Peter Hook at Gothic Theatre, 9/28/13

Peter Hook at Gothic Theatre, 9/28/13
Tom Murphy


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.

See also: Peter Hook on revisting Joy Division's songs and what he learned about Ian Curtis

Peter Hook at Gothic Theatre, 9/28/13
Tom Murphy

"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.

Peter Hook at Gothic Theatre, 9/28/13
Tom Murphy

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.

Peter Hook and the Light at The Gothic Theatre
Peter Hook and the Light at The Gothic Theatre
Tom Murphy

The third set, of course, was made up of songs from the Power, Corruption & Lies period, beginning with the excellent non-album track "Cries and Whispers." The crowd welled up noticeably for "Everything's Gone Green," and Bates's echoing bass gave what was otherwise an upbeat take on the song a dark edge. "Your Silent Face" got a less introspective treatment, but it retained that sense of an expansive and languid spirit of defiance. "Leave Me Alone" had a similar quality but with a bittersweet flavor.

After "The Beach," the band left the stage briefly and then returned for a three-song encore featuring three of its most popular songs back-to-back, starting with "Temptation," a more disco flavored "Blue Monday," and "Love Will Tear Us Apart." Hook's vocals may have been gruffer and rougher than the originals, on which he didn't originally sing, but he delivered on all three with a strength and conviction that dignified the music with a band that was more than capable of realizing the true power and emotional resonance of the material.


Peter Hook and the Light

Gothic Theatre - September 28, 2013

Englewood, CO


01. Day of the Lords

02. Leaders of Men

03. Colony

04. Dead Souls

05. No Love Lost

06. Passover

07. New Dawn Fades


08. In A Lonely Place

09. Ceremony

10. Procession

11. Dreams Never End

12. Truth

13. Senses

14. Chosen Time

15. I.C.B.

16. The Him

17. Doubts Even Here

18. Denial


19. Cries and Whispers

20. Everything's Gone Green

21. Age of Consent

22. We All Stand

23. The Village

24. 5 8 6

25. 586

26. Your Silent Face

27. Ultraviolence


29. Leave Me Alone

30. The Beach [no one on stage]


31. Temptation

32. Blue Monday

33. Love Will Tear Us Apart


Personal Bias: Peter Hook's bass lines are what inspired me to pick up a bass in the '90s. His knack for simplicity, coupled with urgency, atmosphere and expressiveness, has always been a major inspiration to me as a musician, even as I have gone on to play a very different type of music.

Random Detail: Just before the end of the show, a guy with a mohawk, who had already been called out by Hook twice from the stage, was removed from the venue for causing problems for the people around him. When the band came back for the encore, Hook asked if the guy was gone and then said, "I thought having a mohawk was a sign of intelligence."

By the Way: When someone in the band feels compelled to tell you to chill out from stage, just do it.

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Gothic Theatre

3263 S. Broadway
Englewood, CO 80110


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