Here are the reviews of the Chicago show from the local papers. Brad
New Order is a joy undivided
By Joshua Klein
Special to the Tribune
Published May 5, 2005
Even with 25 years under its collective belt--more, if you include its slightly earlier incarnation as Joy Division--New Order still often behaves like it has stumbled fortuitously into its place in the post-punk pantheon. For years the band has exhibited a remarkable lack of ego, its particular genius stemming from an endearing casualness.
But the more these affable blokes from Manchester shrug off any honorifics, the more their followers offer them. The thousands at the sold-out Aragon Ballroom on Tuesday night worshiped the band like a spirit-fearing ancient tribe witnessing a solar eclipse.
New Order, for its part, has gradually shifted from being almost confrontationally aloof to grudgingly accepting, and perhaps even being proud of, its legacy. That's noticeable from the number of Joy Division songs the group now regularly and enthusiastically sticks into its set.
"That was a beautiful song by Joy Division," singer Bernard Sumner said after the group played its first encore of the spectral and spectacular "Atmosphere." He then said, "This is a beautiful song by New Order," before the band began the hypnotic pulse of "Your Silent Face."
Those two songs capped a stunning evening of music that ranged from rockers such as "Crystal" to more dance-oriented tracks such as "True Faith," "Bizarre Love Triangle" and "Blue Monday." Hot off a celebrated performance at California's Coachella festival, New Order proceeded to eclipse that set in even better spirits and better form.
Sumner played jaunty melodica to start the group's wartime meditation "Love Vigilantes," while drummer Stephen Morris deftly embellished various programmed rhythms. New member Phil Cunningham helped keep songs such as "Krafty" afloat during the quiet bits, then aided the band as it soared into one ecstatic chorus after another.
Yet the heart of New Order remains bassist Peter Hook, the melodic hum of his guitar the group's most identifiable trademark and his splay-legged stances and lurching strumming the most overt link to the band's punk roots. As the minimalist "Temptation" hit euphoric heights and "Regret" the right notes of romantic longing--and even when the band took a breather with the banal "Jetstream"--Hook's playing always provided a vital boost.
That was never more apparent than when the group pounded out furious renditions of Joy Division's "Transmission" and "Love Will Tear Us Apart." In fact, all four members seemed to tap into stores of power and energy they sometimes kept in check during lighter numbers, as if recognizing the lasting impact of these songs and the need to do them justice.
New Order crackles with energy
May 5, 2005
BY THOMAS CONNER Sun-Times Staff Reporter
When New Order finished playing "Transmission" -- a quirky song by New Order's doomed, post-punk predecessor, Joy Division -- singer Bernard Sumner hissed and said, "Enough of that rock s---! We want you to start dancing!" And, true to the band's hits-heavy set, they launched into "True Faith" as if it were a brand-new nightclub sensation.
Like most of the set Tuesday night at the Aragon Ballroom, these were songs they seemed obliged to play. God forbid a New Order concert should pass without "True Faith," "Bizarre Love Triangle" and the requisite Joy Division chestnut.
But during "Transmission," something happened that makes New Order shows still worth seeing after (gulp) a quarter of a century. This band -- a British outfit we sometimes know more from dance floors and John Hughes movie soundtracks -- actually rocked. Sumner matched the songs' quaint but deceptively foreboding mood with uncharacteristic growling and gurgling (it's a bit low for his range), while bassist Peter Hook barked and shrieked randomly. And for a few minutes, the New Order experience was about pogoing and pumping fists rather than twirling and dancing. Post-punk, indeed.
Tuesday's energetic show was spiced with such moments. Given that the band's live incarnation is a genuine guitar-bass-drums-vocals quartet, the occasional use of pre-recorded synthesizers and beats seemed surprisingly intrusive. The best songs were those that allowed guitarist Phil Cunningham to cut loose ("Regret," "Crystal") and let Hook show off his chiming namesake hooks in soloing poses at the edge of the stage (nearly every song, but especially the new "Hey Now What You Doing" and the opener, "Love Vigilantes").
Hook was manic, and once again he proved to be an invaluable asset in the band's attack -- something not said about many bass players. Looking like a bedraggled Alan Rickman, Hook prowled the spotlight all night, plucking out the alarmingly simple bass melodies that make New Order, like so many of the British bands from that early '80s era, sound as good in concert and on the dance floor as it does in the car or on an iPod. Sometimes he's providing the groove, sometimes he's taking the melody, often he's doing both.
Again, this magic peaked during a Joy Division song, the classic "Love Will Tear Us Apart." It had its typically lumbering moments, but when Hook stopped bellowing indecipherably, dropped the melody and started grinding into his black bass next to drummer Stephen Morris' explosive kit, the two sparked some crackling fire, which Hook tamed to the end with an absurd but wildly cheered one-note solo back at stage's edge.
Sumner introduced all the songs -- no suspense, no pretensions -- cracked jokes and thanked Chicago for waiting 12 years since the band's last local show. And, really, it's that down-to-earth attitude that makes New Order still so engaging at this late date. The band didn't break new ground, by any means, but it rocked -- no extended remix required.
New Order comeback wows fans
By Ted Cox
Daily Herald Staff Writer
Posted Thursday, May 05, 2005
There’s nothing like an almost-ignored comeback to humble an arrogant rock band — and revitalize its music.
The British dance-rock kings of ’80s ennui New Order had spent the last decade on hiatus, with only the modestly successful comeback album “Get Ready” in 2001 to jostle their fans’ slumber. But the group has bounced back this year with the full-scale return to form “Waiting for the Sirens’ Call,” and it played its first Chicago gig in a dozen years at the Aragon Ballroom Tuesday, putting on a show that was jaw-droppingly crowd-pleasing.
Unlike in the ’80s, they didn’t rant about how much they hate Americans. Unlike at Lollapalooza in 1993, they were more animated and personable than simply saying “Thankyew” at the end of each number.
Singer-guitarist Bernard Sumner introduced each song by name and even indulged in some stabs at humor. And if there was a hint of Ricky Gervais cruelty to his jabs — “What do you expect? You only paid $5 to get in,” he said at one point, adding, “That was a joke” (tickets were actually $50, and T-shirts almost as much) — the band nevertheless rocked. They mixed new material with old hits in a well-paced 90-minute set, and even threw in a few songs from their previous incarnation as Joy Division.
The sold-out crowd loved it, chiming in on “Love Will Tear Us Apart,” which has to be the most unlikely audience sing-along song since the Ramones’ “Pinhead” with its “gabba gabba hey” chorus.
Members of New Order joked with the Aragon Ballroom crowd Tuesday night, a departure from their more stoic days.
New Order long ago established itself as the most faceless of major rock bands. Bassist Peter Hook was the only one who really seemed to adore being a rock star. Lugging his bass around at knee level like a mover with a bad back, he hauled the band’s music up and dragged it out on Tuesday, as Sumner, drummer Steven Morris and guitarist-keyboardist Phil Cunningham fell into step behind him. That in turn allowed Hook the freedom to amble out and take spotlight bass solos behind the speaker banks at the sides of the stage.
Otherwise, as ever when New Order is at its best, the music was a model of unadorned efficiency, with the jagged rhythms locking into place, as when Sumner and Hook teamed up to drive the closing “Temptation” to its conclusion.
“We’ll see you in another 12 years,” Sumner said, again adding, “That was a joke.” Indeed it was, as the band returned for a three-song encore, finishing with “Blue Monday,” which left everyone happy.
The Assassins opened. Taking the old Nirvana formula of mixing soft and loud to extremes, they veered from melodic pop to industrial drone. If they ever write an irresistible chorus that unites the two, their days as an opening act will be over and they’ll be the ones worrying about how to sustain success as well as New Order.