We were lucky enough to play a part in a bit of music history (albeit only a small one) this week, as we had the privilege of chatting with the one and only Peter Hook of Joy Division and New Order, as the pair were finally admitted into the Rock and Roll Hall of Fame.
A long overdue bit of recognition, if you ask, but a momentous day nonetheless.
Chatting with Hooky and a long-time friend, collaborator, and beloved Manchester-based DJ, Graeme Park, in the aftermath of being named in the ‘Class of 2026’, he was visibly moved and honoured by the announcement. Here’s what he had to say…
Joking from the off by repeating Graeme’s initial question, “How does it feel?” (an absolute tap-in, that one), the 70-year-old bassist and co-founder of both iconic Greater Manchester groups admitted that they “had a couple of false starts”, to put it mildly, but went on to add: “we can only thank our fans.”
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Confessing there has been somewhat of a mixed reaction about “what it means” to them and/or in the industry these days, he made it clear that on a personal level, it’s still a huge moment.
Put simply, he said: “Without the fans, we’d all be nothing.”
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He also went on to praise the sort of no-nonsense, DIY and unapologetic approach of the Manc music scene, quipping: “You know, what would Simon Cowell have said about Ian Curtis, Bez, Shaun [Ryder] – Ian Brown, for god’s sake?!”
Acknowledging that while no one was necessarily an “accomplished singer” (often the case when you start early and just pursue a passion), his caveat was that “they had heart and soul” and “they embody something deep within us all that has lasted and will continue to last.”
Noting a de facto ‘Renaissance’ that a few names have enjoyed – especially following the passing of certain notable figures – he believes, rather, that they never went anywhere and that Northern crowds and beyond have helped those songs stretch to three, four, even five different generations.”
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He’s not wrong: they’ve never stopped connecting with audiences, and they NEVER will.
Once more, it was an absolute joy (again, pardon the pun) to chat with Peter and Parky, who clearly haven’t lost their love for each other, nor this business – even after all these decades.
Congratulations to both bands, Hooky, Bernard Sumner, Stephen Morris, Gillian Gilbert, Tom Chapman, Phil Cunningham, as well as every session musician who’s ever played these tunes and kept them alive.
Last but not least: forever and always, rest in peace, Ian Curtis.
The Strokes at Co-op Live, Manchester – actually very hard to explain
Daisy Jackson
Manchester has waited a long, long time for this – The Strokes back on stage in our city.
I’ve been a fan of the band for as long as I can remember, but have never managed to catch them live, partly because they’ve left it TWENTY YEARS between shows here.
But back they are, with an enormous gig at the Co-op Live on their Reality Awaits tour.
The Strokes are known as one of the most solid indie bands of the 2000s, going triple platinum with their debut album Is This It and releasing massive anthems like Last Nite, Reptilia, and Someday.
They’re also known as a bit of an unpredictable live act – some will say they’re one of the best on the circuit, others will say they’re disappointing, and it really can depend on the night.
What they’re not known for is their audience interaction, so when frontman Julian Casablancas tries to have a bit of a chat with the audience, we all sort of stare blankly back at him. He’s speaking to us? What do we do?
“Wow, tough crowd,” he says, which is the first time I’ve ever heard anyone describe a Manchester audience as tough.
Then he turns back to drummer Fabrizio Moretti and says: “This is f*cking hideous, let’s play some songs.”
The setlist seems to get a shake-up every couple of shows, which is a nice surprise for us – and apparently also Julian, who regularly pops over to ask his bandmates what’s up next.
It doesn’t really matter that he’s not done his homework, because the second that drum kicks in, along with the impeccable guitar work of Schiltz, Fraiture and Hammond Jr., he snaps into action.
It’s impressive that their songs still have such singalong quality when Casablancas enunciates like a man with a dislocated jaw. For certain songs he’s so incoherent that if you weren’t a fan you’d walk in this room and wonder what the f*ck was going on.
But then, that’s sort of why us The Strokes fans love them so much. There’s a calamitous beauty to the work they put out and it’s so fun to belt out some words, even if they’re not the right ones.
I was hoping that seeing it live would sell that divisive new album, Reality Awaits, to me, but it didn’t. It’s too autotuney, too languid, and too often the victim of everyone’s toilet breaks.
Their earlier tracks still land best in a live setting, especially Reptilia, an absolute juggernaut in their back catalogue.
Rollercoaster set and tricky crowd interactions aside, we all had a great time – I’m just not sure I could say the same about Julian Casablancas.
Sam Fender describes his own ticket prices as ‘b*llocks’ and demands change for fans
Daisy Jackson
Sam Fender has kicked off about ticket prices for his own tour, ahead of his huge stadium summer next year.
The Geordie star announced his Proper Massive stadium tour last week, which will visit some of the UK’s biggest venues including The O2 in London, Etihad Stadium in Manchester, and St James’ Park in his home city of Newcastle.
But after ticket prices for the tour were announced, Sam Fender surprised us all by joining in with a moan about how expensive they were.
He described the ticketing strategy for his tour as ‘b*llocks’ and said he was ‘not happy’ with ticket prices.
And proving just how much sway an artist can have on ticket prices, Sam Fender then demanded that things be redone.
Sam first appeared in the comments on Gavin Davis’ Instagram account, which frequently shares tour leaks and ticket prices.
There, he wrote: “I’m not happy with these prices, they’re getting changed. It got inflated well more than I’d had in mind, it should only be inflated in relation to the cost of putting the show on.
“The standing will not be split as well, I had no idea about it. I have no idea how this was normalised in gigs.
“It’s bollocks and it won’t be happening on this tour.”
Then later, on his own Instagram stories, Sam Fender posted: “I’ve managed to get Front Standing tickets removed from the UK stadium tour. Whoever buys a standing ticket gets as much chance as anyone to be at the front.
“No more £120 standing tickets either.
“Costs are astronomical compared to two years ago, I can’t control the venue and ticketing fees, that’s a sad reality of today’s industry.
“This is gonna be the biggest and best show we’ve ever put on. Can’t wait to see everyone on the road next summer!”
The ticket prices for the Proper Massive tour are now confirmed by Sam Fender himself as being £85 for GA standing, and £55/£75/£95 for seats.
Danny Jones -
16th April 2026 
