With its generous blend of hits and deep cuts spread over nearly three hours, the Cure’s current live show also feels like this summer’s black-mascara counterpart to Taylor Swift’s splashy and bedazzled Eras tour, mikaelwood writes.
After Saturday’s festival was cut short due to a threatening storm, Siouxsie and Iggy Pop returned on Sunday to perform for multiple generations of SoCal goths.Depeche Mode
Why exactly this stuff seems to be in the air comes down to some extent to fortuitous exposure like that and like HBO’s recent use of Depeche Mode’s “Never Let Me Down Again” in “The Last of Us.” But there’s also something about this luxuriously gloomy music — the way in which it honors the exuberance of misery — that means it’s always drawing new fans.the idea of goth would continue to reverberate in an era when teenagers just have to pick up their phones to find a reason to be depressed.
The Cure’s new songs were both the stormiest and the most sentimental of the night, with florid keyboard licks against synthesized strings that called to mind Aerosmith’s late-’90s power-ballad phase; indeed, the seeds of the grandly emotional “Another Happy Birthday,” which Smith said the Cure was playing for the first time Tuesday, are thought by the group’s most devoted to date back to 1997.
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