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When a band gets to be as truly worshipped as The Cure, it can be an interesting and slightly bizarre thing to look at their early days. A little bit like seeing your favourite actor wondering whether they’re going to go with white or brown bread in a local Tesco. Or an important politician spotted zoning out on public transport, it brings them back down to earth and reminds you that they’re not all-conquering, all-powerful cosmically divine extra-dimension visitors who know the secrets of the universe, but a guy from the Sussex suburbs who formed a band to play at a school concert.
They probably looked ridiculous at their first shows, and not in the awesome way. They probably wrote some godawful songs. Some punters probably watched an early incarnation of The Cure and thought, for good reason, that they were a bunch of no-hopers. Every band has those days and if they haven’t one should be very, very suspicious of them. What makes The Cure so special is that they absolutely had those days, but knowing about them doesn’t take the sheen off them at all. They’re still a vitally important band, influential to thousands of bands the world over and that’s enough to make them legends, before the image and before the imitators.
And it all began with a school concert. In April 1973, five students from Notre Dame Middle School in Crawley formed Obelisk, the first tentative musical project of one Mr Robert Smith, who was the bands pianist. Future Cure cohorts Mick Dempsey and Lol Tolhurst backed him up on guitar and percussion, respectively, but it wasn’t until 1976 that the trio began to take making music more seriously. The band was reshuffled to feature Smith on the guitar, Dempsey on bass and Tolhurst left the now renamed Malice, but it was only to last a year until their lead guitarist left as well.
The remaining members got Tolhurst back as their drummer and renamed themselves again.This time, they would be called Easy Cure. By September 1977, Smith took over lead vocals after several unsuccessful auditions and by the start of 1978, they had dropped the Easy from their name and had recorded their first demo tape. This tape found its way to Polydor Records scout Chris Parry, who was so taken with the band that he signed them to his own label Fiction in September of that very year. In a move that nobody would get away with now, their track “Killing An Arab” was released soon after as their very first single.
It was a move that gained as much acclaim as controversy, to the extent that a re-release of the single had to be packaged with a sticker on the cover denying its supposedly racist connotations. Thankfully, the bands energetic post-punk got more attention, and their hype was considerably heightened with a session on John Peel’s legendary Radio One show. By the following year, their debut album “Three Imaginary Boys”, was released, and as part of its promotion, the band embarked on their first major support tour opening for Siouxsie And The Banshees.
This was to be a major step forward for the band, as Smith was coaxed into playing guitar for The Banshees after their original axe-man left shortly before the tour. The experience of being a Banshee profoundly changed Smith’s attitude towards the music that his band played, and when before he was most influenced by The Buzzcocks and Elvis Costello, afterwards he wanted to match the power that he felt while playing Siouxsie’s music. The result was 1980’s “Seventeen Seconds” and arguably, that was when they became The Cure that we know today.
Since then, they’ve been most known for essentially creating Goth music with the aforementioned record, its follow up “Faith”, and 1982’s bleak masterpiece “Pornography”. However, after those records they released some of the most romantic, beautiful and downright succesful pop of the 1980’s and early 90’s, with albums like “Kiss Me, Kiss Me, Kiss Me”, “Wish” and “The Top” showing just what Smith could do with a lovelorn lyric and a truly gorgeous melody. It’s their mastery of these two extremes that really show why The Cure are as loved as they are. They exemplify the human condition, and reflect when one is ecstatic and when one is at their lowest with equal skill and sensitivity.
There’s no-one else like them, and it’ll be a while before we see their likes again. See this band as soon as possible.
Avaliações ao vivo
Reviewing a show of one of your favorite Bands who have the distinction of being in your Top 5 (if not #1) live experiences of all time can be a bit daunting.
It can go a number of ways.
1. Another Great show as hoped.
2. Sub par and a let down.
3. The Band just "mails it in" (which is the worst).
The Cure, who have been around since 1976 (Easy Cure) and haven't toured the States anyway with a new album since 2008 are currently embarking on a substantial North American tour and with no new album I was really only expecting a "Greatest Hits" type show honestly? And given their Longevity and slew of "Hits" from the heyday of MTV I guess I couldn't blame them and I would have been satisfied more than likely?
Ah, but that was not the case in Boston (6-16-16) at Agganis Arena!
The Cure came out full throttle with a high energy level for what would turn out to be a marathon show of 3 hours which included.
Not 1. Not 2. Not even 3. But 4. Yes. 4 Encore Sets!!!
Were the standards there? Of course how can they not be.
"Inbetween Days", "Just Like Heaven", "Lovesong" "Let's Go To Bed", "Boys Don't Cry" etc etc etc
And all played with a kicked up, but not hurried, sense of urgency and excitement!
Mixed in though were surprising live Gems like:
"Burn" (1st The Crow soundtrack), "M", "Kyoto Song" and the surprising "Snakepit"!!
"Fascination Street" which has one the most perfect Bass lines ever IMO was a whirlwind of insanity as Simon Gallup just pushed the Band forward.
And the songs just kept coming one after the other while the crowd basked in Robert Smith's wonderfully childlike sense of wonder and emotion in his lyrics and vocals and understated guitar work.
Most Cure fans (me included) knew every single song played which is typical of The Cure fanbase.
But when they launched into the new "It Can Never Be the Same" with it's rumbling Bass line and heart felt lyrics to Robert Smith's Mother(?) I was amazed at how well it slid into this already fantastic set and really really really hope it gets a proper release soon, if it hasn't already and I have somehow missed it?
Robert Smith is an enigma of a front man. He demands your attention but. I don't believe, has never come to grips with his fans adulations and is still obviously shy individual. And I really don't think it's an act?
Simon Gallup is without doubt the energy of this Band still! He stalks the stage and never stops moving. All the while laying down a very unique Bass foundation that compliments Roberts Jangly sparse guitar style perfectly.
Simon does not get the recognition he deserves as a force on the Bass (along with John Taylor of Duran Duran) and if you play Bass you really should take a close listen to his work with The Cure.
Jason Cooper I think has finally come out from the shadow that was Boris Williams and seems comfortable in pushing his style now more in the drumming Dept. which I believe is another reason for the energy level of the Band live.
Roger O'Donnell is sublime on the keyboards and brings that soaring majestic sound needed for anything done from DISINTEGRATION while jumping right over to the nursery rhyme key tinkling of The Cure's early 80's Synth Pop era easily.
Reeves Gabrels who is the current 2nd guitarist in the ever rotating slot is a masterful musician in his own right (David Bowie folks) and honestly I was surprised at how long He has stayed with the Band? But He steps out very tastefully when required and ads his unique flair to the sound. I will admit to missing Porl Thompson who I just think was/ is the elusive component to the Band. But if you have to have Mr. Gabrels who am I to complain?.
Honestly this review could have been round up with one word: "EPIC"
But that, would be "mailing it in".
tommyv
I first saw the Cure in 1982 in this very same venue, the effectionatelg named by U.S. Muso's as the Hammy Odeon.
Tonight some 30 years later I'm back. I feel at home especially as I'm stranding and I'm where I should be.... Down the Front
Our evening starts with And Also The Trees a reformed eighties outfit who previously supported the Cure on their 1984 tour.
The thing about Robert smith is that he is a prolific song writer and the bands back catalogue is immense which results in us experiencing a three hour plus spectacular.
And what a treat. Hits rained down and more randomly than normal. Tracks from The Top album seemed dominate. Just like Heaven, Charlotte sometimes, Hundred Years, The End and of course the gems Primary, play for today and the classic A Forest.
Of course I'd liked more from Seventeen Seconds and Faith but that would have been greedy. There were plenty of folk here tonight who weren't born when these albums were released
With so much to play we were presented with four encores and finally at 11.15 it all ended with Boys Don't Cry.
It meant so much for me to have returned to this awesome venue to see my favourite band.... The place and the band that started me on my gig going journey
Cheers Robert.... Fantastic
adambroadway
The Cure are a special band and should be heard in a special environment, that is why I saw them at Red Rocks in Colorado. It was a cool night and the sun was sitting low in the sky. That famous colorful Colorado sky fell down across the stage.
The fans were are pretty relaxed and were mostly 25 plus in age. Everyone seemed to be poised for a night of great music. You could hear conversations coming from every direction, everyone hoping their favorite songs will be played.
Just as it was getting dark the band took the stage. Everyone stood and applauded Robert Smith as he paced across the stage and made his way to the microphone stand. As the band members struck a few random chords then the band jumped into “Just Like Heaven”. The frenzy only grew as the bad started without pause to play “Friday I’m In Love”. Everyone was having so much fun. The music sounded better then I have ever heard it before.
Robert Smith played an amazing set list of all the hits over the years. The band played all the old songs like “Boys Don’t Cry” and “Pictures of you” with a fresh take and with a new energy. This band has been around a while and still worth seeing live!
The Cure are legends and any band that will give you a 2 1/2 hour show deserves your respect. That being said this "greatest hits" + a few back-catalogue approach is what you'd expect from the Rolling Stones not from what is still an underground act. That in and by itself wouldn't even be that bad but aside from a few songs 39, A Night Like This, 100 Years sounded bland, uninspired and as though they were just going through the motions... Great light show, technical perfection but no soul! I've seen them twice in the 90's and came out of those shows thrilled, energized and inspired. Those were magical shows where the band managed to transform reality and all (the band included, to judge by their faces) came out of it exhausted and amazed, carried off as by some shamanistic ritual to dark and dangerous lands where we learned to overcome our fears and face the world around us with new hope. This wasn't one of those shows. This was Robert Smith giving his audience 30 of his best songs and not once making a spiritual connection with either the music or the crowd...
satoriforsale
Obviously being way too young to remember The Cure the first time around (sort of, ish, ahem, etc), this was the first time seeing this bunch of post-punk proto-goths and inevitably they didn't disappoint.
Despite most of the band heading pretty swiftly towards free-bus-pass age, the gig show kicked along at a pace, with young Mr. Smith barely pausing for breath as they band kicked on through a back catalogue spanning 30+ years.
Having spent the past few weeks attempting to brush up on my Cure knowledge (via Spotify) I can gladly add this band to an ever-growing list of "if you thought the studio version was good...", as tracks like Lullaby, Lovecats and Friday all sounded immense performed live.
Main issue of the night was technical; the lack of big screens at Wembley Arena means if you're right at the back, the band are mere specks on the stage up front. The lighting design was beautifully done though, and went some way to compensate for the lack of being able to see Robert Smith gurning earnestly into the microphone.
mrpjones
Two review, first for The Cure. It was a wonderful show! They were willing to perform hits along with other unknown songs and sounded great at doing it. They had a half and half crowd, some diehard fans and some who thought they were bigger fans than they actually were. With it being May in Pac NW the temperature dropped quickly freezing alot of people enough to say they had seen enough. This wasnt The band's fault for lack of inspired fans. They were everything I expected from a goth rock band from the late 70s and 80s. About the venue: I love the venue as well! We have been living in Portland for 5 years but have never made a point to catch a show in the Washington Amphitheater. Wow! We felt like we were home in the south. Nice concert under the stars and the price was a great as well, considering the crappy prices shows in Portland go for. We will be going back to Sunlight Supply in August.
RollinRob76
Buon concerto del gruppo, rovinato dalla pessima acustica del Mediolanum Forum.
L'esecuzione è stata quasi impeccabile, l'interazione col pubblico buona (Robert Smith ha persino azzardato un "Grazie mille", unica ed acclamatissima frase che il pubblico ha capito), alcune canzoni elegantemente riarrangiate.
La qualità sonora, inizialmente pessima (purtroppo tale è rimasta per tutta l'esibizione dei Twilight Sad che aprivano il concerto), è migliorata durante l'esibizione grazie al lavoro ingrato dei fonici e al fatto che gradualmente le chitarre elettriche distorte sono state sostituite con le acustiche o con suoni più docili.
Penso che sia l'ultimo concerto che andrò a vedere al Mediolanum Forum, che è vergognosamente inadatto ad ospitare concerti rock dal punto di vista acustico (peccato, perché dal punto di vista logistico non è male). Ridateci l'arena!
ruggero-dambra
What a concert!
We managed to get front row side view, only a few meters from the stage.
I'd seen them in 1985 in Madrid, 2008 in Melbourne and now in Milan. Awesome songs, still as good as always. A massive repertoire to choose from, but they performed most of their hits, plus a new one, It Can Never Be The Same. Robert as grand as always, he really enjoyed the show.
Simon at his best, he inspired me when I was 17 to play bass guitar, his usual moving around the stage with his bass at knee level!
I missed Porl, though, he has always been the colourful note at the right end of the stage!
Roger as sculptural as always in front of the keyboards and Jason performing at his best.
A magnificent show, what can I say.
I hope to see them again in a couple of years!
Manuel.
manuel.guerrero
The Cure - Barcelona, Palau Sant Jordi. November 26th 2016
My 5th Cure concert, and probably the best I've seen. No doubt it was far better than the last one, also in Barcelona in 2008 (without Roger O'Donnell on keys)
The band is great with Reeves Gabrels and Roger. Jason Cooper sounds better than ever on drums and Simon's bass is terrific.
Missed some gems such as Plainsong, Jupiter Crash, Want, Letter to Elise, but setlist was OK, 32 songs, focusing on The Head on the Door (1985) + Disintegration (89) + Kiss Me (87).
1 great unreleased song: It Can Never Be The Same on 1st encore.
Robert's voice was fine, powerful and clean. Athmosphere was good, proactive and the pop songs encouraged fans to sing along.
Looking fw to a new tour and maybe new album?
carles-aleix
3 (three) hours of pure pleasure. 31 songs.
They sang as if they were recording the original albuns. Perfect!
Great quality and performance.
Great respect for the fans, as I never saw.
Best was not possible, im glad I went to this concert. Thank you CURE!
Playlist:
Open
All I Want
Push
In Between Days
Pictures of You
The Hungry Ghost
A Night Like This
The Walk
Primary
Shake Dog Shake
The Blood
The Caterpillar
Lovesong
From the Edge of the Deep Green Sea
One Hundred Years
End
Encore 1
Step Into the Light
Want
Burn
Play for Today
A Forest
Encore 2
Fascination Street
Freakshow
Friday I'm in Love
Just Like Heaven
Boys Don't Cry
Encore 3
Lullaby
Hot Hot Hot!!!
Let's Go to Bed
Close to Me
Why Can't I Be You?
nuno-ramos-1
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