uniquely dark, post-punk sound with eerie lyrics and haunting instrumentals. Since then, I have had the pleasure of seeing them live a number of times at venues such as the academy and the Apollo, so I was exceedingly excited to get the chance to see them again, alongside their brand new album Big T.V, and at one of my favourite venues in Manchester, the academy.

Arriving around forty minutes before the band were scheduled to play, a resounding sense of excitement wavered across the entire venue as eager fans queued for their final pints and bustled through the merch stand stampede. Although we missed both support acts, In  The Valley Below and Frankie Rose, it was blatant that no warm up act was necessary, given the sheer enthusiasm of every attendee.

The clock struck a quarter past nine, queueing the lights to dim. The crowd roared with excitement as Harry McVeigh swaggered onto the stage, closely followed by Charles Cave, Jack Brown and two other unfamiliar members that accompany the boys' live shows. The set opened with the title track to their first album 'To Lose My Life,' which certainly got the crowd moving in an instant. "Let's grow old together, and die at the same time," every member of the crowd exclaimed in unison with Harry. Opening with this track was a definite bold yet excellent move and a nice alternative to their usual opener 'A Place to Hide.' 

The second track of the set was 'There Goes Our Love Again,' taken from their brand new album. Indeed, an unusually upbeat track for this dark trio but there's nothing wrong with a bit of light-heartedness in an otherwise, heavily dark and atmospheric set. The crowd have obviously done their homework as it seems every member knows this newish track word for word, instantly affirming Big T.V. as a hit with the fans. This was the same story with 'Mother Tongue,' another firm favourite with the crowd.

Then came my favourite track from their second album, Ritual, 'Streetlights.' With its very Joy Division-esque intro, right through to its powerful chorus with Harry's baritone vocal undoubtedly shining through. This track was obviously a hit with the rest of the crowd too as the whole room shook with people chanting "can anybody hear me? Is anybody out there?" Unfortunately, this, along with two others were the only tracks played from Ritual. Although, in my eyes, To Lose My Life... is the better album, I do believe that Ritual is only centimetres behind on the song writing front and the production on the latter is ultimately better than the first. However, the set list was very well thought out, despite the fact that it lacked tracks like 'Strangers' and 'Come Down.' 

The set list powered on with classics like 'Farewell to the Fairground' and 'E.S.T,' as well as newer tracks such as 'Be Your Man' and 'Getting Even,' all of which continued in the same crowd-pleasing fashion. At the end of 'Getting Even,' Harry tells the crowd "This next one is one of our favourites," before coming in with the introductory vocals of 'Unfinished Business' accompanied by the distinctive organ sound protruding the background. "Just give me a second darling to clear my head" he declares alongside the crowd's out of tune roars. It instantly becomes evident that this track is a significant favourite amongst White Lies fans, given their queued dancing as soon as the final guitar comes in alongside the crash of drums, paving the way for the chorus. The final track of Big T.V. 'Goldmine,' follows this spectacle with an infectiously poignant chorus and distinctly R&B resonant drums. This proves another hit with the fans before Harry admits "we're gonna' do something a bit different now." He declares a cover of Prince's 1984 single 'I Would Die 4 U,' and a beautifully slowed down rendition at that. The band retire their instruments for keyboards and a synth for this astonishingly simplistic version of the classic 80's hit. The delicate instrumental allows Harry's undeniable voice to take centre stage for the next three minutes or so.

As the set draws closer to an end, the beautifully slow paced drums of 'First Time Caller' erupt as the crowd sway with appreciation of this undeniably amazing band. The logic behind playing this toned-down, relaxing track at this point in the set is blatant as it is followed by the bands second ever single and the track that ultimately defines White Lies's sound 'Death.' As soon as the instrumental kicks in, the crowd are fully aware. The entire evening has been building up to this moment as the unanimous screams of "YES THIS FEAR'S GOT A HOLD ON MEEE" fill the room, eagerly anticipating the climactic chorus. This track proves to be the most lively of the night as the band seem to commune with every single person amongst the masses of fans spilling into every cranny of the venue. This marks the end of the pre-encore set as the band vacate the stage.

The crowd chant for more before Harry and the boys return for the final dosage of White Lies. The title track of brand new album, Big T.V. emerges from the stage, sending the crowd into a state of hypnosis as the band, once again prove their new material's relevance to their fans. This is definitely a highlight of the set which is unusual as it is such a new release. This just proves the bands ability to continue creating ridiculously good songs that follow on from their earliest of material yet don't sound out of place, as well as bringing something different to the White Lies back catalogue. The set culminates with Ritual crowd pleaser 'Bigger Than Us,' which is one of the many high points within this set of perfect variation. The crowd punch the air in time to Harry's every word as the bold, anthemic instrumental hits the crowd for a somewhat emotional conclusion to a wonderful set. 

As White Lies leave the stage for the final time, it is clear that they are worshipped by the many fans that have shown up for their set. The energy that the band brought is well and truly lost as soon as the lights are switched on. The nature of White Lies's tracks makes it seem almost impossible for them not to be selling out arenas in a year or so, and the sheer prospect of them continuing in tiny venues like Manchester Academy seems well and truly absurd. Bands like Coldplay and Muse who they have supported on tour in the past have got nothing on this London trio.