Photos by Isobel Thieme/DenverThread
The Summit Music Hall was filled with history last Saturday night, as Peter Hook and the Light played both the New Order and Joy Division Substance albums in their entirety. Hook played his signature, unforgettable bass constructions alongside his son Jack Bates, who also played bass throughout the show, and keyboardist Andy Poole, drummer Paul Kehoe, and guitarist David Potts. The band did a masterful job replicating both New Order and Joy Division for nearly three hours, only stopping for a short break between the two records.
They started the first set with a few bonus cuts–“Dreams Never End,” “Procession,” and “Cries and Whispers”–before starting on the New Order album in order. The older songs stood out clearly from most of the rest of the New Order portion, which came from the band’s more accessible, dance-hit remix period. This part included highlights like the ubiquitous ‘80s hit “Blue Monday,” “Confusion,” “State of the Nation,” “Bizarre Love Triangle,” and the rest. While the band performed all the songs remaining true to their roots – Hooky’s bass was a bit overpowering at times – after five or six dancefloor legends they began to get somewhat tiresome. The crowd loved it early on but seemed to settle towards the latter half.
Hook didn’t address the audience much, although he did dedicate their version of “The Perfect Kiss” to the recently passed director Jonathan Demme, and later stopped the band to admonish some sort of skirmishing fans near the front. Otherwise, he was Hooky the smug professional for the entire set.
After a brief intermission -no doubt allowing the band to load up on oxygen – they came back out and played Joy Division’s version of Substance – and they looked as if they’d just begun, rather than having already played a full 90-minute set. And the audience was re-energized right along with them, screaming out lyric after lyric to nearly every song, pogoing, or simply swaying in old-school shoegaze form. Hearing such influential and brilliant classics like “No Love Lost,” “Warsaw,” “These Days,” and “Leaders of Men” performed live was a hugely satisfying experience. Hook did a good job of approximating Ian Curtis’s signature vocal style while keeping his own affect pretty evident.
It was the last half of the Joy Division set that brought the place down when the band launched into songs like “Transmission,” “She’s Lost Control,” “Dead Souls,” and “Atmosphere.” Even after nearly three hours of playing, the band never looked or sounded worn down, and did justice to the original post-punk anthems. And then, of course, came time to play the ubiquitous (but still emotionally jarring and brilliant) “Love Will Tear Us Apart.” As you’d expect, nearly the entire audience sang every word along with the band, which stopped playing at one point to showcase the howling that absolutely filled the venue.
While Peter Hook remains in litigation with the other member of New Order–something he often comments is truly heartbreaking–his tours have re-introduced these important albums to so many, and in many cases have introduced them for the first time, with great respect. The records’ longevity is absolutely evident, and the insight and ingenuity of the lyrics and music are, maybe, more relevant now than when Curtis was alive.