I’ve read Touching From a Distance, I’ve watched Control, I’ve dated people who idolize Ian Curtis, and I have an appreciation for his musical contributions. I hope that if you are someone that loves Curtis unconditionally, you’ll excuse me, because I don’t. That aside, I think flailing around in his memory for a buck is sad, desperate, pathetic even. Joy Division fans aren’t shallow; they are devout, they love the music above all else.
The fact that Peter Hook co-founded Joy Division before Ian Curtis was ever thought of is irrelevant, Curtis made Joy Division what it was. His stage presence shaped their reputation, and his distant vocals defined their sound. He is the legacy and the reason they didn’t continue as Joy Division, but created something new in New Order. This is something Peter Hook should have considered before going on tour with his Joy Division cover band, The Light.
I arrived shortly before Peter Hook and The Light took the stage at 9:30 Club Wednesday evening. I thought it was odd that they gave him an early slot, 7:30 p.m, considering the majority of his fan-base was probably struggling to get off work and to the venue to see him at such an early hour. Perhaps though, I’m mistaken, perhaps he doesn’t have the same following his former bandmates (his recently reunited bandmates) have that would garner a later slot.
Peter Hook took the stage in a “Transmission” shirt, one that could be seen on swarms of socially inept fans throughout the room. This combined with his bass ornament, left him decorated as a reminder that yes, indeed we were watching people play Joy Division songs, but there was integrity in the performance.
At first I thought perhaps the show, this tour, was a vain attempt to hold some kind of symbolic trophy over his former bandmates’ heads. Then I thought perhaps the name given to his band was yet another tutelage, that “the light” was in fact the right way, his way. And then I was informed that the bassist in his backing band was his son, and perhaps this was some sort of father and son bonding experience. Then again, it could have been a feeble attempt to honor a life and a band that have been dead for thirty years, a yearning for the past when we would love to see him welcome the future.
They opened with “Incubation” and pumped up the tempo as the set, which was billed as Closer in its entirety, progressed with few breaks. What audience was there, swayed and jerked in awkward convulsions while others talked. Talking isn’t uncommon at 9:30 Club shows, but I was expecting more reverence than was exhibited.
The bassist we came to see, Hook, played few bass lines at all. He touted it around his waist as he threw his arm in the air and forced an Ian Curtis impression. Perhaps members of the crowd were impressed by this, but I didn’t attend to see an Ian Curtis impression, nor a Joy Division Cover band, I attended to see one of my favorite musicians play his songs on his instrument and with his voice.
Let me be clear, I am in no way insulting the musicians, they played well, and I enjoyed what I heard. I love the songs, but it was difficult performance to watch. They made their way through an hour-long set of some of the most influential songs of the late ’70s and early ’80s.
It wasn’t until the encore that Hook began to engage. He played his bass lines, though in spurts, but it was appreciated by the audience—after all, that’s what they came for—and he walked around the stage, marching from one side to the other. The audience grew more lively and seemed more forgiving the more involved he became, and higher the mood was lifted. Dancing became more urgent and after his brief thank yous and acknowledgment of the “replicas” it was easier to immerse ourselves in the music. The encore, ending of course with “Love Will Tear Us Apart,” was predictable, but wonderful nonetheless; despite any doubts or ill will, to hear these songs live is rare and special.
One can only hope for an impossible reunion between Hook and New Order, so in the meantime, this will have to do.
