Live Review: Peter Hook & The Light

Considering the very public toxic sparring Peter Hook has had with his former New Order bandmates, one would be forgiven for being at least a little apprehensive about the bassist captaining a sizeable chunk of the back catalogue with a new band.

To get the chance to hear a set of Joy Division songs, as well as the Lowlife (’85) and Brotherhood (’86) albums by their rightful bassist and co-writer is irresistible, but surely something would be missing? The answer turns out to be an assured no. By re-assembling members of Monaco (Hook’s late ‘90s side project) and adding his son Jack Bates on bass, he’s actually chosen just the right people to curate these songs with the respect and vigour they deserve.

Opening with a septet of Joy Division songs, Hook wisely sings in his own growl rather than attempting Ian Curtis’ lost soul call. This lent well to Digital and Disorder but the band really fired on She’s Lost Control. Somehow, Paul Kehoe’s drumming recreated some of that rickety old Stephen Morris magic splendidly. Here we can call it: The Light are currently playing Joy Division better than New Order.

Kicking off the Brotherhood set with the instrumental Let’s Go was jaw-droppingly unexpected but in Thieves Like Us Hook’s vocal weaknesses are exposed. Guitarist Pottsy - Monaco’s singer, who was often criticised for sailing too close to Bernard Sumner’s style - remains frustratingly silent at the mic to Hook’s left but would have done a marvellous job. Later, when he does sing lead on Sooner Than You Think, it’s a perfect fit, which should also have been applied at the very least to Subculture and True Faith.

The LowLife set started with Love Vigilantes and a pumped Hook was prompted to triumphantly boast “That’s how you play The Perfect Kiss!”. Sunrise got a little cantankerous and tears rolled for the funereal Elegia. Staple classics Love Will Tear Us Apart and Blue Monday were absent, but the setlist was defiantly stronger with so many seldom-heard corkers. The awful rift that continues to divide Hook from New Order is as upsetting as seeing good parents at war with each other, but it is what it is. Hook will forever be tied to a remarkable body of work. Who can deny him the right to continue to play these songs, especially when his new band is doing them so bloody well?