New Order - Powerhouse Melbourne 17 May 1985

NME - HIGH LIFE

NEW ORDER
Powerhouse, Melbourne, Australia

THE two-and-a-half years since New Order’s last jaunt Down Under have heralded dramatic changes in the musical output of the group. The solemn moodiness that dominated their sets then has now been totally replaced by the bright, danceable tone of the sequencer. The shrouds of Joy Division have well and truly been removed.

To those involved, tonight's gig was more than just another performance. It was on this very night five years ago that Joy Division's lead singer, Ian Curtis, committed suicide. The group knew it, and so did much of the crowd.

Under circumstances like that, the atmosphere could be nothing but electric. The Mancunian foursome’s reputation for sub-par shows was definitely not in evidence tonight, as they produced an absolutely inspired performance.

The group looked strangely out of place on a stage, totally lacking the "pop star" glamour all too prevalent in much of today‘s music. With Bernard sporting faded jeans and a tee shirt. and Peter Hook (in the process of growing yet another beard) in sweatshirt and tracksuit pants, they could have been any number of people straight off the street. But put them behind their instruments and all preconceptions are immediately dashed. Behind the drum kit, Steven Morris becomes a human dynamo. while Peter Hook's free-flowing bass forces its way into your consciousness with the subtlety of a sledge hammer.

Interweaved with this, Gillian‘s keyboards spread out to fill the entire hall with that infectious, pulsating dance beat, granting the word synthesizer as whole new meaning. And finally there is Bernard, one of the most unlikely lead singers you'll ever find. Surprisingly, his vocals are much stronger now and his guitar work rages in an uncontrolled fire as he thrashes out the chords. Sure, they made their mistakes, but it seemed not to detract form the show at all, rather it just added to the atmosphere.

The set was mainly lifted from the group's new album, "Low Life", which was well received by the capacity crowd. It heralds another change in the outlook of the band, with a tone of romanticism creeping into the lyrics - who would have expected "Love Vigilantes" or "The Perfect Kiss" to have come from New Order?

"This is a song about anal sex" shouted Bernard as they launched into "Blue Monday", the first song of the encore. This alone turned the crowd into a dancing, seething mass, but the pinnacle was yet to arrive. With the opening chords of the final song "Love Will Tear Us Apart", they simply erupted. It was certainly not the most accurate version of the song ever played, but it could possibly have been one of the most memorable interpretations. It was enough to send shivers up and down your spine. A moving end to an inspired show, and a fitting tribute to one of rock's most tragic losses.

In a word - brilliant.

JASON REYNOLDS