The Cure are saving live music

The Cure delivered a performance that reaffirmed their status as one of the most vital forces in modern music, offering fans a night of emotionally charged rock that spanned decades. On Friday, the band played their largest concert in Manchester, drawing a crowd of 30,000 people. The show, which lasted over two hours, featured a mix of classic hits and newer material, showcasing the band's continued relevance. Robert Smith, the band's lead singer and guitarist, took a brief pause during the set to engage with the audience, expressing appreciation for the crowd's participation in singing along to the lyrics of “Just Like Heaven.” He joked about possibly ending the show early, but there was no indication he would follow through on that idea. This performance marked the fourth UK gig The Cure have held since releasing Songs of a Lost World in 2024, their first new album in sixteen years. The album has received widespread acclaim, with many critics calling it one of the band's finest works. The show itself was an epic affair, featuring a wide range of songs from different eras. The set included both obscure tracks like “Secrets” and “Treasure,” as well as beloved classics such as “Friday I’m in Love” and “The Lovecats.” The band’s approach to their performances, mixing older and newer material, has become increasingly popular, especially since they began challenging ticketing giants like Ticketmaster on their recent U.S. tour. They successfully eliminated dynamic pricing and banned marked-up resale, making tickets more affordable for fans. In keeping with these efforts, the Manchester show maintained similar policies. Tickets that had been sold above face value were canceled, and merchandise prices remained reasonable, with the most expensive t-shirt costing just £25. The £77.50 entry fee provided fans with not only two hours of The Cure but also an opening set by Slowdive, a band that has enjoyed a remarkable resurgence since reforming in 2016. Their latest releases have been praised for matching the quality of their earlier work, and songs like “kisses” and “Sugar for the Pill” were particularly suited to the warm, hazy atmosphere of a late summer evening in the park. The Cure themselves appeared to be at the height of their powers, delivering a set that balanced experimentation with familiar favorites. Tracks like “Fascination Street” and “A Forest” retained their atmospheric depth, while lesser-known gems such as “alt.end” and “Mint Car” showcased the band’s versatility. These tracks, though not staples of their discography, demonstrated the band’s ability to evolve while staying true to their core sound. The encore was a standout moment, featuring a 45-minute selection of indie disco classics including “Lullaby,” “Close to Me,” and a reprise of “Friday I’m in Love.” The night closed with “Boys Don’t Cry,” a song that continues to resonate with its nuanced exploration of masculinity and vulnerability. The audience reflected a broad generational spectrum, much like the crowds that attended Oasis concerts last summer. Fans ranged from older listeners who had followed the band since the 1980s to younger attendees who discovered The Cure through the goth-pop revival led by artists like Phoebe Bridgers or through their influence on Gen Z’s top stars. Olivia Rodrigo, for example, has collaborated with The Cure both onstage and in the studio, with Smith appearing on her Glastonbury headline set last year and contributing vocals to her album you seem pretty sad for a girl so in love. The band’s enduring appeal lies in their ability to connect with audiences across generations, addressing themes of emotional turmoil and self-reflection with a level of authenticity rarely matched by other acts.