PETER HOOK & THE LIGHT – ASSEMBLY HALL, WORTHING 6.11.25
Peter Hook & The Light are an enduring case of survival. Formed in 2010 after a public falling-out with Joy Division co-founder Bernard Sumner, ‘Hooky’ went his own way. While most would’ve retired, he formed ‘The Light.’ Their mission is simple: play every song he has ever recorded, live. Some call it stubbornness but the band on tour is incomparable. They somehow capture the spirit of the original, without becoming a ‘covers band’ or pale imitation. Despite differing approaches, both founders share the goal of honouring the legacy of Ian Curtis.
The Light arrive at Worthing’s Assembly Hall with no support act – instead, a mammoth set awaits: the entirety of New Order’s 2001 album ‘Get Ready’ (the last with the original four-member lineup) and a run-through of Joy Division and New Order’s hits. A Herculean task, yet fitting for Hooky. The band – previous Monaco collaborators Paul Kehoe (drums), David Potts (guitar, vocals), his son Jack Bates (bass) and Martin Rebelski (keys, synth) – arrive on stage to a packed hall. A veteran crowd packs the room, alongside younger fans kitted in ‘Unknown Pleasures’ tees to choose Hooky over Sumner.
The ‘Crystal’ bass line rumbles; Hook stands centre stage as cascading synths abruptly cut out. “We’re like crystal/we break easy.” The track becomes less electronic focused, more post-punk with ‘Brotherhood’-era synths peppered in to break up Kehoe’s frenetic drumming. The show strikingly belongs to Hook – centre stage, his droning bass and voice commands audience attention instantly.
A packed crowd spikes in energy prior to ‘60 Miles An Hour’ – Monaco collaborator Potts takes over lead vocals. The momentum carries into ‘Turn My Way’ – originally featuring Billy Corgan on record. It risks failure live; Potts sounds nothing like Corgan. However, performed live it transforms its angsty American alt stomp into a quasi-Monaco hit – Potts and Hook prove a formidable duo early on, elevating a forgettable track from ‘Get Ready’ into something unique. It proves these tracks have life, and Hooky’s vision is far from vain.
‘Vicious Streak’ is the first track to stall momentum, with slow, shimmering synths and lethargic vocals. It cannot be rescued by a stellar backing band despite being Hook’s first lead bass spotlight. ‘Slow Jam’ summarises tonight’s first set: lyrics of “I don’t want the world to change/ I like it as it is” form a faux Oasis stomp with ‘Be Here Now’ swagger. Beneath its computerised synths, it already sounds remarkably dated.
‘Get Ready’ closer ‘Run Wild’ is too saccharine to captivate this late in part 1 – a Potts-led vocal and guitar track, textured by a New Order relic, the melodica. The song verges on folk remixed on GarageBand, somehow remaining passable beneath its chaos. In spite of effort, ‘Run Wild’ still can’t quite regain the audience’s attention at a crucial juncture as part 1 draws to a close.
Luckily, the saving grace comes in Chemical Brothers-produced ‘Here To Stay’ – a song New Order haven’t played since 2012, but recently revived by Hook. It is a perfect blend of rave and rock, a precursor to Klaxons, that briefly turns Worthing into the Hacienda and demonstrates clear impact on production – a perfect closer to the main set, clearly aware of the drab note ‘Get Ready’ closer ‘Run Wild’ would leave the crowd on.
Despite a lacklustre first half, the band earns respect. Their purpose of performing every song Hook has ever recorded live is commendable – even when it comes to devoting an entire show to a decisively middling effort of your oeuvre. It gives rare airings to deep cuts that no New Order affiliate may have played since the initial album cycle. Fortunately, this is just a pseudo-support act – the ‘greatest hits’ section awaits. It is the ‘Eras Tour’ for Hooky disciples, celebrating one of the most acclaimed catalogues in music history – the hall is vibrant in anticipation for the hits to arrive.
Peter Hook & The Light (Set 1):
‘Crystal’ (from 2001 New Order ‘Get Ready’ album)
‘60 Miles An Hour’ (from 2001 New Order ‘Get Ready’ album)
‘Turn My Way’ (from 2001 New Order ‘Get Ready’ album)
‘Vicious Streak’ (from 2001 New Order ‘Get Ready’ album)
‘Primitive Notion’ (from 2001 New Order ‘Get Ready’ album)
‘Slow Jam’ (from 2001 New Order ‘Get Ready’ album)
‘Rock The Shack’ (from 2001 New Order ‘Get Ready’ album)
‘Someone Like You’ (from 2001 New Order ‘Get Ready’ album)
‘Close Range’ (from 2001 New Order ‘Get Ready’ album)
‘Run Wild’ (from 2001 New Order ‘Get Ready’ album)
‘Brutal’ (from 2001 New Order ‘Get Ready’ album)
‘Here To Stay’ (a 2002 New Order single)
After a 10-minute break – enough for everyone to get a pint – ‘No Love Lost’ crashes in with industrial post-punk rage. “I need it” Hook shouts over the noise. Kehoe gets another moment to shine, furiously pounding the drums like they stole his royalties. ‘Warsaw’ hits – a downright punk hit of their Free Trade Hall roots. The vocal mix shifts, and suddenly Hooky sounds eerily like Curtis. It feels like being launched back in time, and marks their arrival. Their existence transcends the gimmick of ‘playing every song,’ and arrives as something akin to an uncanny reinterpretation.
The band dart between early Joy Division cuts, showcasing their foundation but leaving enough gaps to be filled later. Amidst this, Hook proves himself an unarguable anchor: an ambassador for the band and its later incarnation. Shouts of “you want an IPA?” between songs are quickly silenced by the first airing from ‘Unknown Pleasures’ – ‘Disorder.’ A jerky foundational post-punk track, with industrial lead bass ringing in ears, and forming the unlikeliest of floor fillers with Hook proving how vital his efforts were to Joy Division.
Returning to their raw roots, ‘Unknown Pleasures’ cut ‘Interzone,’ is a rare Joy Division track with Hook on lead vocals. His abilities are forefront, a track truly belonging to him, as much as the room now is. It reveals how integral Curtis and Hook’s vocal overlap was to their sound, and is met with cheers; an impressive feat for a deep cut. He is evidently having more fun doing Joy Division numbers and New Order hits; almost like ‘Get Ready’ as an opener provides an excuse to tour again.
Despite being slowed by a disappointing duo of ‘Means To An End’ and ‘These Days,’ another classic picks up proceedings in ‘Transmission’ – a showcase of Hook’s ‘high line bass,’ as strobe lights attack the room and Curtis possesses Hook. We finally understand why there are 2 bassists, preserving the groove on such a rhythm heavy track pumping heavy bass into the hall. Fittingly, “Dance dance dance dance to the radio” becomes a rallying cry. It is an intense moment, not just for the crowd but for Hooky as he declares: “Just getting my breath back.”
‘Atmosphere’ is ambient and moody. “Don’t walk away in silence” becomes a choir. It provides a moment of ascension and bridges the gap between Joy Division and New Order. The set is chronological – Hook beginning to end, with the best moments saved for the end to revisit. The synths of ‘Your Silent Face’ land – we’ve arrived at New Order; a well-executed segue.
Another highlight arrives in ‘Ceremony’ – New Order’s grief-stricken debut.Its echoed and reverbed vocals remain entrancing with Hook’s gravelly intensity contrasting its emotive roots. It is pure post-punk and earns collective claps as it swells to its conclusion – tonight’s biggest moment so far, bridging the gap between their early transitionary phase and the more electronic focused elements of latter stage New Order; a seamless journey through the hits of two titans.
Indie disco floor filler ‘Regret’ shines, despite a protracted start. Warm synths are pierced by Potts’ guitar work – “I would like a place I could call my own” Potts despairs on the chorus, taking over slightly higher vocal capabilities where Hooky can’t handle it. From this moment, Hooky is in control. ‘What Do You Want From Me’ – a throwback to Hook and Potts time as Monaco, is given a rare airtime. It is met with a chorus of “Sha La La Las” from the crowd, shockingly the loudest moment yet. Phones slowly rise into the air for a song only played sporadically.
The phones stay there for what would be any other band’s finale – ‘Blue Monday 88.’ Still essential and still utterly timeless, its driving synths get even the most rigid of tonight’s crowd swaying. The song is transformative, taking us back to 1988, and decimating the covers band critique in 5 minutes of dance rock perfection. The syncopated drum machine starts, the choir-esque “ah” on the launchpad, it seems bold not to close on a song so iconic, and eminently danceable – a staple of British music more than done justice by only one of its composers. However, disco-owed dance punk anthem ‘Temptation’ is segued perfectly. “Up down/turn around/ please don’t let me hit the ground” is an earworm, backed by an irresistible groove. It forms a formidable one-two punch with its predecessor – both synth-fuelled Hacienda floor fillers that could make even the most arthritic of the audience ignore their orthopaedist’s advice and dance. Despite Hook’s voice breaking slightly toward the end of an ambitious set, it provides the perfect duo to conclude – if there wasn’t one more track to be eulogised.
Hook states – “this is our way of saying thank you” – before tearing into ‘Love Will Tear Us Apart.’ A song not only an epitaph of Joy Division, and an entire scene of music, but later New Order’s original lineup. An elegiac homage to Curtis, and their timelessness, still as fresh as it was some 45 years ago – a post-punk template that gets fists punching the air. It lingers even as the band fade out – leaving only the crowd singing, hands aloft: “love/love will tear us apart again.” An enduring reminder – forever Joy Division.
With New Order still touring as a majority original lineup, certain cynic reviewers accuse Hooky of chasing money. Tonight, he more than acquits himself – showing The Light to be an arguably more sincere monument to the legacy of Ian Curtis than New Order. Hook prioritises giving the fans a live experience over the ego of a new album or filling his bank account. For three hours, Hook channels Curtis’ intensity. He even matches Sumner’s best moments in New Order – only losing focus during a run through of a middling album, and select deep cuts. The tribute band accusations appear flimsy – Peter Hook & The Light justify their existence; if only Sumner could see the light.
Peter Hook & The Light:
Peter Hook – vocals, bass
Paul Kehoe – drums
David Potts – guitar, vocals
Jack Bates – bass
Martin Rebelski – keys, synth
Peter Hook & The Light (Set 2):
‘No Love Lost’ (from 1978 Joy Division ‘An Ideal For Living’ EP)
‘Warsaw’ (from 1978 Joy Division ‘An Ideal For Living’ EP)
‘Novelty’ (a 1979 Joy Division single)
‘Disorder’ (from 1979 Joy Division ‘Unknown Pleasures’ album)
‘Twenty Four Hours’ (from 1980 Joy Division ‘Closer’ album)
‘Interzone’ (from 1979 Joy Division ‘Unknown Pleasures’ album)
‘A Means To An End’ (from 1980 Joy Division ‘Closer’ album)
‘These Days’ (from 1980 Joy Division ‘Love Will Tear Us Apart’ single)
‘Transmission’ (a 1979 Joy Division single)
‘Atmosphere’ (a 1980 Joy Division single)
‘Your Silent Face’ (from 1983 New Order ‘Power, Corruption & Lies’ album)
‘Ceremony’ (a 1981 New Order single)
‘Sunrise’ (from 1985 New Order ‘Low-Life’ album)
‘Run’ (from 1989 New Order ‘Technique’ album)
‘Regret’ (from 1993 New Order ‘Republic’ album)
‘What Do You Want From Me?’ (from 1997 Monaco ‘Music For Pleasure’ album)
‘Blue Monday ’88’ (a 1988 New Order single)
‘Temptation ’87’ (a 1982 New Order single; rerecorded in 1987)
‘Love Will Tear Us Apart’ (a 1980 Joy Division single)
