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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

Music Review: When Dreams Begin Again: A Reflection on 
New Order’s ‘Dreams Never End’ 

Sammy Garcia III 
Department of Sociology 

California State University, Los Angeles 
 
It is essential before we begin this review to speak about New 
Order’s origins. Joy Division’s origins trace back to the post-punk 
era of late 1970s Manchester, England–a city immersed in 
industrial decline, unemployment, and social unrest. The band 
emerged as part of the punk rock movement but soon developed a 
distinct sound that fused punk’s raw energy with a darker, more 
atmospheric and introspective musical style. Originally formed in 
1976 under the name Warsaw by schoolmates Bernard Sumner 
and Peter Hook, Joy Division took shape when they recruited 
drummer Stephen Morris and lyricist/vocalist Ian Curtis, 
solidifying their lineup in 1977. The name “Joy Division” itself is 
steeped in controversy, as it referred to the sexual slavery units 
depicted in The House of Dolls, a novel about Nazi concentration 
camps, signaling the band’s willingness to confront dark and taboo 
subjects in their work. The group quickly became known for their 
minimalist yet haunting sound, blending sparse guitar work, 
Hook’s melodic basslines, Morris’s robotic drumbeats, and 
Curtis’s distinctive baritone voice. Under the guidance of their 
producer Martin Hannett, Joy Division’s sound took on a more 
experimental and ambient tone, which was showcased in their 
seminal 1979 album Unknown Pleasures. Songs like “She’s Lost 
Control” and “Disorder” combined cold, detached instrumentals 
with Curtis’s deeply introspective and often bleak lyrics. His 
writing reflected themes of isolation, anxiety, and existential 
dread, resonating with a generation confronting the uncertainty 
and disillusionment of post-industrial Britain. 

While the band’s rise to prominence was swift, it was 
paralleled by the growing struggles of Curtis. Curtis suffered from 
severe epilepsy, a neurological disorder that caused frequent 
debilitating seizures. His condition worsened as the band’s 
schedule intensified. He had been diagnosed in 1979, shortly after 
the release of Unknown Pleasures, and was prescribed various 
medications, which came with severe side effects, including mood 



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swings, depression, and memory loss. The disorder significantly 
impacted his ability to perform, as his seizures became more 
frequent and often coincided with live performances. Despite his 
efforts to manage his health, Curtis’s condition grew worse over 
time, exacerbated by the pressures of fame, touring, and his 
complex personal life. His tumultuous mental state was further 
strained by the disintegration of his marriage to Deborah Curtis 
and his affair with Belgian journalist Annik Honoré. This personal 
conflict, combined with his deteriorating health, pushed Curtis 
into a deeper state of despair. Many of the songs on Joy Division’s 
second album, Closer (1980), reflect this increasing sense of 
doom. On May 18, 1980, just before Joy Division was scheduled 
to embark on their first North American tour, Curtis took his own 
life at the age of 23, hanging himself in his home in Macclesfield. 
His death shocked the music world and cut short the burgeoning 
career of one of post-punk’s most innovative bands. In the wake 
of Curtis’s suicide, Joy Division’s remaining members–Sumner, 
Hook, and Morris–were left reeling, grappling with the future of 
the band and the legacy they had begun to build. 

After Curtis’s death Joy Division disbanded, but like a 
phoenix rising from the ashes came New Order. Moving forward, 
they carried over with them something more than the weight of 
their music. They bore the legacy of Curtis, the memory of a lost 
friend taken far too early, and the weight of expectations from a 
world still in mourning. “Dreams Never End,” the first track on 
their 1981 debut album Movement, acts as a turning point for the 
band and those who followed. It is a coming to terms with the past, 
a meditation on themes of loss and identity, the relentless 
pressures of modern existence, and more of an introduction to the 
New Order. At first listen, “Dreams Never End” seems like a 
continuation of Joy Division’s brooding post-punk sound. The 
song begins with Hook’s distinctive bassline, a driving force that 
propels the track forward with a rhythmic intensity reminiscent of 
Joy Division’s best work. It’s not hard to imagine this track fitting 
into the darker catalog of their previous band. As the song unfolds, 
subtle differences become evident. While it retains the same 
atmosphere, there’s an underlying sense of hope and renewal that 
sets it apart.  



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 Sumner’s debut as the lead vocalist, a role he initially 
struggled to embrace, is marked by a voice that is more subdued 
and ethereal than Curtis’s baritone. His delivery adds vulnerability 
and a dreamlike quality to the song, aligning with the lyrical 
ambiguity that invites multiple interpretations. Lyrically, “Dreams 
Never End” is abstract, allowing listeners to project their 
experiences and emotions onto the song. Lines such as “A given 
end to your dreams” and “A fractured smile that soon dies” can 
evoke themes of personal loss, existential searching, or broken 
relationships. The subjective nature of the lyrics–compounded by 
the fact that variations exist in different versions of the song–
invites reflection on how we engage with art. Is one interpretation 
more valid than another? Or does the fluidity of the lyrics reflect 
the fluidity of meaning itself? In many ways, “Dreams Never End” 
mirrors the human experience: each listener can interpret the song 
based on personal life experiences, adding a layer of personal 
relevance that evolves over time. Beyond individual 
interpretation, “Dreams Never End” also carries sociological 
significance. By employing Durkheim’s concept of anomie, 
Goffman’s theory of self-presentation, and exploring the themes 
of agency and resilience, we can delve into the deeper meanings 
of the song. These sociological theories offer a structured 
framework for understanding both the band’s internal struggles 
and the broader human condition. 
 
SOCIOLOGICAL FRAMEWORK: ANOMIE, SELF-
PRESENTATION, RESILIENCE, AND AGENCY 
Erving Goffman was a Canadian-born sociologist, social 
psychologist, and writer, considered by some the most influential 
American sociologist of the twentieth century. His theory on Self-
Presentation applies to this song ‘Dreams Never End’ and it shows 
how the theory is based on the idea that life is a performance, 
where people adopt different roles depending on the situation, 
maintaining a facade to shape how they are perceived. New 
Order’s formation post-Joy Division required the band to adopt a 
new public identity, one that both honored Curtis’s legacy while 
forging a new path for themselves. Goffman’s theory can be 
applied to explore how New Order, especially Sumner, navigated 
this delicate balance. 



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 According to Goffman’s The Presentation of Self in 
Everyday Life (1956), “the individual maintains a show before 
others that he himself does not believe, he can come to experience 
a special kind of alienation from self and a special kind of 
wariness of others.” This concept of alienation directly connects 
to the emotional tension in New Order’s “Dreams Never End,” 
particularly in the lyrics “A nervous bride for your eyes” 
pointing to the act of concealing inner emotions while maintaining 
an outward facade. This resonates with Goffman’s concept of self-
presentation, showing how we craft our public identities, even 
while internally grappling with confusion or pain. Here, the 
metaphor of a bride evokes an image of someone expected to 
perform a certain role under societal scrutiny. Just as a bride is 
expected to appear joyful, composed, and radiant on her wedding 
day, the band was expected to maintain composure and grace as 
they moved forward after Curtis’s death. However, the word 
“nervous” betrays the tension between their outward appearance 
and their inner emotional state. This reflects Goffman’s theory of 
front-stage behavior, where individuals (in this case, the band) put 
on a performance to align with societal expectations, while 
backstage, they may be grappling with inner turmoil and 
uncertainty. 

Goffman’s concept of impression management 
(Nickerson 2022) emphasizes controlling how we appear to 
others, a process that undoubtedly occurred within New Order. 
They had to reinvent themselves not only for their audience but 
also for themselves, presenting a composed, coherent image that 
concealed the internal chaos and vulnerability they experienced as 
individuals. Sumner’s understated vocal performance on “Dreams 
Never End” serves as a form of impression management. His 
vocals lack the gravitas of Curtis’s delivery, signaling a quiet, 
almost reluctant step into a new role. This delicate balance 
between outward presentation and inner tension is reflected in 
how the lyrics themselves are delivered–subdued, ethereal, and 
almost hidden within the mix, mirroring the act of masking one’s 
emotions behind a façade. This act of self-presentation is crucial 
to understanding New Order’s early career. By continuing under a 
new name, they essentially managed how they were perceived by 
the public. They were not just Joy Division without Curtis; they 



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were a new entity, striving to balance respect for their past with 
the desire to move forward. This aligns with Goffman’s idea of 
shifting between frontstage (public performance) and backstage 
(private emotions) personas, as New Order had to project an image 
of resilience while grappling privately with the grief of losing their 
bandmate. 
 
ANOMIE & “DREAMS NEVER END” 
Emile Durkheim was a French sociologist and was the first 
academic sociologist. He formally established the academic 
discipline of Sociology along with Karl Marx and Max Weber, 
who are commonly cited as the principal architects of modern 
social science. According to Durkheim’s The Division of Labor in 
Society ([1893] 1984), anomie is defined as a state of instability 
in an individual or society that results from a breakdown of values, 
standards, or a lack of purpose or ideals. This concept of anomie 
can be applied to New Order’s “Dreams Never End,” where 
feelings of disconnection, purposelessness, and instability 
resonate deeply within the lyrics. After Curtis’s death, New 
Order–formerly Joy Division–was thrust into such a state. Curtis’s 
passing left both the band and their audience grappling with 
emotional turmoil, uncertainty, and a fractured sense of identity. 
The band’s transition from Joy Division to New Order represents 
a societal and emotional rupture, which we can frame within 
Durkheim’s concept of anomie. 

The line, “A given end to your dreams” from “Dreams 
Never End” poignantly reflects the emotional desolation 
experienced by the remaining band members after Curtis’s death. 
It suggests a finality, a moment when the aspirations and dreams 
of the group as Joy Division were brought to a sudden halt. 
Durkheim’s theory fits here because anomie is often marked by 
the end of established structures, just as the group experienced a 
disruption of their identity and purpose. As they transitioned to 
New Order, this disorientation mirrors the anomic breakdown 
Durkheim described, where the existing norms and paths 
disintegrate, leaving individuals (or bands) to reconstruct a new 
way forward. The lyrics “A fractured smile that soon dies” can be 
interpreted as the mask or facade of normalcy cracking under the 
weight of grief and loss, reinforcing the state of disconnection the 



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band members may have felt during this period. The fracture here 
signifies not just emotional loss but also a breakdown of social 
cohesion within the band, where each member must grapple with 
individual and collective uncertainty about the future. Durkheim’s 
concept of anomie illuminates how these lyrics encapsulate a 
broader loss of societal norms, which, in this case, include the 
norms that previously structured the band’s musical journey and 
identity. 
 
RESILIENCE & AGENCY IN “DREAMS NEVER END” 
Resilience is the ability to withstand and recover from adversity 
(Besley 2020). It’s not just about surviving hardship but also about 
adapting and growing stronger from it. Pierre’s concepts of 
habitus, field, and capital can help us understand resilience as a 
dynamic process rooted in the structures around us. In the context 
of New Order, resilience is evident in their ability to not only 
endure the loss of Curtis but also to transform that loss into artistic 
growth. The evolution from Joy Division’s dark, post-punk sound 
to New Order’s more hopeful and electronic-driven music reflects 
this resilience. The lyric “No looking back now, we’re pushing 
through” perfectly encapsulates the band’s resilience. It speaks to 
the forward momentum required to heal and rebuild, 
acknowledging the difficulty of the past while emphasizing the 
importance of perseverance. This line also reflects the agency that 
resilience requires. New Order’s ability to act, make decisions, 
and redefine their sound despite the emotional devastation of 
Curtis’s death demonstrates their resilience. They chose not to 
disband but to push through the pain, creating music that paid 
homage to their roots while moving into a new sonic direction. 

In sociology, resilience isn’t just about individuals 
returning to their former state; it’s about adaptation and growth. 
This adaptation is evident in “Dreams Never End,” where the 
song’s post-punk foundation gradually gives way to New Order’s 
more electronic sound, hinting at the future direction of the band. 
The use of synthesizers and a more polished production style in 
Movement suggests that the band was not just surviving but 
evolving. Their transformation mirrors the sociological process of 
resilience, where communities or groups must adapt to new 
realities in the face of trauma or disruption. The song’s upbeat 



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tempo, driven by Hook’s bassline and Morris’s rhythmic 
drumming, conveys a sense of energy and movement–
emphasizing that resilience is not passive but active, requiring 
effort and forward thinking.  
 Agency refers to the capacity of individuals to make 
choices and exert control over their actions within the constraints 
of social structures. Agency involves “the ability of individuals to 
act independently and make their own free choices” (Cole 2014). 
“Now I know what those hands would do / No looking back now, 
we’re pushing through” represents a pivotal moment in the song, 
encapsulating the theme of agency and the conscious choice to 
confront rather than retreat from past experiences. The phrase 
“Now I know what those hands would do” suggests an awareness 
that comes from lived experience. The hands metaphorically 
represent actions taken in relationships, highlighting the 
consequences of past decisions. By acknowledging what these 
hands are capable of, the speaker recognizes the weight of their 
history–be it pain, love, or regret. The subsequent phrase, “No 
looking back now, we’re pushing through,” emphasizes a crucial 
decision to prioritize progress over nostalgia. The insistence on 
not looking back signifies a rejection of regret or the temptation 
to linger in the past. This refusal to dwell on previous experiences 
reflects a significant exercise of agency. The term “pushing 
through” evokes a sense of resilience and determination, 
indicating a willingness to confront challenges head-on. It’s an 
empowering declaration that the speaker will not allow past hurts 
to dictate their present or future; instead, they are committed to 
navigating their emotions and circumstances actively. 

This choice also aligns with the broader narrative of 
coping with loss and moving forward. In the aftermath of trauma 
or heartbreak, individuals often face a crossroads where they can 
choose to succumb to despair or actively seek healing and growth. 
The speaker’s decision to push through can be interpreted as a 
metaphor for personal growth, resilience, and the continuous 
journey toward self-discovery. It resonates with the listener, 
reminding them that while the past may inform who we are, it does 
not have to define our path forward. 
 
 



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SUBJECTIVITY AND THE LISTENER’S ROLE 
 The subjective nature of “Dreams Never End” invites 
listeners to explore their own interpretations, rendering the 
experience deeply personal. The ambiguity inherent in the lyrics 
allows for a myriad of meanings to emerge, creating a rich tapestry 
of emotional responses. Lines like “Hello, farewell to your love 
and soul” evoke feelings of both connection and separation, 
reflecting the complexities of human relationships and the 
inevitability of change. This open-endedness resonates with 
listeners navigating their own experiences of loss, transformation, 
and self-discovery. Such fluidity in meaning underscores the idea 
that art is not static; it is shaped by the listener’s context, 
emotional history, and lived experiences. According to the New 
Order Fandom page, “Dreams Never End” resonates with the 
themes of melancholy and introspection, capturing the existential 
struggles of the time. The lyrics’ vagueness allows individuals to 
project their own narratives onto the song, forging a personal 
connection that can be both cathartic and affirming. The 
experience of listening to this track thus becomes a collaborative 
process where the listener’s interpretation is as crucial as the 
artist’s intention. 

Moreover, this subjectivity aligns with Erving Goffman’s 
concepts of self-presentation and the performance of identity. Just 
as individuals curate their public personas, listeners engage with 
music as a means of self-expression and reflection. The ability to 
reinterpret a song’s meaning allows for the exploration of one’s 
identity, emotions, and societal context. In this way, “Dreams 
Never End” serves as a canvas upon which listeners can project 
their feelings of loss, longing, and renewal. The significance of 
this interaction between music and the listener cannot be 
understated. The transformative power of songs like “Dreams 
Never End” lies in their capacity to evoke a sense of shared 
experience and understanding, allowing individuals to grapple 
with their own struggles within the larger narrative of social 
change. As listeners immerse themselves in the emotional 
landscape of the song, they find resonance in its themes, 
facilitating a deeper connection to both the music and their own 
lives. Ultimately, this interplay of subjectivity and interpretation 
underscores the profound impact of music as a vehicle for 



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personal and societal transformation, reinforcing its role as a 
powerful catalyst for change. 

When a song like “Dreams Never End” finally reaches 
people, it is new for everybody. However, differently, the listeners 
carry their context, emotional history, and dreams into the 
experience, whereby the song changes. It gets personal, intimate, 
and reflective of the listener’s life. Subjectivity gives this song a 
timeless quality. It is one of those songs that grow with you; at 
different stages in your life, you can always go back to them and 
find something new every time. We shape the song just as much 
as it shapes us as listeners, which is why it is your song when you 
listen. The lyrics, emotions, and interpretations-they all belong to 
you, sculpted by your journey alone. 
 
CONCLUSION 
Through the lenses of anomie, self-presentation, resilience, and 
agency, “Dreams Never End” transcends its surface as a song 
about personal or collective loss, evolving into a profound 
sociological narrative of struggle and transformation. The concept 
of anomie illustrates the breakdown of norms and identity 
following Curtis’s tragic death, plunging the band into a state of 
disorientation that reflects the broader cultural malaise of post-
punk England. This sense of instability echoes the societal shifts 
occurring at the time, highlighting how the loss of a guiding figure 
can disrupt both personal and collective identities. Self-
presentation theory adds another layer of complexity to the song’s 
meaning, capturing the delicate performance of identity as the 
band navigated public expectations. Through the nuanced lyrics 
and Sumner’s emotive vocals, “Dreams Never End” serves as a 
subtle expression of vulnerability amidst the pressure to maintain 
a façade of composure and control. This interplay between 
authenticity and performance underscores the challenges artists 
face in revealing their true selves to the world, all while grappling 
with the expectations of their audience. Resilience emerges as a 
powerful theme within the song, emphasizing the band’s capacity 
to rebuild, adapt, and evolve in the face of profound loss. The 
lyrics serve as both a farewell to the past and a pledge to move 
forward, encapsulating the spirit of perseverance that resonates 
with anyone who has experienced grief. This journey of recovery 



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is not just personal for New Order but also reflects a broader 
societal narrative, illustrating how art can inspire collective 
healing and transformation. 

Incorporating the notion of agency, “Dreams Never End” 
invites listeners to reflect on their ability to take control of their 
narratives amidst chaos. The song emphasizes the idea that while 
we may be influenced by external forces–such as loss, societal 
expectations, and cultural shifts–we still possess the agency to 
redefine our paths and identities. It asserts that the act of creation, 
whether through music or personal expression, can be a powerful 
tool for reclaiming one’s sense of self and purpose. “Dreams 
Never End” challenges us to confront our own illusions and fears. 
It compels us to acknowledge that while the struggle for identity 
and meaning is real, it is within our power to redefine and reclaim 
our narratives. This song not only reflects the band’s journey but 
also encapsulates the universal experience of navigating loss, 
embracing resilience, and forging a path forward in an ever-
changing world. Through its exploration of these sociological 
theories, “Dreams Never End” resonates with anyone grappling 
with the complexities of life, ultimately serving as a testament to 
the indomitable human spirit. 
 

REFERENCES 
Besley, Tina. 2020. “Sociologising Resilience with Pierre Bourdieu’s Ideas 

of Social Change.” PESA Agora. 
https://pesaagora.com/columns/sociologising-resilience-with-
pierre-bourdieus-ideas-of-social-change/ 

Cole, Nicki Lisa. 2014. “How Sociologists Define Human Agency.” 
ThoughtCo. https://www.thoughtco.com/agency-definition-
3026036. 

Durkheim, Emile. [1893] 1984. The Division of Labor in Society. London: 
The Macmillan Press. 

Goffman, Erving. 1956. The Presentation of Self in Everyday Life. Scotland: 
Doubleday. 

Nickerson, Charlotte. 2022. “Impression Management: Erving Goffman 
Theory.” Simply Psychology. 
https://www.simplypsychology.org/impression-management.html.


	Music Review: When Dreams Begin Again: A Reflection on New Order’s ‘Dreams Never End’ - Sammy Garcia III



