When given the chance to interview Hook, I jumped at it. Within a week, I found myself sitting (digitally) across from one of the most influential musicians of the past 60 years, my nerves in overdrive. Hook’s warm "You alright, mate?" quickly put me at ease, even all the way from his hotel room in Caen.
We started by discussing 2001’s Get Ready, New Order’s first record after their 1993 split and the focus of the Light’s upcoming tour. Hook reflected on his complex relationship with former bandmate Bernard Sumner and New Order in general. "I never thought we’d get back together again. I was more amazed than anyone. When we did get back together, Barney and I went back to how we were at school. We were very close friends until Joy Division finished [...] Our relationship sort of changed from then. With Get Ready, we got to relive that Joy Division honeymoon moment."
He sighed. "But as second honeymoons go, it didn’t last."
Hook’s work with the Light allows him to highlight the best of New Order, despite all the conflict. "I’m able to do [the songs] exactly how I wanted them to sound… It felt like we were in a constant battle to make the music sound like New Order from Republic onwards." He paused, seemingly deciding whether or not to censor himself. He shook his head, then continued. "Luckily, because them twats are off elsewhere, I get to do it for me. I get to put the bass back on and give it the proper feel."
"Get Ready was our honeymoon moment... It didn't last."
This creative freedom fuels his frustration with the current version of New Order, as the other members continue without him. He scowled, "They’ve had the freedom - using the brand name as they are - to, in my opinion, con the fans. They don’t sound like New Order, don’t act like New Order. They’re just not New Order."
For Hook, the highlight of being a musician is live performance. He bemoaned his former bandmates’ reluctance to tour. "One of the biggest frustrations with New Order was that they wouldn’t tour. I never understood why and still don’t understand, because they never told me."
On the topic of performances, I noted the stark difference in energy between Joy Division’s studio recordings and their live sound. Hook agreed, explaining how he approaches this dichotomy with the Light. "The reason I started playing the LPs is because you couldn’t recreate the sound of that band [...] It was much angrier, much faster and had a lot more presence. The people I play to across the world have never heard Joy Division play live, and never will, but they have heard the records, so I started with those as a basis."
At this Hook hung his head slightly. "What would I give for Joy Division to play live again? Anything, mate. But I’m not going to get it."
As our focus shifted fully to Joy Division, I asked Hook about his early difficulties as musician. Joy Division were a markedly working-class band, so financial worries were likely ever-present. He compared his experiences to the modern musical landscape. "We had something to aim for - a record. With streaming, you have nothing to aim for. It’s difficult to run yourself as a musician now."
"What would I give for Joy Division to play live again? Anything."
"A lot of bands have jobs – like [Manchester rock band] Slow Readers Club. They’re being offered record deals, but they have good IT jobs, and said 'why would we take the chance when we’re earning a really good life?'" He rolled his eyes. "We joined a band to get rid of our jobs, now people have to keep a job to be in a band."
Hook’s thoughts on the modern industry led to a discussion about songwriting as an art – one that, he argued, can’t be taught. He pointed to AI-generated music as proof. "Music is very much a dark art – songwriting is almost impossible to teach. The ideal example is AI. AI can write songs, but they’re all shit."
On the recent uproar amongst artists, he added "I don’t know what they’re worried about. I’ll eat my words when AI has a hit, or if it sells out the Co-op Arena. You can’t teach songwriting. Has Neil Young ever told people how he does it? No! He just does it."
Hook didn’t mince his words when discussing music technology. He mentioned that Get Ready in particular was recorded at the advent of digital production, a shift from the analogue tape recordings of New Order’s past. Hook pinpointed this transition as a reason for the album’s distinct sound, particularly lamenting the introduction of 'cut and paste' editing.
"Cut and paste is the death of originality and creativity. If you listen to music before cut and paste, it has a much freer, looser feel. Now, any groove is construed to be bad. Everything’s dead in time, dead in tune. Unfortunately, for that, you have to create an [artificial] atmosphere."
In part due to streaming and music technology, Joy Division and New Order have had a surge in popularity amongst younger audiences in the last few years. Hook beamed at the mention of the new demographic. "When I first started [the Light], I thought the audience was just going to be fat old blokes like me. Very soon, I noticed that those blokes were bringing their children along. It’s a great compliment when people introduce me to their kids."
"Music before cut and paste has a freer feel. Now, any groove is construed to be bad."
"The music goes through [generations] – that’s the beauty of writing a great song. If it’s great, it will last forever."
The Light last played Newcastle almost a year ago at the Interzone Festival in April. Hook cheerfully recalled the gig: "I’ll be doing Interzone again this year. When I got to Newcastle, I was delayed, so we didn’t soundcheck. The setlist didn’t have our song 'Interzone' on it. We finished our set, and went 'Hang on, we didn’t play Interzone at Interzone Festival!' I told the organiser 'Have us back and we’ll play it twice!'"
Hook also has a personal connection to the region. "My daughter went to Newcastle University, she loved it. Her boyfriend went to Durham. I didn’t realise that Durham is such a beautiful place." He smiled, "Newcastle is always a great gig because everyone’s bonkers - they go mental!"
As the conversation neared its end, I was met with a sudden black screen – a Zoom glitch. A fitting end, considering Hook’s earlier takes on technology. I managed to scramble together an email to his publicist to thank Peter and apologize for the hitch.
Despite the abrupt cutoff, speaking with Peter Hook was a surreal experience. His down-to-earth nature made it feel less like an interview and more like a candid chat at the pub. I’m lucky to have had a casual yet insightful conversation with one of British music’s seminal figures, and I imagine I’ll be subject to much envy from fellow musos once this is published. They say never to meet your heroes. I think they’re just choosing the wrong ones.
Peter Hook and the Light will be performing Get Ready in full alongside a selection of the most seminal songs from the back catalogues of both New Order and Joy Division on select dates in April, as well as UK festival dates in the spring and summer. Visit peterhookandthelight.live for full details.