New Order played at Jodrell Bank this summer in front of a crowd of 15,000 people. A reliable source told me Bernard arrived by helicopter, despite the fact he only lives a couple of miles away. On Sunday evening Peter Hook played the Fleece in Bristol – a venue barely bigger than my front room. He made his entrance from behind the bar – I almost expected him to be pulling pints as well.

It’s difficult not to compare the two version of New Order currently plundering their past.  The other three play crowd pleasing greatest hits sets to stadium size audiences, while Hooky is taking the chronological route through the band’s substantial back catalogue. Having worked his way through Joy Division he’s now moved on to the first two New Order albums.

I was particularly looking forward to this set as it takes me full circle – I first saw New Order  live in 1983 after Movement but before Power, Corruption and Lies when the set was made up of songs from both albums. I remember a bad tempered, intense and very short set with, of course, no encore.

Tonight couldn’t have been more different. Hooky, though no less intense when performing, has an avuncular stage presence and is clearly loving playing these songs live again after all these years. He even provided the support – a rollercoaster set of some of the more ‘rockier’ Joy Division songs.  When he came on stage again after a short break he quipped ‘what did you think of the support band? They’ll never get on with a name like that’

The New Order part of the night started with the low key but forever haunting In a Lonely Place, followed by a storming Ceremony. Then, as if to show this was going to be a night for the purists, we were treated to Homage – a song from the Western Works demo that, Hooky told us, hadn’t been played live since Blackpool in 1981.

Movement followed -played in its entirety.  The album, much maligned by critics, fans and band members alike on its release, sounds much better live and performed by this tight band that Hooky has put together.  I could never understand why the album was so panned  -except that it wasn’t Joy Division. Dreams Never End, Doubts Even Here and The Him compare with anything in the New Order canon.  Having not listened to it for many years it was good to hear these songs again played with renewed vigour.

The band had a five minute break ‘ this is like running a bloody marathon’ quipped Hooky on returning, before launching into Mesh and Cries and Whispers (yes this really was for the completists) before Age of Consent had some members of the audience bouncing around in a way they probably hadn’t for years.  The momentum was then lost with We All Stand – and here’s my problem with playing an entire album – fillers that would never usually get an airing have to be endured. So while the jaunty Village and You Silent Face still sounded fresh , Ecstacy sounded like it always had – a few left over backing tapes spliced together. However – a small gripe – 586 still sounded like the proto house track that it was; Leave Me Alone was classic New Order melancholia and I’d completely forgotten about the brooding Ultraviolence .

The band left the stage to a backing track of Blue Monday – a knowing reference to the fact that this was the original intention of the moody buggers back in 1983, so they wouldn’t need to play an encore. But this is 30 years later and we were treated to a terrific version of Temptation that even had these old legs dancing, and the obligatory Blue Monday climaxed almost three hours of New Order history.  Newbies may have been a bit tested by the nature of the set, but old obsessions (and there were plenty of us there) were thankful that the heart and soul of this great band is still trawling his ass around the kind of venues where he started those years ago.


Watching the two halves of New Order (well the 3/4 and 1/4) tear themselves apart has been painful for lifelong fans. And now with both factions touring, colours need to be nailed to masts. I’m firmly in the Hooky corner – seeing ‘New Order’ without his lo-slung bass dominating left of stage is something I just couldn’t stomach.

But I was still wary of what was billed as ‘a celebration of Joy Division’  fearing at worst a bad tribute act. I needn’t have worried. I always suspected that PH was closer to the spirit of Joy Division than the rest of New Order, and the passion displayed in tonight’s performance bore this out. There was none of Barney’s flippancy, screwed up lyrics,bum notes and drunken uncle at a wedding dancing. Hooky played it with heart and soul.

The set began (at a ridiculously early 8.20 – what is it with gigs these days) with a couple of Warsaw songs, moved up a gear with Glass and Digital then the band performed the whole of Unknown Pleasures in album track order. I got my first neck shivers of the night at the intro to Disorder. The ‘big’ tracks – New Dawn Fades; She’s Lost Control; Shadowplay were huge – the two battling bases were so loud on Shadowplay I thought I was going to have a nosebleed. Even the ‘down’ tracks on the album (the ones I usually skip on the ipod these less angst filled days) didn’t drag like I thought they might.

The band he’s put together are so tight – his son Jack is a dextrous bassist in his dad’s mould; the guitarist was awesome and the drumming was as crisp and powerful as Steve Morris’.  They made me realise how truly awesome New Order could have been live if they hadn’t pissed around (and they were mostly pissed) with half hour sets, bum notes, no encores and general ‘couldn’t give a toss attitude’.   Hooky and his band play these songs with passion, treating them with the respect they know they deserve and the reverence they know the audience holds them in.

The first encore raised the tempo and temperature with an anthemic Transmission; a pounding Isolation; a hypnotic Dead Souls and a beautiful version of Decades – with Hooky even taking up the melodica for the final haunting refrain. The final encore began with Warsaw – reminding us on Jubilee day that Joy Division started out as a punk band – before bringing old men to tears with Love Will Tear Us Apart. But that wasn’t the end. as if to remind us that the New Order legacy is also his legacy he finished the set with probably the best live version of Ceremony I’ve ever heard.

The night brought more joy to a room full of ageing men than a hooker in an old folk’s home.

Barney who?

The usual Tuesday evening in the Indieanorak household: 40-something dad facebooking, you-tubing, googling; teenage daughters watching latest teen hormone vampire thing. Suddenly my ears prick up. Isn’t the theme to Vampire Diaries a cover of Temptation? 40 something dad now animated; teenage daughters bemused/embarrassed. I quickly google “New Order Temptation cover” and up pops Moby. I knew the vegan elf had done a rather drab version of New Dawn Fades but I didn’t know he’d done a version of NO’s finest hour. And a rather lovely version at that.

It got me thinking that there really aren’t many great, or even good cover versions of Joy Division and New Order songs. No-one has done what Johnny Cash managed  with Hurt. Pity Rick Rubin didn’t get him to cover Atmosphere.

It started badly with Paul Young’s desecration of Love Will Tear Us Apart. Grace Jones’ version of She’s Lost Control is more about Grace than the original – although anything with Sly and Robbie will always be decent. I like Therapy’s version of Isolation, but prefer the Smashing Pumpkin’s. Neither match the beauty of the original. The Killers’ version of Shadowplay is OK too and Radiohead’s note perfect rendition of Ceremony is from the heart.

I google ‘Joy Division covers’ and see on the splendid Joy Division Central that there have been hundreds:some by fellow Factory friends – ACR; The Names; Section 25; some surprising ones – The Divine Comedy doing Atmosphere; and some plain bizarre – PJ Proby singing Love Will Tear Us Apart.

LWTUA seems to be the most frequently covered JD song – from Jah Division’s dub  to Susanna and the Magical Orchestra’s acoustic. I used to like Frente’s acoustic version of Bizarre Love Triangle and and Flunk’s acoustic cover of Blue Monday too, but the novelty quickly wore off.

The truth is, whenever Bernard Sumner, Peter Hook, Stephen Morris and Ian Curtis got together in a studio, especially if Martin Hannett was at the controls, then something alchemical happened. The whole was greater than the sum of the parts and that magic will never ever be replicated. No one will ever obsessively create his own aural universe like Hannett did, or suffer for his art like Ian Curtis. Even without the two of them New Order managed to retain the spark that made them special.

There is one cover version I’ll always cherish though. My 30th birthday bash above a pub in Camden. A band called Pullover, friends at the time, finished their set with Bizarre Love Triangle just for me. Lovely.

Still mourning the (final?) split of New Order I decided to see what they are all up to. Barney has his new project Bad Lieutenant and is doing some gigs in October.

Hooky seems to be DJing in South America, but has been messing around with remixes of LWTUA if his myspace page is anything to go by (including MUFC inspired Giggs Will Tear You Apart). All this can be forgiven however for he has produced a truly kick-ass remix of the Killer’s All these things that I have done, which is a Killers vs NO mash up, complete with the baseline from Let’s Go. Better than the original.

Apart or together these guys still have talent

I have a good excuse for missing this one. I was 11 in 1975 when Torch of Freedom by Keith Hudson came out. Jamaican Dub wasn’t really on my pre-teen radar. 

New Order brought the song into my world when they covered it for their first Peel session (Barney typically getting the words wrong). I managed to get a boot-leg version of that and played the grooves off it. It took me years to track down the original version (it still doesn’t seem to be available on any CDs or downloads). It was worth the wait. It really is awesome. Just listen