The Cure
May 19, 2008
The Starlight Theatre
Better Than: Sitting in a dark basement, shrouded in candlelight, listening to the Cure.
Dear Diary,
Oh my goth. Last night I saw the Cure for the very first time. I wasn’t the biggest fan growing up – my heart belonged to Morrissey as a mopey teenager, you see – but the older I get, the more I appreciate the breadth and depth of the band’s catalog.
After a quick four-hour drive to Kansas City from St. Louis, I raced to the bathroom to apply my dark lipstick. (MAC Viva Glam, natch.) Shit. Smeared it a bit on my lower lip. “Fuck it!” I thought. “I’ll just look more like Robert Smith!” Sat through the U.K. instrumental act 65Daysofstatic, who are perhaps the loudest band I’ve ever heard. Like an industrial version of Explosions in the Sky – or a perfect match for Placebo – the synth-terrorists created a sonic boom of sound that was mixed at almost painful levels, even with earplugs. Still, they were a nice enough diversion for a half-hour set.
And then, before it was even dark – how odd -- The Cure came onstage! Guitarist Porl Thompson sported fetching, red high heels and a sheer shirt/vinyl pants get-up that was trés chic fetishwear. Wiry, ageless Simon Gallup, the group’s long-time bassist, hunkered down at stage left. Drummer Jason Cooper, looking a little bit like Bryan Adams, settled in behind his kit. And finally Robert Smith strode onstage. Often (not so nicely) nicknamed Fat Bob, he instead looked like a giant goth teddy bear, his artfully bed-headed hair matching an all-black ensemble.
Photo by Scott Spychalski; click for slideshow
Things started off unsteadily, with a downright painful, boring “Pictures of You.” Smiths vocals were – to put this nicely – scraggly, as if he almost forgot the words to the songs. But then the icon got on the mic and quipped something about “Serge Gainsbourg does the Cure,” explaining that he was having voice troubles. My heart sank. Voice troubles! How on earth could he hit the high notes on the the early songs, or soar to swooning heights on the band’s swirling ambient moments?
And truth be told, he couldn’t. While there were moments of brilliance – The Head on the Door’s “Push” was a sparkling, joyous romp, while he mustered a feral howl at the end of the shuddering Pornography highlight “100 Years” – his rickety vocals cast a pallor (and not the good kind) over the show. “Just Like Heaven” was weaksauce, while a slow-as-molasses version of “Primary” underscored his rapidly disintegrating voice.
To his credit, Smith didn’t do the schmaltzy thing and point the microphone toward the crowd and let them sing the songs. Bless his heart, he was so upset, though! Just before the encore – prompted by what, I’m not sure – he spat, “I know I can’t fucking sing, but you play the songs!” A few unintelligible sentences later: “Next time we come back, it’ll sound sweeter.” I felt so bad for him!
His frustration likely mounted because the Cure’s current trek is basically a greatest-hits tour. The band has a new album due in September, but it played only a few new songs, “The Only One” and “The Perfect Boy.” (Both hark back to 1992’s Wish -- thankfully, the good, non-cheesy songs from that poppiest of albums.) Otherwise, the setlist included tracks spanning their entire career, which requires quite a bit of vocal stamina and range.
The rest of the Cure picked up any slack for Smith’s troubles, however. Gallup prowled around like a sly fox and brought some serious funk to the band, with skyscraping basslines anchoring “Lullaby,” “The Walk” and “Hot Hot Hot!!!” “Never Enough” was a glam-bam Sweet/T. Rex homage – and OMG, Smith even ditched his guitar and walked around onstage during the tune! – and “Love Song” featured a slightly re-worked guitar line that made the tired single vibrant. Chestnut “Shake Dog Shake” and newer tune “Wrong Number” also stood out as sterling examples of grinding psychedelic rock.
Probably due to his vocal troubles, we only received two encores, although both sets redeemed the night. Kiss Me, Kiss Me, Kiss Me’s “The Kiss” was a loud, impressive choice to end the first post-show set. (Aside: KC, yes, you should spark up doobies during that song, but not during “Friday, I’m in Love.” WTF?)
Encore two was even better, because it exclusively contained tunes from Boys Don’t Cry (the U.S. version of their 1979 debut, Three Imaginary Boys). “Boys Don’t Cry” was s-l-o-w – and mediocre -- but “Grinding Halt,” “Jumping Someone Else’s Train,” “10:15 Saturday Night” and “Killing an Arab” were raw, punky and ferocious.
Losing my Cure virginity wasn’t as painful as I feared it would be, although I think my expectations were a wee bit too high. However, the show did leave me wanting more and wouldn’t prevent me from seeing the band again – and so in that sense, I’m satisfied with the show I saw.
Black Tears and Kisses,
Annie
Critic’s Notebook
Personal Bias: I was bummed that “Play for Today,” “Close to Me,” “Why Can’t I Be You?” and “Fascination Street” were not performed. However, I was even more bummed that people were talking so damn loud around me. A dude behind me wearing a Van Halen shirt (who was stoked that he recognized “Love Song”) and his pal could be heard over the band and my earplugs. Two random yapping girls also started to ruin encore one. However, all shut up when I summed my Inner Bitch and told them politely to please not talk so loudly. At least KC is polite.
Random Detail: Even the handicapped parking spaces at the Starlight decided to be goth last night.
By the Way: Amanda Myers, random happy drunk stranger beside me, wanted this quote in the piece: “I’ve been cured by Robert Smith!”
Set List:
New Song (Underneath the Stars?), Pictures of You, A Night Like This, The Walk, End of the World, Lovesong, To Wish Impossible Things, Lullaby, Hot Hot Hot, The Only One, From the Edge of the Deep Green Sea, A Strange Day, Push, Friday I'm In Love, Just Like Heaven, Primary, Inbetween Days, Never Enough, Shake Dog Shake, The Perfect Boy, Wrong Number, One Hundred Years, New Song
1st Encore: If Only Tonight We Could Sleep, The Kiss
2nd encore: Boys Don't Cry, Jumping Someone Else's Train, Grinding Halt, 10:15 Saturday Night, Killing An Arab.
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Stay away from a Serger! Unless you have some sewing skills and are ready to tackle the complicated world of Sergers. I would go out and buy a simple little Singer machine. That's all you will need to do the type of sewing you want to do. I've been sewing for almost 35 years and have made everything form comforters, curtains, clothing(dressy and casual)etc. with my simple Singer machines. Make sure it has a button hole attachment and a ziz zag stitch.
This guy was a God of the high vocals. Unfortunately, I have never seen an aging artist that can hit the high notes. Billy Joel and Elton John can't. McCartney does as well as anyone I've ever heard at that age, but he never hit highs like some of the others.
I don't think I could wheeze out those high songs like I could 20 years ago when I first became a fan. It's a sad fact of getting older. I can sing much lower than I could as a young man, but stuff like The Cure is what I lived to sing along with.
Greetings from South Beach!
I caught the Cure last night at the BankAtlantic Center in nearby Sunrise, Florida, and it was an absolutely incredible show.
The one thing that I've seen looking at set lists from previous shows is that the Cure are changing them up from city-to-city, and I am so thrilled to have enjoyed one of the greatest sets of the tour thus far.
Robert Smith's voice was clearly not 100 percent, but I'd say it was around 98 percent. The raw edge from the trio of guitars, minus the keyboards, gave an unexpected tinge of energy to songs I'd heard dozens of times but not as strong as I did last night.
The first and only other time I saw the Cure was in summer 1993, at the old Miami Arena on the Wish tour. It was the second of two shows in Miami, but the date was the night before the first show that was available to ticket goers. It was arguably the worst concert I ever saw. The crowd was lackluster; the band was so-so. They played none of the old tracks.
Here is a cribbed version of what i heard last night:
Plainsong, Prayers For Rain, alt.end, A Night Like This, The Baby Screams, The End of the World, Lovesong, A Letter To Elise, Want, Pictures of You, Lullaby, Maybe Someday, The Perfect Boy, From the Edge of the Deep Green Sea, Sleep When I'm Dead, Push, Friday I'm In Love, In Between Days, Just Like Heaven, Primary, Never Enough, The Only One, Signal To Noise, One Hundred Years, Disintegration
1st encore: If Only Tonight We Could Sleep, The Kiss
2nd encore: Freakshow, Close To Me, Why Can't I Be You?
3rd encore: Boys Don't Cry, Jumping Someone Else's Train, Grinding Halt, 10:15 Saturday Night, Killing An Arab
4th encore: A Forest
While they oddly did not do "Fascination Street," "Lovecats," "Let's Go To Bed" or "Hot! Hot! Hot!," it was amazing to hear "One Hundred Years" and feel the pulsating energy and odd joy in Robert Smith smiling and interacting with a packed house of nearly 14,000 fans.
I'm so glad I went - as I had my doubts based on the 1993 show and the set list from the previous night in Tampa. We in South Florida were treated to an exceptional performance.
ALMOST CRIED I WAS SO DISAPPOINTED!!
Been a Cure fan for 25 years, saw them in 87' & 89' & have been waiting 19 years to see them again. Absolutlety adore Robert Smith & the high notes & squeals he makes. I saw them in 87' & 89' & have been waiting 19 years to see them again. Robert Smith's voice IS The Cure. Yes the music is equally as important but his VOICE, his high notes & squeals are the best part of the Cure. So for me, this show was very disappointing. I go to shows for the quality of the music & to hear Robert Smith sing these songs in such a monotone way & miss the high notes just saddened me. I feel bad for him that he has a sore throat, but if the doctor advises against doing the show & you can't give us the same quality of show you would give us if you were well, then I would much prefer you cancel the show & reschedule. I really feel they owe it to Kansas City to come back & do another show at the end of the tour & do it right; when Robert's voice has recovered. And I don't even live there, but I would drive back down for it.
Then, at the end of the show to hear my friends, some musicians say "wasn't that a great show?" I'm sorry but I just lost some respect for their music abilities if they think it's allright to go on stage when your sick & sound like shit & give people a less than quality show that they paid good money for & drove hours to.
Sorry his voice was shot - I've read that Robert was sick over the past few shows. That is a shame 'cuz you really missed them at their finest! They started off in Fairfax, Virginia at George Mason University and put on a kick ass show for over 3 hours. Robert's voice was as crystal clear as it was in their first albums (ok, CD's - I am 52) and the entire audience was respectful, completely into the show, and blown away by all 4 of their performances! Welcome back Porl!
i paid for my ticket and gas money and food to come to KC. out of pocket. and i'm not being reimbursed. i told jason i was coming to the show, and offered to cover it for him. because i like being abused by complete strangers on blogs.
Not to worry, Curious. Only our local photographer was paid to shoot the concert. Annie Zaleski is a good friend to The Pitch and to Kansas City music -- she often runs press on KC bands in her music section of the Riverfront Times. It's MO love, dawg.
And by the way, there is nothing lazy about Ms. Zaleski's journalism. She works harder than all of us combined.
I agree with your inner bitch! How rude of Van Halen guy and his pal to keep yapping away during the show. They needed a good kick in the nuts. And their friend was drinking some kind of panzy drink and singing along to several of the songs. Death to him!!!
Hmmm. For a publication that is so into making sure we buy and support local businesses, how is it that a non-local writer is writing a review of a local show? Granted, this person works for a sister publication but seriously this is lazy journalism at its finest. Kudos for that.
Hmmm. For a publication that is so into making sure we buy and support local businesses, how is it that a non-local writer is writing a review of a local show? Was this person paid? If so, how could The Pitch send their money out of town? Perhaps Burnt Ends will launch a world famous investigation.
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