Joy Division: Night Shifts to The Factory at the Russell Club

Manchester: The Factory, 1978. Vintage flyer for the June 9, 1978, show at The Factory, featuring Joy Division in their fourth concert under that name. Rare.

Joy Division's fourth confirmed concert after changing their name from "Warsaw," and their first concert after the release of their premiere self-released EP, "An Ideal for Living," six days prior. The show also featured Pete Shelley's short lived experimental trio "The Tiller Boys," and an unbilled Durutti Column in their third live performance. T

The June 9 show was one of four Factory shows advertised on Factory Records' first official graphic, Peter Saville's landmark "Use Hearing Protection" poster (FAC 1). The flyer on offer here can be found in John Savage's 2019 definitive history of Joy Division, "This Searing Light, The Sun and Everything Else," and was also the first piece featured (and the only flyer represented) in artist and designer Linder Sterling's 2013 exhibition catalog "Woman/Object," as "Woman/Object #166."

Created by promoter Alan Wise and future Factory Records founders Tony Wilson and Alan Erasmus, the Factory Club name was first used in May, 1978, after convincing the owner of the Russell Club (also known as Caribbean Club and PSV Club) to book bands on Friday nights. The show on June 9 was the first of eleven shows Joy Division would play at the club.

Linder Sterling was the frontwoman of Manchester post-punk band Ludus (1978-1983), and is now best known for her photography, radical feminist photomontage, and performance art. One of Sterling's early collages was used for the infamous cover of the Buzzcocks' 1977 single "Orgasm Addict," featuring an upside-down, naked woman with a clothes iron for a head and grinning mouths instead of nipples. Sterling's work is included in the permanent collection of The Tate Modern Museum and the Museum of Modern Art, among others, and has been the subject of numerous international solo and group exhibitions. In 2017 she was honored with a Paul Hamlyn Foundation Award.

8.25 x 11.75 inches. Near Fine.

[Book #159351]