The Cure: 4 Tour
Laura’s Blog Entry
Going to live shows is still one of the most fun and exciting things I can think of doing. Not sure why this is still true after all these years. But I feel I am not alone on this. So there is intense pressure on a band to live up to my expectations and the expectations of thousands of others people at a show.
Well, The Cure has never, ever disappointed. The show at Cleveland’s Wolstein Center was more than we could have hoped for. We didn’t get tickets right when they went on sale, so we were unsure if our seats would be miles and miles from the stage. Although it may look like they were in our video we will be posting soon, it was not far at all. We were in the second row up in the seats just behind the floor level. Smack in the center. Which could be why the sound quality was fabulous!
But let’s begin at the beginning. We arrived as 65daysofstatic were starting their opening set. And I couldn’t believe how good they sounded. They are an experimental, atmospheric, instrumental rock trio, and that kind of music, in an arena, often results in a wall of mushy sound. Not this time. The mix was amazing!
And a sign of great things to come. The Cure opened with “Open”; a perfect start. Robert’s vocals were perfectly clear and fabulous. They proceeded to play a show that had us riveted, cheering, and completely mesmerized for a full three hours.
Every album was well represented, and it was a masterful flow between deep, dark intense gothiness and happy, poppy bliss. They even played “Charlotte Sometimes,” which I had never heard live. How they produced the sound of that song so well with only four people, I can’t imagine. And all with no keyboards in sight. I am nostalgic for the older lineup – I’m not big on change – so Perry Bamonte was missed. It was quite interesting though, how they turned some of the signature keyboard sounds into guitar lines, and also worked some magic with other sounds through a bunch of floor pedal effects.
I commented to my sister Amy that I can’t imagine how Simon Gallup is not completely crippled after years of playing bass in the stance that he uses. A number of the songs were at a faster tempo than the original and how he plays bass that fast is beyond me. He quite possible may be a vampire. Hence his perpetually youthful appearance.
It was nice to have Porl Thompson back on guitar. Although he looks completely different sporting his new sleek and tattooed head. They all seemed to enjoy playing together. Jason Cooper is an amazing drummer. His style does give a different quality to the songs and probably was a major reason (along with new arrangements) that the songs had such a fresh feeling.
I guess Neil’s black nail polish made him look like he knew about The Cure, because the guy sitting next to him kept asking him lots of questions about the band. It was a very pleasant and friendly audience experience. Everyone seemed to be completely engrossed in the music and no one threw up on my boots.
Perhaps the best thing was all the old stuff they played. Neil has been highly influenced by the early albums Faith, Seventeen Seconds and Pornography. The last year or so I’ve really started to dig into those as well. I just love the feeling of being entirely overwhelmed and overtaken by the intensity of songs like “One Hundred Years.” I could just be carried off completely and never come back.
And the second encore with “Three Imaginary Boys” and “Fire in Cairo” made me want the show to never end. But it end it finally did, with a positively upbeat “Killing an Arab.”
We couldn’t help being affected intensely by the songs and the performances. This show was just the inspiration Neil and I needed for his CD we are working on. We listened to what he has done so far on the ride home and talked a lot about where it is going. I think Neil had really found the musical direction he has always been looking for and it is so amazing to watch it start to come together.
I am so grateful to all the people who are making contributions to the album: Tony Miracle, Dave Eberhardt and Will Crewdson. I never, ever dreamed I would get to work with such incredibly talented people. Music just brings me so much hope. It most definitely is The Cure for everything.
For the hardcore, here is the set list from June 18:
A Night Like This
The End of the World
Pictures of You
The Perfect Boy
From the Edge of the Deep Green Sea
Hot Hot Hot
The Only One
Sleep When I’m Dead
Just Like Heaven
Us or Them
One Hundred Years
Play for Today
Three Imaginary Boys
Fire In Cairo
Boys Don’t Cry
Jumping Someone Else’s Train
10:15 Saturday Night
Killing an Arab
Review from The Cleveland Plain Dealer