Review: Greg Phillips. Photos: David Harris.
The music and mythology surrounding Joy Division and New Order have stalked me since I was a young teenager. Seeing New Order, intact with all the original members, at the Big Day Out in 2002 was a moment I’ll never forget. I tried to relive that euphoric feeling in 2020, with tickets in hand for their Sidney Myer Music Bowl concert, but COVID had other ideas, shutting down the country the day before the show. Then, last year, I finally got to revisit the band at the Music Bowl (sans Peter Hook), only to be horrified that the first half-dozen songs were marred by the atrocious sound coming from the PA. The problem was eventually fixed and the band dug themselves out of the hole, but that dreadful opening left a bad taste that never really disappeared. Now, in 2026, it was Peter Hook and The Light’s opportunity to rebalance the universe and I’m delighted to say they did so with aplomb.
Celebrating the 25th anniversary of the Get Ready album by performing it in full and in sequence, Hooky and the band strolled onto the stage to the hauntingly beautiful piano introduction of Crystal (just as they did at the Big Day Out in 2002) before Paul Kehoe’s drums kicked the band into one of New Order’s most perfectly constructed rock songs. While Hook’s voice may not possess the consistency or warmth of Bernard Sumner’s, his unmistakable Mancunian delivery carries a heartfelt authenticity and character all of its own.
60 Miles an Hour followed, and it immediately reminded everyone that New Order isn’t quite New Order without Peter Hook’s iconic bass tone, delivered from his signature Yamaha BB (Broad Bass), which, as always, hung somewhere around his knees.
The band’s moody, meditative take on Vicious Streak was pure bliss before Hook’s distinctive bass ushered in a rocking Primitive Notion. Rock the Shack had the crowd moving, urged on by the legendary bassist’s raised arm, while Someone Like You proved to be an ethereal rocker, highlighting just how ambient Get Ready really is. Martin Rebelski did an excellent job recreating the original keyboard textures while adding his own musical personality to the arrangements.
Hook revealed that the band had already begun transcribing songs from Waiting for the Sirens’ Call in preparation for their next tour, which will focus on that album, before offering a bubbly rendition of Krafty as a preview.
In addition to performing Get Ready, the band treated the audience to Here to Stay, originally intended for the album before ultimately being left off the track listing. Then, without fanfare, the musicians simply put down their instruments and exited the stage for a well-earned interval.
The anticipation was palpable as the band returned, with longtime fans fully aware of what was about to unfold. While Sumner’s New Order touched on several expected Joy Division classics during last year’s Australian tour, they never ventured as deeply into the catalogue as Hooky, nor did they deliver the remarkable lesson in musical history that was about to follow.
The folklore surrounding Joy Division remains endlessly fascinating for anyone willing to explore the band’s story. From Bernard Sumner and Peter Hook first meeting at a Sex Pistols concert, a crowd that also included Howard Devoto, Pete Shelley, Mark E. Smith and Morrissey, to the tragic death of Ian Curtis, the band’s history is as compelling as its music. Joy Division recorded only two studio albums, yet a wealth of singles, EPs and compilations has ensured that generations of music fans continue to discover the band’s extraordinary legacy.
Hooky’s unmistakable, loping bass line announced the arrival of the raw No Love Lost from the An Ideal for Living EP before seamlessly merging into Digital from the Substance (1988) compilation. Digging even deeper, the band launched into Warsaw, complete with its “Three, five, zero, one, two, five, go!” intro, a nod to The Ramones and a title borrowed from Bowie’s Warszawa. Martin Rebelski left the stage for this one, no keyboards required for this punk gem.
At this point it became obvious to me why Hook’s show felt so much more engaging than New Order’s performance at the Music Bowl last year. Sumner, Morris and Gilbert often seemed to be working within the constraints of a tightly programmed production, whereas Hook and The Light felt like an authentic rock band completely free to stretch, react and feed off the energy of the room.
With Hook’s son Jack Bates locking in the rhythm on second bass alongside powerhouse drummer Paul Kehoe, Hooky was free to weave his unique bass melodies through the music. Guitarist David Potts and keyboardist Martin Rebelski added colour, texture and atmosphere throughout. There was a looseness and confidence to this band that allowed the songs to breathe, building tension and drama in ways that were largely absent from last year’s New Order show, not to mention the obvious missing ingredient in that performance: Peter Hook himself.
New Dawn Fades from Unknown Pleasures, She’s Lost Control from Substance and Shadowplay thrilled the diehard Joy Division devotees before Transmission elevated the energy another notch, with most of the audience now on their feet. The majestic Atmosphere, originally released as a France-only single before later appearing on Substance, provided a fitting conclusion to an unforgettable Joy Division set.
From the grandeur of Joy Division, Hook and the band eased effortlessly into the sublime Your Silent Face from New Order’s Power, Corruption & Lies, complete with Hooky’s whimsical melodica. As the night edged towards its climax, there was a sense that the big hitters were coming. Regret from Republic was the perfect starting point. Rather than continue the emotional ascent, however, Hook revisited his ’90s outfit Monaco with What Do You Want From Me? and Shine, alongside guitarist David Potts, reminding everyone of another fascinating chapter in his career.
Ceremony remains the perfect bridge between Joy Division and New Order. Written as a Joy Division song but released by New Order, it signalled that while one chapter had closed, another was only just beginning. The Palais audience clearly recognised its significance before erupting for a superb Bizarre Love Triangle, arguably the most dancefloor-friendly song in the New Order catalogue. Hook spoke very little throughout the evening, usually stopping at the microphone only to announce the next song or catch his breath. “Temptation,” he said simply, and we were off to the races! Blue Monday followed, transporting us back to Melbourne nights at Chasers, Inflation and The Underground. Waiter! Where’s my West Coast Cooler?
Walking into the spotlight one final time, Hook leaned towards the microphone and quietly said, “By way of saying goodbye and thank you to you all…” Before he could even finish the sentence, the band launched into a poignant and deeply emotional Love Will Tear Us Apart. The difference between seeing Bernard Sumner’s New Order last year and Peter Hook and The Light tonight was simple. I enjoyed Bernard’s show. Peter Hook and The Light gave me chills, a feeling that, these days, very few concerts are capable of delivering.
New Order’s ‘Get Ready’ album
Crystal
60 Miles an Hour
Turn My Way
Vicious Streak
Primitive Notion
Slow Jam
Rock the Shack
Someone Like You
Close Range
Run Wild
Krafty
Here to Stay
Set 2:
Joy Division bracket:
No Love Lost
Digital
Warsaw
Disorder
New Dawn Fades
She’s Lost Control
Shadowplay
Transmission
Atmosphere
New Order, Monaco, Joy Division bracket:
Your Silent Face (New Order cover)
Regret(New Order cover)
What Do You Want From Me? (Monaco cover)
Shine (Monaco cover)
Ceremony (New Order cover)
Bizarre Love Triangle (New Order cover)
Temptation (New Order cover)
Blue Monday (New Order cover)
Love Will Tear Us Apart (Joy Division cover)
