Bryan Ferry and Midge Ure: Weighing the Differences [part 1]

ztt-thevalueofentertainmentjpnldaShelf made a great comment that was full of interesting points to discuss a short while back in the comments for my Midge Ure review. Now that I have a little extra time to reply, I want to address the intriguing topics that he raised. For convenience, I’ll repeat his comment in full, below.


“Happy to read that you enjoyed the show! However, it seems that our respective opinions on Ure’s tour differ greatly. After reading your thorough deconstruction of Bryan Ferry’s Nashville date from this past summer, my initial thought was, “Damn – the Monk is difficult to please!” I attended the Philly stop of that tour and was very happy with the performance by Ferry and his band. Of course, with Ferry and Ure, we’re not comparing apples to apples, though.

Midge Ure’s show at World Café Live in Philadelphia (a far nicer venue than The Earl, judging from your description) featured Richard Lloyd as the support act. I’ve never been a fan of Television, so Lloyd was of no interest to me; however I did catch the last couple of songs in his set. Lloyd was either drunk, high, or both. After Ure came on, Lloyd would occasionally stumble out from back stage to check out the show and lure ladies back to the dressing room area. Lecherous and bizarre, Lloyd’s demeanor was unintentionally amusing.

Ure came on around 9:00 PM. My first major gripe is that the tour theme of ‘Something From Everything’ is very misleading – I reasonably expected Ure to play material from all phases of his long, illustrious career, including: Slik, Rich Kids, Visage, Ultravox and solo (Thin Lizzy not required, thanks). What he delivered: seven Ultravox tunes, five solo songs, one Visage track, and a Bowie cover. In fairness, the tune selections were mostly inspired, but including “Beneath A Spielberg Sky” in the set was a case of poor judgement.

I thought the ‘power trio’ band concept was lacking in depth and fullness, and the two backing musicians were no better than adequate. However, Ure sounded very good – both in voice and on guitar. Unfortunately, I felt that his wonderful between-song banter was sometimes more entertaining than the songs that preceded or followed it. Ure finished his set at 10:20, which leads to my other major complaint: any artist should be capable of performing for a minimum of 90 minutes – any less and I take umbrage. Even if the act plays an outstanding set list and sounds great, I still expect a solid hour and a half of stage time.

I couldn’t be bothered with post-show meet-and-greet, especially given that I was disappointed by the performance. Perhaps if I had not seen Ure live in 2013 (which I felt was a better experience overall), my review of the recent show would have been more favorable.
Going back to the length of the performance – as a topic for open discussion, what do you consider to be an acceptable duration for a concert? In September, I saw Echo & The Bunnymen, who, like Midge Ure, also walked off after playing for only an hour and 20 minutes (and the show was weak, to boot). That same month, Book Of Love barely managed an hour on stage. I’m not suggesting that every artist adopt a Springsteen-esque marathon setlist approach to touring. But should there be some correlation with ticket price? If one pays $50 or more for a ticket, is it too much to ask for a two hour set? Whereas, is a 75 minute concert acceptable for $20 or less? And don’t get me started on ticket scalpers/touts – resellers have completely ruined stadium events.

Most of the shows I’ve seen this year have been less than memorable – Modern English was a surprising exception. I don’t want to make any generalizations related to artist age or mojo or whatever, but not every act is up to the task of touring anymore.” – Shelf

Ferry vs Ure: the steel cage match?

Shelf had read my guarded review of Bryan Ferry’s recent tour and thought that I was “hard to please.” Well, for movers and shakers like Ferry, yes. I think that I am. Ferry is among a handful of artists who have influenced generations of my favorite artists. You know the type. It’s an exclusive club of Lou Reed, David Bowie, and Bryan Ferry… and even Bowie and Ferry are indebted to Reed. So, yes, I look(ed) to those artists with an exceptionally critical eye. None of them were unimpeachable; they all had their artistic ebbs and flows. Now, Ferry is the last man standing so it’s all on his shoulders now, though I hasten to add that Bowie left this mortal coil on a most impressive artistic note.

I felt that Ferry had an air of the perfunctory to his performance, as great as the setlist was. I sensed hat he was falling back on his past as a crutch in the present. It was very disappointing to have fragile and heartbreaking performance of “Johnny And Mary” being a high point of his “Avonmore” album and to not have it as part of the performance. Say what you will about covers, but Ferry has proven time and time again that a cover version can be a valid artistic statement. With “Johnny + Mary,” I felt it was a surprising burst of late-in-the-game artistic growth that frankly, I did not expect from him. That it was played on the PA when the lights came up was damning to my eyes. Ferry obviously felt that it should be heard that evening that same as I did, and yet he lacked the courage to include a performance that intimate in his set.

With Midge Ure, the initial tour info was misreported by me. For that I take the blame. The “Something From Everything” tour is actually the name of the current UK leg of his tour. Those audiences are currently getting Visage deep cuts and Rich Kids material – as performed by a band of acoustic Irish/folk musicians called the India Electric Co.

Therein lies the gist of my happiness with the recent Ure show. For the last 30 years, Ure has shown strong trends of moving in a Celtic acoustic folk direction. As much as I have decried Simple Minds move in this direction of late, their mere dabbling is nothing compared to Ure’s experience wallowing in this realm. If one were to be honest about it, Ure’s acoustic folk performances actually form the bulk of his career over the last 40 years. The eight straight years of electric rock music [’78-’85] can almost be called a footnote to the seemingly endless thread of Irish folk music, acoustic troubadour touring [particularly in America] and albums that did nothing for me at all.

Let me make it perfectly clear, I really, strongly, dislike acoustic folk music with an Irish bent! When artists I like cling to this genre, they basically lose me as a customer. And Mr. Ure has shown distinct signs of clinging to it for at least 25 years straight, barring the occasional Ultravox reformation. Which I didn’t like either. The years of Midge Ure not performing to my personal preferences are many and I have voiced my opinions so often, that I was actually tired of doing so following 2012.

I was in a dialogue with commenter Jordan about Midge Ure, and he is a music industry professional who also feels that after 1985 [he openly rates “The Gift” while I admire it only grudgingly] Ure has not done much that he was fond of either. We discussed the last Ure concert tour of North America, the Fragile Troubadour Tour, which probably represented the apex of everything I was not interested in from Midge Ure. In the winter of 2015, Ure toured North America as a one man show. One man with an acoustic guitar, driving himself across North America to often small gigs promoting his latest album, “Fragile.” No manager, no driver, no crew.

Midge Ure driving in North America, obviously…

Midge Ure driving in North America, obviously…

The so-called Fragile Troubadour Tour was a response to a class that Ure had been teaching at the Liverpool Institute Of Performing Arts wherein he realized while discussing the industry with his students that they would never have anything remotely like his experience of the music industry going forward in their lives, so he booked the most d.i.y. tour possible and made a film about it. I passed up seeing him perform in Atlanta that winter because I didn’t want to hear him sing acoustic music, but I came away with a measure of admiration and empathy for what he was willing to put himself through. It was at that point that I began to feel that I was perhaps being unfair to Mr. Ure. After all, I honestly looked to him as a performer to follow with the utmost of my attention for the best years of the 80s.

Next: …More on Ure and show lengths

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18 Responses to Bryan Ferry and Midge Ure: Weighing the Differences [part 1]

  1. Echorich says:

    I took a tour off for Ferry this year as he was still bascially touring Avonmore and I saw that show, with a recently recovered from bronchitis/laryngitis bout that had cancelled the Boston show so he could play NYC. Ferry was in full force in 2014, but as I have friends who basically live to follow Ferry tours, I know that these days he basically tours to have something to do – I do believe he will leave this earth while on stage singing Avalon one day (let’s hope it’s NOT while whistling during Jealous Guy).
    Ure performing, as the voice of Ultravox, just doesn’t grab me. I am spoiled having seen the Monument Tour at Avery Fischer Hall a generation and a half ago. I don’t need to see Ure solo. I wish I had seen the band on the Rage In Eden Tour of 2010.
    I will say that for the most part, I am with Shelf that most bands, even on a “tour to eat” tour – one that isn’t promoting new music – should be able to pull out a solid 90 minute show. I’m not sure where he saw The Bunnymen this fall, but at The Ritz in NYC, they were the running on high test. It was the best show I’ve seen them do since their 30th Anniversary tour at Radio City in 2008. They may have just been under the 90 minute mark, but they made up for it in song selection and focus. The show had so much power that they chose to not finish with Ocean Rain, which is stunning on it’s own. So quality can replace quantity.

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    • Tim says:

      Just let him first re-record Avalon for the dream version of “World War Z” that in my imagination HBO somehow gets the rights to make.

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  2. I saw Ferry a couple of years ago and was in love with the setlist but disappointed by a very obviously-diminshed range and power, though perhaps he was suffering some illness at the time that exacerbated the (more forgivable) effects of age (and less forgivable effects of smoking). I would still go to see him again in a more intimate setting, though. PPM’s description of Ure’s show has given me renewed interest in seeing a show like that with him, but only with a band — I have zero interest in what the Monk describes as his “acoustic Celtic folk bent.”

    On the topic of performance length, most of the bands I enjoy would be hard pressed to keep the show as short as 90 minutes, just to cram in their biggest hits and the encores, but I’m okay with 75-80 minutes if it is tightly-focused or has some other reason for being that short. Even among my musical heroes, rare indeed is the show that goes on for more than two hours without intermission that I’m still enthusiastic by the end (Elvis Costello has managed to pull this off a few times in my history with him, up to three hours rather astonishingly, and the recent TMBG tour stops I attended all went two hours or so with nothing but delight, so I guess it’s down to my enthusiasm for the material).

    I will be the first to admit that this is probably a function of getting older while still attending “general seating” (ie NO seating!) shows, but I’m leaning towards about 45 minutes, followed by a break, followed by 45 minutes more (not counting encores). TMBG did this, the recent Heaven 17/BEF show did this (the first half being the P&P album played live, with a couple of little extras), and my recent encounter with Petula Clark (yes, Petula Clark!) was structured that way as well. Sometimes you need a drink halfway through, sometimes (in seated shows) you need to stretch your legs a bit, sometimes (in unseated shows) you need to lean against a wall after pogoing for 45 minutes, or just find the loo. I suspect the trend towards intermission-less 80-minute shows is the result of audience research and “big data” revealing that that’s about the limit for the non-hardcore fan.

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  3. jordan says:

    I have never enjoyed Ferry and never seen him live.But I do appreciate his enormous influence.

    I am not a fan whatsoever of the Ure solo Celtic folk period,that being since 1985.I saw the Vienna and Quartet (Monument) tour as my only Ultravox experiences.I did see Midge in 1989 I think it was again,left me cold.After that,it was a long wait.I felt after reading that he was touring solo driving a car across the USA/Canada,that he deserved my attendance,just for making the effort.I knew it was an acoustic concert,not my favorite style but I put that aside to enjoy his presence and voice and it was well worth it.

    I agree that the 90 minute mark is a reasonable amount of time to expect,seems fair.However,I am not upset if a concert only lasts 60-90 minutes either.That is what works for me.Generally speaking,after 90 minutes,I leave.Even if the band has not played their biggest hits or the encore yet.I see it as an overall experience.After 60-90 minutes,I have had my fill of the audio,lighting,crowd,atmosphere and elect to go.But there are exceptions.Usually those are large scale productions such as Roger Waters or a rare outing by Kraftwerk where I will stay until the end.

    A few years ago,I saw Chameleons Vox.They played in full Script from a Bridge and two encores in some ratty small club.Think it was about 75 minutes.I was more than satisfied.

    I prefer no intermission as it breaks up the vibe.The largest reason for an intermission is so the promoter can sell alcohol.That is often written into the promoters contract as a way of making more money off the audience.It has nothing to do with the artist is many cases.

    I am curious to hear comments by PPM on all of this.

    I really think it is all up to the individual experience.I certainly see less shows than I ever have as I feel I have done it.I rather be at home with a book listening to ambient music.

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    • postpunkmonk says:

      jordan – I applaud your open mind in deciding to see Ure play solo acoustic. It was after we discussed this that I began examining my notions about Mr. Ure and felt that I was being overly harsh. Not so much that I would have driven to Atlanta in January 2015 to see him solo, at that time. But the seeds of “maybe I should give Midge Ure a chance” were definitely sowed then. Did he play in your city at that time? If he were to show up doing an acoustic show at The Grey Eagle in town [a perfect venue for him; where Nick Lowe and Lloyd Cole have played] I would probably go, especially now that I have seen him performing these songs in a electric rock style. I did not want Midge busking to be my first experience of him. That much I can adamantly state!

      As for dragging my carcass out of my home to see live music, I am always up for it. I did not really start seeing rock concerts until I was well into my twenties due to the dearth of bands I liked making their way down to Florida in the 80s. I feel like I am still making up for lost time, given that I almost never saw any of my favorite artists when they were at their peak. In fact, tonight I am attending a show. I’ll be seeing Centrozoon in one of those home concerts, so that will be a first for me. Actually, the host owns a recording studio which is where the gig will be held. I’m not familiar with the band but the guitarist studied under Fripp and is a member of Tony Levin’s Stickmen, so I think I’ll be in good hands.

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  4. Shelf says:

    First off, I am honored that considered my comments worthy of highlighting as a catalyst for discussion here – thank you, Monk.

    Without doubt, you have a keen sense of musical perspective. It had not dawned on me that, in the wake of Bowie’s passing, Bryan Ferry alone now bears the heavy mantle passed on from his departed contemporaries. However, I fear that Ferry may be in the twilight of his career (but, like Leonard Cohen, he could continue to be active for another decade—it’s hard to say). We will never again see a generation of brilliant, influential artists like that.

    After reading your new comments about the Ferry concert that you attended in Nashville, I began thinking about the 2014 North American tour. While I truly enjoyed Ferry’s performance from this past summer, his 2014 Philly show at The Tower Theater was slightly better (notably for the inclusion of “Johnny And Mary”), albeit very similar:

    2014 setlist: http://www.setlist.fm/setlist/bryan-ferry/2014/tower-theatre-upper-darby-pa-6bcf5a32.html

    2016 setlist: http://www.setlist.fm/setlist/bryan-ferry/2016/verizon-hall-at-the-kimmel-center-for-the-performing-arts-philadelphia-pa-2bff047a.html

    Looking back at your detailed review, I was somewhat surprised to see a longer setlist, and subtle variations in the song selections between the Nashville and Philly shows. I imagine that some artists are happy to run through the same set every night, whereas others enjoy mixing it up a bit to avoid monotony and predictability. And certainly, an audience’s enthusiasm (or lack thereof) should not be discounted as a factor impacting an artist’s performance. And with that, I’ll segue to the concert duration debate…

    I don’t go to many live shows, so I always treat each one as an event, regardless of the act. As I indicated in other comments, the vast majority of shows that I’ve attended lasted at least 90 minutes, which I consider to be a reasonable minimum. And with few exceptions, I never thought “Are they almost done?” nor did I contemplate leaving early.

    I agree with your premise of “always leave ‘em wanting more,” but I also expect to get my money’s worth. So it’s not inappropriate to consider ticket cost in evaluating the entertainment ‘value’ of a concert. Whether a concert is ‘worth’ the price paid is wholly subjective; however, duration provides some measurable gauge. Yes, quality is more important than quantity, but I think that anyone would feel cheated if they paid $150 for a one-hour show (in a standard venue, not some sort of special, intimate setting). This past Saturday, I saw Pet Shop Boys at The Theater at Madison Square Garden; tickets were $95 and the show lasted one hour and 50 minutes. Was it worth it? Absolutely—the show was spectacular… in my opinion. But I’m willing to bet that other people had a less favorable reaction, because no one can please everyone. Having contemplated this matter further, I now feel that 75 minutes is adequate for a ticket costing between $20 and $30 (and also assuming a quality performance).

    And as for Midge Ure’s longtime predilection for acoustic Celtic folk music—yes, that has been a disappointing career path, to put it kindly. On that note, I can’t think of any artist that I’d want to see perform an all-acoustic set.

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    • postpunkmonk says:

      Shelf – Phew! So busy this week, but I am finally replying. Yes, in Ferry’s case, I did study the set lists and they led to some impressive conclusions. If set lists alone were a measure of a successful show, Ferry is at the head of his class. I could not help but notice that it was his first appearance in Nashville, so they got a set list full of important Roxy/Ferry canon. “In Every Dreamhome A Heartache” was certainly on every Roxy fan’s bucket list [I’d hope] so correctly, we received that in the set. Actually, my friend Mr. Ware first mentioned the “last man standing” notion. I can’t remember if it was in a comment or in private correspondence. Gotta hit the sack. More later…

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      • Shelf says:

        Hey Monk – I hope you’ve been enjoying a pleasant and relaxing holiday weekend with the family. So, l attended a show last night that kind of ruins the curve in the ongoing concert quality discussion. Peter Hook and his band The Light are currently on tour performing both “Substance” albums. After warming up with a few b-sides, they played the New Order version first, took a 10 minute break, then followed the same pattern for the Joy Division half. 31 songs, 2 hours 30 minutes, 25 bucks. Hooky is practically the alternative Springsteen. While it was an awesome show, truth be told, I’m too old now to stand for three hours!

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        • postpunkmonk says:

          Shelf – Hook has played two sets in town at the Orange Peel club within the last two years. Since I saw New Order on the Technique tour, I passed on seeing Hook. I couldn’t wrap my head around him playing Joy Division material the first tour and I didn’t know he was doing that and New Order material this go-round. Truth be told, I am not the biggest JD/New Order fan in any case. Sounds like value for your dollar in any case, as we’ve been discussing show length around here in the margins lately. I understand the negative appeal of standing around for three hours. If that’s all you had to do, you’re lucky! I can do it, but it’s not my favorite thing. Life seems too short to invest 5-6 hours out for a concert. I get a little sad when attending some shows and I realize that I’m within 2-3 hours of the time I spent at my day job earlier in the day. Three hours is practically a snap in comparison! I often see shows that entail no more than three hours including transit/parking time and I’m fine with that!

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          • Jordan says:

            Peter Hook performs Sunday in my hometown.I have been a listener of JD/NO since 1980 and NO is certainly in my top 3 favourite bands.I have chosen not to attend. I saw New Order from Power Corruption Lies through Technique and that was enough. They were always a shambles live.I also cannot get my head around Hook singing with what is in effect a cover act. NO, outside of the songwriting and Factory aura,was always to me about Bernard singing and Hooks bass. I give it to him that he is certainly giving the audience a very generous set list for a fair price. I would highly recommend his book:Substance New Order if you’re a fan. Of interest to Monk is that in the book Peter mentions that Saville has a book coming out detailing his artwork with JD/NO. One of the reasons I always bought the music was because of the packaging.

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  5. Shelf says:

    Monk and Jordan – it’s interesting that both of you expressed skepticism over Peter Hook covering JD and NO material live. At this point, I actually prefer Hooky live over New Order – while his voice isn’t always ideal, the band has performed all the old albums quite faithfully.

    Jordan – like you, I’m also a longtime JD/NO fan, and completely concur with your assessment that New Order is a disappointing live act. I’ve seen them five times now: 1989, 1993, 2005, 2013, 2016 – I always kept hoping that one time they’d actually be good, and that day finally came in 2013. But earlier this year, they just phoned it in – no effort or energy.

    Anyway, not sure how many more concerts I’m likely to attend in the future. As you said, Monk – life’s too short. And sadly, I can’t hack weekday concerts after working all day!

    By the way, Jordan – thanks for recommending Hooky’s latest book – I’ve yet to read Unknown Pleasures, so Substance will be next up. And I’d also be interested in Saville’s book.

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    • postpunkmonk says:

      Shelf – Yeah. It was more a case of “New Order, we’ve got to go” in 1989. So we trucked ourselves to Tampa [90 miles] just because. Did they perform “Love Will Tear Us Apart?” I think so. But live, not mandatory. Quite frankly, I was happy to see Throwing Muses, the opening act, at just the point in time when I had finally warmed up to them following a few years of standoffishness. As vital as Hook was to the NO sound, it’s not unlike the case with Derek Forbes. I considered him the star of Simple Minds but would look at myself in the mirror long and hard if he were bringing his Simple Minds tribute act to my local club. At least Revenge were another band, though wow, they were the closest thing to New Order possible. Sort of like the dynamic between Roxy Music and The Explorers… Who I’ll defend to my dying day!

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      • Shelf says:

        Well, I’m certainly learning a lot here (as usual). I didn’t know that Throwing Muses toured with New Order in 1989. Looking on the interwebs, that was the early leg of their North American tour – when I saw NO in July 1989, they were with Public Image Limited and The Sugarcubes, billed as ‘The Monsters of Alternative Rock.’ Jordan – I’m assuming you saw the same bill in Montreal, one week before the tour came to Philly. With John Lydon’s command of the audience, PiL completely upstaged New Order, who just went through the motions.

        While I do like Simple Minds, I can’t claim to be even a fraction of the fan that you are, Monk. Consequently, I didn’t know that Derek Forbes has been performing SM material on solo tours. Given that I’ve always wanted to see Simple Minds live, I suppose I’d settle for Forbes, but I doubt that he would make his way through these parts. And with another online search, I am completely stupefied…

        Not only did Forbes tour in my area last year, he played FIVE SHOWS within a few miles of my house. Apparently, Forbes teamed up with Philadelphia native John McNutt, and they hit the road to commemorate the 30th anniversary of “Don’t You Forget About Me.” Details here: http://patch.com/pennsylvania/chestnuthill/dont-you-forget-derek-forbes

        Oh, well – I guess I need to pay better attention. Anyway, I found this anecdote written by Adam Sweeting for the New Gold Dream Tour program, which perfectly brings us back to the start of this conversation:

        Derek Forbes, the Big Dan himself, shoots straight from the hip and never regrets it. On a British Airways Tristar flying from Toronto to London recently, he caused considerable confusion by barging into the First Class section and asking if this was where the disco was happening. On being told to return to “the third class section”, he retorted that he was worth more than “all these bald-c**** put together” and threatened to sue the snooty stewardess for assault. Derek hates class segregation. Anything else? Midge Ure perhaps? “I don’t really even hate Midge Ure,” he admitted.

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  6. jordan says:

    Shelf.

    I did indeed see that show in 1989.I sort of cannot remember most of the concerts I saw throughout the 80s,it’s all a bit of haze (non narcotic) as I saw so many. I happened to live in the right city at the right time when all the music referenced on this site was live.Luckily I collected all my tickets in a scrapbook from then so I can reference what I saw when.

    Hooky dedicates a chapter to the 89 tour with plenty of comments on PIL and TM.I would get the e version as it’s longer than the book.A fun read.I was not even aware he was touring when last month I purchased the FLAC download of this Substance tour on Pledge.Quality recording.However,Peter was never a singer or front man but a stunning bass player.

    As I mentioned,I rarely go out to shows anymore.I certainly would not stand or sit through 2.5 hours of Hook or probably anyone else.Plus I do not understand why acts go on so late.Hooky is starting on a Sunday at 9 PM or so.That makes it 11:30 PM once it is over,making it 12:30 AM once I get home.No thanks.He has nowhere to go but a tour bus,I have work Monday.I chose to support him by purchasing the download.

    Monk is a huge SM fan and his analogy is sort of like mine.Seeing one member of a band is more akin to a cover act than the the real thing.The exception is seeing the singer as by default,they are the image most of the time.I would not go see Derek Forbes either.I saw SM on their last tour and did not care one bit that he was not there.If Jim Kerr was not there,it’s over.Charlie too I guess.Plus I saw SM 5 times from 81-85.

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    • Shelf says:

      Hey Jordan – thank you for mentioning the PledgeMusic release of Hooky’s “Substance” tour, and also for sharing that info about his book – now I really wanna read it!

      Like you, I have a couple of scrapbooks full of concert tickets, and also like you, my recollection of shows from the 80s and 90s is sorta fuzzy. But those were different days, and certainly some events benefit greatly from the lens of youth :-) Gotta say that I’m mighty envious of you having seen SM so many times during their golden era!

      No doubt that a situation like Hooky or Forbes playing the material of their respective former bands constitutes a cover act. I’ll also agree that seeing a band’s former lead singer in a similar setting carries more ‘credibility’, so to speak. However, neither of those scenarios rivals the real thing, although I do enjoy Hook’s tours.

      Yeah, it’s really annoying that concerts almost always start late. I think I can count on one hand the number of times when a show began at the exact time printed on the ticket. As I mentioned above – I can’t do Sunday or weekday shows anymore, for all the reasons you listed.

      Thanks again.

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  7. jordan says:

    Shelf.

    Of interest to you is the soon to be released 3 CD New Order/Be Music compilation on Factory Benelux.I have most of it but the 22 minute version of 586 is very rare.

    After reading the Hooky book,I forgot that I had seen them on the Area One Tour of N.A. in 2001 with Moby and Outkast.I was on the tour with Paul Oakenfold as his tour manager and the crowd ran away from New Order when Paul went on.It goes to show you,New Order where right next to me for a month solid and I had completely forgotten.They made no impression on me,as Hooky mentions in the book.Plenty of booing and getting up and leaving when NO went on stage.

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    • Shelf says:

      Man oh man – thank you for the heads up on that! While there’s some expected overlap with the previously issued LTM Be Music comps, there’s still plenty of desirable material, especially the full version of “586.” A must buy, for sure.

      And you were Oakey’s tour manager?!! Oakenfold is my all-time favorite DJ – only seen him a couple of times in the US, but I appreciate his mix CDs, artist productions, and remixes. As much as I love New Order, I would have bailed on them for Oakey’s set, too. Can’t believe people booed, though – that’s pretty sad. Don’t know why I missed that tour – just looked at the dates and it was right near me in Camden on July 14. Oh, well.

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