Peter Hook at Gothic Theatre, 9/28/13
PETER HOOK & THE LIGHT @ GOTHIC THEATRE | 9/28/12
Peter Hook's 33-song set at the Gothic was split into three distinct sections representing three periods of his early career as a musician. The first set was comprised of Joy Division songs and not really everything expected. Beginning with the brooding "Day of the Lords," the set really got going with "Leaders of Men," on which Hook and his son Jack Bates perfectly complemented each other on bass, giving the song a subtle but rich depth of tone between Bates effected tone and Hook's cleaner sound.
"Dead Souls," meanwhile, had a lot more sparkle on the guitar than the original studio recording and certainly much more than on the Nine Inch Nails cover of the song. The echoing bass Bates delivered for "New Dawn Fades" gave the song a vibrantly haunted atmosphere that can only really be experienced in the live setting.
The second set centered on Movement in its entirety, as well as songs recorded around that time before the music that would become Power, Corruption & Lies. "In A Lonely Place" started things off with its majestic and enigmatic rhythm line. And while Hook often cried out with an urgency of emotion coursing through him playing these old songs, it didn't disrupt the somber power of the songs. "Ceremony," a later period Joy Division song, best recorded and performed by New Order, was powerful in its paradoxically melancholic urgency.
After "Procession," Peter Hook told us that his son, who had turned 24 the day before, expressed to him at some point that he would like to play the opening lines of "Dreams Never End," and as a father, Hook thought how could deny his son the honor. After Bates's expert execution of that song (as with everything the guy played), Hook marveled, "That was almost as good as me."
Running through the songs from Movement, the band proved how tight and expressive it could be. Across the show, Hook and Bates alternated between four and six string basses and gave a real insight as to how these songs were played in the first place, or how both men have arranged the songs differently for this presentation of the music. The guitar work on "Denial" was woven into the rhythm in a way that was breezy, dynamic and powerful all at once. Keyboard player Andy Poole gave the whole show the feel of seeing New Order in its prime, by getting the details down on the electronic end of the music.