Review: Peter Hook and the Light at Astor Theatre

Peter Hook and the Light at Astor Theatre
Tuesday, May 28, 2024

It takes more than an asthma attack to stop Peter Hook and the Light.

Back playing both the New Order (1987) and Joy Division (1988) Substance compilations in full, the three-hour show was proof there’s no such thing as too much of a good thing, but the night was nearly derailed early on when the seminal bassist and songwriter began to struggle with his breathing.

It came early during the New Order portion of the setlist, in which Hook acted as his own support act, playing deep cuts and b-sides, before the undeniable majesty of Ceremony kicked in after three tracks.

Atmospheric opener In a Lonely Place was a doom-laden intro you’d be forgiven for mistaking as Joy Division, but it wasn’t long before the neat lighting installation and smoke haze made us feel like we were at the Haçienda circa 1982, as Everything’s Gone Green and Temptation got the near-capacity crowd pulling shapes.

Not even bothering with live drums for Blue Monday and Confusion was an ample reminder of what innovators New Order were in 80s electronic music. Then, just as the ecstatic glow was getting properly rosy during Thieves Like Us, uncertainty struck as Hook cut the song halfway, citing asthma.

If this intermission came earlier than expected, it wasn’t long before they were back, sans smoke machines for better lung maintenance. It mattered little as the euphoric likes of The Perfect Kiss, Shellshock and State of the Nation soon had the night back on track.

One of the best things about the original Substance 1987 record is its closing one-two, and Bizarre Love Triangle into True Faith (with b-side 1963 as a bonus) finished the first half of the night on a major high. The former was one of the best examples of guitarist David Potts taking on New Order frontman Bernard Sumner’s higher vocal parts, and his singing complemented Hook’s lower register perfectly all night.

The other notable player was Hook’s son Jack Bates playing second bass, accompanying his dad’s lead lines and taking on others of his own, especially notable during the verses of She’s Lost Control and Love Will Tear Us Apart, giving Hooky the chance to concentrate on delivering his best Ian Curtis impersonation.

The Joy Division portion, which followed a second interval, provoked no less dancing than the first half of the night. In fact, with five bonus tracks beforehand (No Love Lost and Isolation were standouts) plus an unexpected Shadowplay thrown in near the end for good measure, we were treated to just as much Joy Division as New Order.

The punk of early tracks such as Warsaw and Leaders of Men was rousing, but the notable thing about their four years from 1977 to 1980, when covered chronologically, is how fast Joy Division grew into the post-punk, goth rock and synth-pop they’re best known for.

Dead Souls (late singer Ian Curtis’ fave, according to Hook) and the funeral procession of Atmosphere harked back to the soundtracks they’ve appeared on. Notably, Nine Inch Nails’ cover of the former for The Crow and the first season of Stranger Things for the latter.

It worked perfectly as a celebration of influence: that of one of the greatest songwriting combinations in music history, across two bands that defined popular music, led by a man who was as central to it as any.

HARVEY RAE

Photos by Adrian Thomson