The bard celebrates two other fine practitioners of the art, and laments a lost brewer
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Hooked on a legendary back catalogue
History-maker: Peter Hook
[Paul Hudson / Creative Commons]
This right-wing conspiracy theory is used to justify the coercive measures against gender, race and labour rights that best serve capitalism, attests GAVIN O’TOOLE
KENNY MONROSE recommends a new exhibition that highlights the significance of Black British music
ANGUS REID is bowled over by an exuberant film about the making of Keith Jarrett’s legendary concert
MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
Peter Hook and the Light
SWG3, Glasgow/Touring
IT'S a gig of two halves. A performance, in full, of two New Order albums – 1989’s Technique and Republic from 1993 – sandwiched between an opening set of early Joy Division material and a storming finale of New Order’s greatest hits.
Belligerent front man Peter Hook, leading and conducting the band throughout, is no slouch with the vocals either — he does snarling defiance with apparent ease — while most of the bass guitar duties are skilfully despatched by Hook’s son Jack Bates, complemented with a fine performance by Dave Potts on guitar.
Opening with the half dozen Joy Division songs, all pre-Unknown Pleasures, sets a very high bar early on. Leaders of Men and Transmission are clear stand-outs but, to be fair, the material from the two albums that then follows is, with a few honourable exceptions, pleasant but inferior.
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