A few of us, caught in Nick Hornby’s slipstream, would while the time away drawing up lists of our own favourite music, making tapes and throwing shapes. It was harmless enough stuff, portable pub-games to backdrop those empty afternoons, decades ago, in O’Neills on Pearse Street and the balmy, mad nights everywhere else. But it was out of those sessions that we resolutely determined that the best, most consistent British singles bands of our generation were, in no real order: Buzzcocks, The Smiths, New Order, The Jam, Madness and The Pet Shop Boys. In the same way that all self-respecting football fans knew that Arsenal enjoyed the longest run in the top flight of English football without being relegated, or that Notts County were the oldest professional football club in the world, the names of the masters of the shorter form were instantly to hand whenever the great singles came up for discussion.
When it came to the not insignificant matters of Joy Division and New Order, my late friend, Philip Kennedy was, as usual, quickly out of the traps. Years earlier, he’d taken a punt on the ground-breaking singles, ‘Blue Monday’ and ‘Confusion’ and, thereafter, canvassed vigorously on behalf of both bands. A few hundred yards down Redemption Road and right down the hill at Seminary Road, another neighbour of mine, Paul Daly, introduced me to ‘Ceremony’, which he’d brought home from London and which he too shared freely, proselytising. I adored it from the off and, even now, find it easier to take than the Arthur Baker/New York infused material, marvellous and all as it is. In school, a handful of us would marvel at the Peter Saville-designed art-work and, with set-squares and protractors that we had yet to de-commission, would work up imaginary designs for our make-believe bands on the back of Buntús Bitheolaíocht.
Paul Daly, who was a few years older than me and a couple of classes ahead of me in every respect, was among those who fetched up at New Order’s show at The Savoy in Cork in April, 1983 and, with his Walkman stuffed inside his belt-line, recorded the night’s events, as he’d often do at venues all over the city. On the evidence of his tape which, quickly thereafter, went through the hands of the alickadoos, it was a freakishly bad show for everyone concerned, the band stop-starting it’s way through a shambolic set as the crowd grew more impatient and rowdier. And, in respect of many of New Order’s earliest shows in Ireland, this pattern seems to have repeated itself routinely.
New Order were back in Cork again in January, 1986, this time at Connolly Hall, and they were just as disappointing. From my usual sport to the left of the sound desk, I found their inability to trigger the loops and tapes which, even then, scaffolded a serious spread of their sound, just ridiculous. On record, New Order were far removed from the tuneless, joyless d-i-y set and yet, on the live stage, were just as patchy as the worst of them. And from what I can remember, the band also lost themselves in a petty stand-off with some of the local gobdaws, one of whom threw what could have been a bottle or a glass towards the stage. Unlike The Smiths, who walked off in The Savoy a couple of years previously after similar eejitry from the front rows, New Order at least hung around to complete their set, patchy as it was.
But on record, they were a far more formidable force, a sparklesome outfit capable of real invention and no little magic and we gorged for ages on ‘Movement’, ‘Power, Corruption and Lies’ and ‘Low Life’. And the more that New Order developed their sound – and, I guess, the more technically proficient they became in so doing – the more they cemented their hand-prints in our gallery of favourites. And to this day, one of the most set-upon records in my collection is ‘New Order – Singles’ : side one, especially, is a mighty, almost perfect fifteen-track beast, from ‘Ceremony’ to ‘Touched By The Hand Of God’.
New Order hadn’t played live for several years when, surprisingly, they were named as one of several top-line acts due to perform at an ambitious, three-pronged live event planned for May, 1993, in support of an All-Ireland charity called Peace Together. Founded a year earlier and co-ordinated, in the spirit of Live Aid, by Stiff Little Fingers’ bassist Ali McMordie and Robert Hamilton, the drummer with The Fat Lady Sings, Peace Together was a curious, if undoubtedly well-intentioned project, a charitable trust ‘dedicated to the promotion of reconciliation between the people of Northern Ireland through music’. During a period in the long-running peace talks process that was ripe with optimism for a genuine breakthrough , the charity planned three, large-scale concerts that would go live simultaneously in Dublin, Belfast and London, billed as ‘1 day 2 help 3 cities 4 Peace’. Among the others originally confirmed to take part were Sinéad O’Connor, Peter Gabriel, Del Amitri, The Orb and a slew of notables: BBC Radio One was even planning to take live coverage of the Belfast leg, such was the scale and extent of the line-up.
But as with many such events, the theory and the practice soon collided head-on. The Belfast concert was cancelled at short notice after the hotel in which all of acts, including headliner Peter Gabriel, were billeted, was bombed. The scheduled London show had already fallen, apathy and general indifference the reasons cited by the organisers. Indeed the Dublin show too looked, for a while, as if it too wasn’t going to fly. Sinéad O’Connor was a late – and controversial – withdrawal and, for all of Hamilton and McMordie’s good intentions and impressive connections, the show, which took place weeks later than first announced, was a hard sell. So that when the event’s compere, Pat O’Mahony, formally opened proceedings in The Point Theatre on Saturday evening, June 5th, 1993, the revised line-up looked as if it had been scrambled together randomly and not even the presence of New Order half-way up the bill was enough to stem the bleed. The vast hall was half-empty on the night and the air had long been sucked from Peace Together: the eventual cast, featuring the likes of The Stunning and Liam Ó’Maónlaoí, could have been lifted directly from the previous year’s People In Need Telethon.
A couple of months previously, Suede had released their magnificent first album and, four weeks before the Peace Together show in Dublin, another Manchester band, Oasis, signed to Creation Records. New Order had just issued it’s first album of the 1990’s, ‘Republic’ and, four years since ‘Technique’, the ground had moved and the goal-posts had been moved. And so it was against this back-drop that I walked the quay down to Peace Together to renew acquaintances with them: New Order, as always, appeared to be utterly out of synch with the sound of the underground. And although I was greatly unconvinced by Peace Together and absolutely confused about it’s outright ambition, I really wanted the Dublin show to work.
I’d long tried to advance the cause of The Fat Lady Sings, the fine Dublin pop group I first saw play to a loose handful in The Buckingham in Cork years earlier: I’ve written previously about that show as part of a much longer piece on Cork’s venues, and that’s available here. I’d briefly met Robert Hamilton at a couple of their early shows: one of his off-stage tasks was to collect names and contacts after gigs for the band’s mailing list and I found him gracious, decent and generous with his time. A good scout. And it was easy to see exactly how himself and McBrodie attracted such high-profile names to the Peace Together project even if, from early, I suspected they may both have been in over their heads in respect of the live shows. And even though the charity’s legacy also included a small, community-focused recording studio in Belfast and a compilation album of suitably targeted cover versions by the likes of U2, Therapy, My Bloody Valentine, Therapy? and The Fatima Mansions, my concerns for the concerts proved to be well-founded.
My review of New Order’s performance, re-printed below, was originally published in the issue of Melody Maker magazine dated June 19th, 1993. Donal Murphy, a terrific photographer from Charleville, in North Cork and a central cog in the DropOut magazine machine, took a terrific snap of Peter Hook’s crotch to accompany the piece and went to almighty lengths to get the stills across to London over-night to make the production dead-line. It really was another world then.
PEACE TOGETHER, POINT THEATRE,
They couldn’t really have picked something and somewhere more auspicious. It’s been four years and here are New Order, one of pop’s most wonderful treasures, sandwiched on this peace show thing that has long since become a complete irrelevance. They’re up there on a line-up that’s so weak that most of it, I imagine, is later helped from the stage into a fleet of waiting wheelchairs.
There are lots of very apparent spaces in this vast railway hall ; the peace connection and a town filled with apathy have quite obviously thrown everyone. A quick vox-pop in the foyer tell us that the kids, almost one year on, know nothing about Peace Together, it’s origins, it’s intentions and it’s background. Fewer still actually care any.
So it’s with some half-relief then that, after what seems like an age, New Order finally ramble on. And they’re completely dreadful, basically. But then again, who can really blame them ?
They haven’t played for years, they’re doing this, quite obviously, out of necessity and they’ve stood on the touchlines and watched this peace shambles fall into splinters around their very feet. It’s when Bernard asks, ‘Is there anyone here from Dublin ?’ and he’s hit back with ‘Manchester, tra-la-la’ that it finally dawns on us how failed this whole thing has been. Up front there are, perhaps, 500 hard Manchester lads, lots of United’s rather unseemly blue and black away shirt and loads of that silly bag-fashion we’d all thought had actually died with The Farm. We obviously thought wrong. The locals have stayed well clear of this and that’s for sure.
It nearly falls apart for New Order right at the start. Barely into ‘Regret’ and all of the tapes and machines and sequenced techno stuff go loopy for some seconds. Bernard stumbles, the band look all around them and they just about hang on for life. That was the portent. New Order, like the rest of us, never ever got into this at all.
For a start, all of that rambling stuff from ‘Brotherhood’ sounds as mundane and awkward now as it did then, and the band are making some curious choices. At least they do the quite alluring ‘World’, with it’s compelling little choruses, but despite Hook’s clenched fists and his desperate impatience to get anywhere near the front, New Order quite clearly don’t want to be here.
There’s some manner of clarity and half-baked grace in the middle when they do ‘Bizarre Love Triangle’ and ‘True Faith’ back-to-back, with Hook flailing like a tulip in a gust. This is very much his show, but then you all knew that anyway. He still for all of the best cock-rock poses and at least has the good sense to treat this as nothing more than the piss-laugh it’s long since become.
Gillian hands us a snigger when she straps on a guitar and poses for four minutes without ever touching it. A surreal moment among many, that. And then Bernard stops to apologise for such a short stay telling us the band hasn’t really had the time to rehearse, but we smelt than an hour ago. After they encore ‘Blue Monday’, Bernard walks off in a different direction to everyone else, knowing in his heart that this was one great waste of time and space. He’s not alone. And I keep thinking about The Pet Shop Boys, for some reason.
Later, as Peace Together falls even flatter on it’s arse, New Order become some very distant memory. They may indeed be one of our finest singles bands ever, a curious pop-pearl among swine, but tonight they had as much presence as a string of abandoned and burnt-out cars. This should have been an evening to treasure, something to talk about tomorrow, something to swap notes on, to from which to eek out the bootlegs. It wasn’t.
Forgettable seems like too soft an adjective.
new order never used tapes live. the Manchester chant was probably started by me, but there. there weren’t 500 of us from Manchester
Thanks Alex. There was a sizeable contingent travelled over for that show, difficult enough to put an exact number on how many. New Order may not have used tapes but they’ve been using sequencers for decades and, if my memory is correct, had a right malfunction that night, hence the general humour on stage and off of it. All the best, Colm.