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Steve New

![Stella Nova on stage with re-united Rich Kids in January 2010](./assets/Steve_New%253BRich_Kids_$2 Stephen Charles New (16 May 1960 – 24 May 2010), professionally known as Steve New and later as Stella Nova, was an English guitarist, singer, and songwriter who rose to prominence in the London punk rock scene during the late 1970s. Best known as the teenage lead guitarist for Rich Kids—a short-lived supergroup comprising ex-Sex Pistols bassist Glen Matlock, future Ultravox frontman Midge Ure on rhythm guitar and vocals, and drummer Rusty Egan—the band released the album Ghosts of Princes in Towers in 1978, blending punk energy with sophisticated pop arrangements under producer Mick Ronson. After Rich Kids disbanded in 1979, New undertook session work, contributing guitar to Public Image Ltd's "Pied Piper" single, Iggy Pop's Soldier album, and Generation X's Kiss Me Deadly. Plagued by heroin addiction in the 1980s, he underwent rehabilitation and subsequently embraced cross-dressing, adopting the name Stella Nova for his ongoing compositional and performance work, including a 2010 reunion with Rich Kids just months before succumbing to cancer at age 50.

Early Life

Upbringing and Family Background

Stephen Charles New was born on 16 May 1960 in , . He grew up in the city, attending Quintin Kynaston School in the area of north-west . New originated from what he characterized as a pretty dysfunctional family, though specific details about his parents or siblings remain undocumented in public records. His early years were marked by immersion in London's cultural environment, which later intersected with the emerging punk scene, but biographical accounts provide limited insight into familial dynamics or socioeconomic context beyond this self-assessment.

Initial Musical Influences and Training

New, born on May 16, 1960, in London and educated at Quintin Kynaston School in St John's Wood, exhibited an early fascination with music during primary school, where he encountered avant-garde works including musique concrète, Edgard Varèse, and Karlheinz Stockhausen. By age 14 in 1974, he had joined the London Jazz Orchestra as a guitarist, marking his initial structured musical involvement and showcasing precocious ability beyond typical punk entrants. His influences drew from diverse sources, blending experimental composers like Varèse and Stockhausen with jazz innovators such as Miles Davis and Duke Ellington, glam rock acts including David Bowie and T. Rex, West Coast psychedelia from the Doors and Love, and iconoclasts like Frank Zappa, whose originality he particularly admired. No formal guitar instruction is documented; his development appears rooted in self-directed practice augmented by the improvisational demands of jazz ensemble work. This foundation propelled New into rock at age 15 or 16 in 1976, when he answered a advertisement seeking a young , securing a brief audition and rehearsals with the —though he was not retained—before transitioning to via connections like . His jazz-honed technical fluency contrasted with 's raw ethos, informing a versatile style evident in later performances.

Musical Career

Involvement with Rich Kids (1977–1979)

Following Glen Matlock's dismissal from the in February 1977, he formed in early 1977, recruiting Steve New as lead guitarist based on their prior acquaintance from venues like the in 1976. New, then 17, joined alongside drummer , with Matlock on bass; vocalist and rhythm guitarist was added by September 1977 after unsuccessful auditions for others. The band signed with in November 1977, shifting from roots toward a and sound influenced by 1960s acts like The Who. New contributed blistering guitar solos and co-wrote tracks including "Empty Words," "Ghosts of Princes in Towers," and "Strange One" with Matlock. The band's debut single, "Rich Kids," released in January 1978, reached No. 24 on the UK Singles Chart, followed by "Marching Men" in June 1978 and "Ghosts of Princes in Towers" in August 1978. Their sole album, Ghosts of Princes in Towers, produced by Mick Ronson and released in August 1978 (some sources note October), peaked at No. 51 on the UK Albums Chart despite critical praise for its melodic hooks and production. Live performances highlighted New's technical prowess, with early shows including the Hope and Anchor in June 1977 and a Vicious White Kids one-off in August 1978 featuring on vocals and on drums. Notable gigs encompassed a Wembley Arena support slot for , a sell-out Lyceum Theatre concert in April 1978 with opening, and appearances on and two John Peel BBC sessions. The band toured extensively in the UK but disbanded in June 1979 after failing to achieve sustained commercial success, leaving unreleased material from second album sessions.

Collaborations in Punk and Post-Punk Scenes (Late 1970s–1980s)

Following the disbandment of Rich Kids in early 1979, New contributed guitar to the short-lived supergroup Vicious White Kids, backing Sid Vicious on vocals during their sole performance on December 15, 1978, at London's Electric Ballroom. The lineup included Glen Matlock on bass, Rat Scabies on drums, and Nancy Spungen providing backing vocals, with the set featuring punk covers such as "My Way" and Pistols tracks. This one-off aligned New with the era's chaotic punk undercurrents, though no studio recordings from the group were officially released at the time. In early 1980, New participated in demo sessions for at in , providing alongside and Tony James amid the band's transition toward influences. He also played on the track "," recorded during this period and later released as a single in 1981, which marked one of New's contributions to the band's evolving sound before Idol's solo pivot. Around the same time, New had a brief association with (PiL), John Lydon's outfit, where he contributed guitar during rehearsals and recordings, including keyboards on the track "Pied Piper" and drums on "Steel Leg vs. the Electric Dread" from their 1980 Au Printemps live album. New's guitar work appeared on Iggy Pop's 1980 album Soldier, recorded in late 1979 in with a lineup featuring on bass and Ivan Kral on guitar and keyboards; sessions were marked by internal tensions, including reported conflicts involving New. His contributions included and parts, though some were reportedly minimized in the final mix due to production disputes. Into the early 1980s, New backed in live settings, including performances with the Heartbreakers' and others around 1982, extending his ties to the New York Dolls-derived punk scene. These sporadic collaborations underscored New's role as a session player bridging punk's raw energy with experimentation, though his involvement remained peripheral amid personal challenges.

Later Work and Independent Projects

Following his early career involvements, Steve New adopted the stage name Stella Nova in the late upon returning to the after a period of personal struggles including drug addiction in . In 2001, as The New, Nova released the album Here Comes Everybody on Alan McGee's Poptones label, featuring vocalist Beatrice Brown and showcasing experimental sounds distinct from his roots. In 2004, formed the band Beastellabeast with Brown, creating an project that produced three albums' worth of material blending thrash electro-blues, , and influences from and Varèse. The debut album Beastiality appeared in 2009 on Horseglue Records, followed by Stars and Wronguns in 2010, noted for Nova's distinctive guitar playing, rhythms, and Brown's vocals amid Nova's onstage presentation in makeup and dress. also contributed guitar to Go-Kart Mozart's Tearing Up the Album Chart during this period. Nova's final musical activity included a January 2010 reunion gig with in , where he performed as Stella Nova shortly before his cancer diagnosis intensified. These independent endeavors reflected Nova's shift toward underground, innovative expressions outside mainstream circuits, prioritizing originality over commercial success as articulated in his 2006 emphasizing unique musical voices.

Guitar Style, Technique, and Equipment

Steve New's guitar style in the emphasized melodic lead lines and blistering fills that infused the band's foundations with precision and structure, contrasting the chaotic aggression of acts like the . His contributions to tracks such as "" highlighted technical proficiency and rhythmic drive, co-written with bandmates and . Contemporary accounts, including a New Musical Express description of New as a "flash 15-year-old ," underscored his precocious flair and speed. New's technique drew from diverse influences, including avant-garde composers like and , jazz artists such as and , and glam rock figures like and T. Rex, enabling a versatile blend of punk energy with sophisticated phrasing. Mick Jones of praised New's abilities, stating, "If The Clash had needed a fifth member, it would have been Steve New," reflecting peer recognition of his skill in delivering inventive, high-impact playing. In later projects like Beastellabeast, his approach incorporated edgier "dirty guitar" tones within avant-garde pop frameworks. Photographic evidence from 1970s performances depicts New using a Gibson , aligning with the era's and rock preferences for its thick tone and sustain. Specific amplifier or effects details remain undocumented in available records, though his recordings, produced by , feature clean yet punchy guitar sounds typical of mid- studio production. During the 2010 Rich Kids reunion, New maintained strong performances despite health challenges, demonstrating enduring technical command.

Personal Life

Relationships and Private Interests

New was married to , a former girlfriend of , with whom he had a daughter named ; the marriage later dissolved. He also lived with for three years. In the last six years of his life, he was partnered with , with whom he had a son named . New identified as a transvestite, adopting the name Stella Nova and stating in a 2006 interview, "I've been a tranny from day one... It was always a secret life," reflecting a long-held but initially shameful aspect of his that he kept private amid personal struggles. He had been open about this for approximately ten years by that point, following periods of linked to addiction and counseling that facilitated acceptance. His private interests included collecting records spanning avant-garde works like those of to popular acts such as , alongside books ranging from to , and an affinity for women's clothing, evidenced by high heels in his home and public displays like wearing pink on . He also expressed admiration for glam-rock influences like and early fascinations with musique concrète composers such as Edgar Varèse.

Lifestyle and Views on the Music Industry

New resided in a flat in , initially in and later in , where his living space was filled with records spanning avant-garde composers like and popular acts such as , alongside books by authors including Gogol and , musical instruments, and high-heeled shoes. He maintained a modest routine that included smoking roll-up cigarettes in his back garden and listening to music at home, such as Robert Wyatt's "At Last I Am Free." New's personal life was marked by significant challenges, including a period of in during the , where he lived in his car following the dissolution of his marriage to , with whom he had a daughter; he also had a son from another relationship. He grappled with from the into the early 1990s, alongside earlier use during his punk-era collaborations, but achieved through the drug counseling program. From his youth, New exhibited a persistent interest in , later describing himself as having been a "tranny from day one," though he initially concealed this aspect of his identity due to shame; following counseling, he publicly embraced the persona of Stella Nova, releasing experimental albums like Bestiality (2002) and Stars and Wronguns (2007) with the duo Beastellabeast, formed in 1998 with Beatrice Brown. New held skeptical views toward commercial aspects of the music industry, having briefly worked as a post boy at in his early career, where he encountered figures like . He prioritized artistic originality over imitation or market trends, asserting in a 2006 , "If you’re making music that sounds like anybody else then that’s one too many people making music," and expressed strong aversion to the movement of the , stating he "hated all of that stuff." New regarded the business side of music as peripheral to his creative pursuits, remarking that while the industry elements existed, "that was my life" referring to the music itself rather than commercial dealings. He later recorded for independent label Poptones after a serendipitous meeting with , reflecting a preference for smaller, less corporate outlets in his phase.

Illness and Death

Onset of Cancer and Treatment

Steve New's cancer diagnosis surfaced publicly in early 2010, by which time his condition had progressed to a terminal stage, prompting a reunion of the Rich Kids for a benefit concert at the Islington Academy in London. The event, held in January 2010, served as New's farewell performance and aimed to support him and his family amid his illness. Details regarding the exact date of onset, the type of cancer, and any treatments pursued remain undisclosed in available reports. New succumbed to the disease on 24 May 2010 in London.

Final Years and Passing (2010)

In early 2010, Steve New, by then performing under the name Stella Nova, reunited with his former bandmates in Rich Kids—Glen Matlock, Midge Ure, and Rusty Egan—for a one-off benefit concert at the O2 Academy Islington in London on January 7. The event was organized specifically to support New amid his battle with cancer, drawing a full house of punk-era enthusiasts and featuring guest appearances that highlighted his enduring connections in the music scene. Despite his illness, New performed energetically, marking what would be one of his final public appearances. New's health deteriorated rapidly thereafter, and he succumbed to cancer on May 24, 2010, at the age of 50. His passing prompted tributes from contemporaries, who recalled his technical prowess as a and his low-key yet influential role in the late-1970s and movements, though his personal struggles with and health had limited his later visibility. The reunion gig underscored the affection held for him within the community, serving as a poignant farewell performance.

Reception and Legacy

Critical Assessments and Achievements

New's tenure with Rich Kids yielded the 1978 album , which critics at the time noted for its polished power-pop leanings rather than austerity, with reviewer Peter Silverton highlighting its slick production and American-influenced sheen that distanced it from raw expectations. Retrospective evaluations have credited the record with melodic strengths, such as the title track's evocative, Only Ones-esque qualities, positioning it as a refined bridge between urgency and craftsmanship. However, the band's short lifespan and internal tensions, including New's emerging songwriting role overshadowed by Matlock's songcraft, contributed to perceptions of unrealized potential. New's guitar drew praise for its "dirty" yet precise tone, blending punk aggression with jazz-inflected nuance and melodic flair, as noted in a 2006 interview where he was hailed for playing "the finest dirty guitar you have ever heard." Peers and obituaries emphasized his energetic style, which fused raw edge with sophisticated phrasing, though his struggles in the late limited broader recognition during peak years. Later tributes framed him as an "unsung guitar legend," undervalued in due to ' transitional status amid more explosive contemporaries like the . Key achievements encompass New's recruitment at age 15 for a second-guitarist audition in 1976, lead guitar duties on ' sole album and singles like "Rich Kids" (UK No. 24, 1978), and session work with on New Values (1979) and tracks. He briefly joined in 1978, contributing to early rehearsals before lineup shifts, and participated in a reunion tour in January 2010, performing as Stella Nova shortly before his death. No formal awards marked his career, but posthumous acclaim underscores his role in elevating guitar dynamics beyond .

Influence and Posthumous Recognition

Steve New's guitar playing, marked by innovative fills blending punk energy with jazz, avant-garde, and glam-rock elements, provided a sophisticated counterpoint to the raw aggression of contemporaries, influencing the power pop direction of bands like . His precocious talent at age 15 impressed , who recruited him for , where New co-wrote tracks such as "Empty Words" and "Ghosts of Princes in Towers," contributing to the band's melodic yet edgy sound that bridged and . Collaborations with figures like Billy Idol's , , and further extended his reach, exposing his genre-blending style—capable of shifting from to pop—to broader audiences in the late . Upon New's death from cancer on May 24, 2010, peers acknowledged his lasting impact through public tributes. Mick Jones of remarked, "If had needed a fifth member, it would have been Steve New," underscoring his peer-recognized prowess and untapped potential within circles. stated, "Another one of the good ones gone. My thoughts are with Steve’s family and close friends," while reflected, "Steve New RIP – Loved by so many. It was a real pleasure to play with you again in 2010," referencing the January 2010 reunion benefit concert that served as New's final performance. James Stevenson called him "a true marvel – you will never be forgotten," emphasizing his creative fearlessness and mind-expanding guitar work. New's posthumous recognition has centered on a , with observers noting his influence persisting from the into contemporary scenes. Despite limited mainstream acclaim during his lifetime, his role as an unsung architect of punk's more experimental edges endures among niche enthusiasts and former collaborators, who credit his technical skill and stylistic versatility for enriching the genre's evolution.

Criticisms and Underappreciation in Punk History

Despite his technical proficiency and melodic contributions to the punk and post-punk transition, Steve New and the Rich Kids faced criticisms for deviating from punk's raw, minimalist ethos. Formed in March 1977 by ex-Sex Pistols bassist Glen Matlock, the band—featuring New on lead guitar alongside Midge Ure and Rusty Egan—adopted a glossier, power-pop-inflected sound on their 1978 debut album Ghosts of Princes in Towers, which some contemporaries dismissed as lacking the visceral aggression of core punk acts like the Pistols. Critics argued the group's polished production and confrontational glam image challenged the punk zeitgeist, positioning them as overly sophisticated interlopers rather than authentic exponents of the genre's DIY rebellion. New's personal struggles with addiction further fueled perceptions of unreliability, undermining the band's cohesion and longevity; Rich Kids disbanded in 1979 after limited commercial success, with their sole album peaking at No. 51 in the UK despite a Top 25 single in "Rich Kids." His discarded guitar contributions to Iggy Pop's 1980 album —amid reported conflicts—exemplified how substance issues and interpersonal tensions marginalized his input in high-profile projects. In broader , New remains underappreciated, often reduced to a footnote overshadowed by Matlock's Pistols legacy and Ure's subsequent stardom, despite endorsements like Mick Jones of viewing him as a potential "fifth member." The band's transitional role—bridging 's snarl with polish—led to their dismissal as a "damp squib" in some accounts, eclipsing New's innovative style that blended energy with nuanced riffing. This neglect persists, with New's early scene involvement (including brief associations) and versatile session work for acts like . and rarely elevating him to the pantheon of guitar icons.

References

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