4Tour World Tour 2007 - 08
August 9th, 2007 -
Sydney, Australia (Sydney Entertainment
Centre)
Tape (intro), Open, Fascination Street, alt.end,
A Night Like This, The Walk, The End
of the World, Lovesong, The
Big Hand, Pictures of You, Lullaby,
Catch, Hot Hot Hot, The Blood, Push, Inbetween Days, Just Like Heaven,
Primary, Us or Them, Never Enough, From the Edge of the Deep Green
Sea, A Strange Day, Wrong Number,
The Baby Screams, One Hundred
Years, End
1st Encore: Let's Go To Bed, Close To Me, Why Can't
I Be You?
2nd Encore: At Night, M, Play For Today, A Forest
3rd Encore: Three Imaginary Boys, Fire In Cairo, Boys
Don't Cry, Jumping Someone Else's Train, Grinding Halt, 10:15 Saturday
Night, Killing An Arab
(Thanks to Lara for the ticket scan and to Shaun for the
setlist)
"Older, but the Cure's still a killer
The first time I saw the Cure, about 15 years ago, I was at university
and enthusiastically dyed my hair black for the occasion. Even with my
darkened locks, I felt highly conservative among the fascinating parade
of circus freaks at the concert. The world of goths and PVC-clad music
fans was something of an eye-opener to a kid from the country.
On Thursday night it was equally as funny to see how conservative the
older audience was at the Cure's concert. Forget about angst-ridden emos
(what a silly label for frontman Robert Smith, who has resisted labels
all his life), the audience was mostly made up of older music fans keen
to see Smith back on stage.
There were fans in jeans and white T-shirts (yes, bright white!). I
even spotted a handful of people in suits. It was like the black-clad brigade
of yesteryear had suddenly marched into Country Road [a conservative clothing
chain]. How times have changed.
But what hasn't changed is Smith's extraordinary brilliance on stage.
The cans of hairspray backstage had been given a solid workout - and
yes, he still shuffles across the stage in platform boots and black
clothes. But the music was top-notch, almost exultant at times, as the
band delivered a mesmerising three-hour set. Smith was thrilled by the
reaction, the audience was blown away and I couldn't help wondering if
some of those teenage emos would benefit from listening to the Cure's greatest
hits.
The music is so good it might even leave them smiling, just like Smith's
sweet grin as he soaked in the audience reaction."
- Christine Sams, Sun-Herald, 12 August 2007
Never-ending Cure a tough act to swallow
Bernard Zuel
August 11, 2007
THE CURE
Entertainment Centre, August 9
J.K. ROWLING was as much on my mind as Robert Smith during this long,
long evening with the Cure. Specifically, her ghoulish wraiths the Dementors.
This may tell you something of the family's reading habits of late, though
the Cure's Henry Ford-like penchant for any colour as long as it's black
plays a part, but bear with me.
Smith's band is into its fourth decade with as many personality changes
(spiky melodic kids; doom-laden young adults; goth heroes; pop stars;
stadium act; power rock band; quasi alternative dance act) as it has had
personnel changes.
Smith is the sole original.
There is almost no way, therefore, that the Cure could play a show
wholly satisfying to all their fans. Maybe not even a show hitting the
three-hour mark, as this one did. But surely it could have been done better.
For long periods the room seemed mired in a torpor, offstage and on,
a grimness without purpose, to be endured. Not because of some gloom, for
after all some of the Cure's best moments had been when despair seemed terminal,
but because the energy, the pleasure, was being sucked out of us.
The Dementors in this case were extended grinding jams of indeterminate
character, rock songs ostensibly pitched to the back rows but in reality
inverted and confined to the small space between the players on stage.
They weren't just boring, they seemed interminable.
The occasional patronus was sent out to beat back the ugliness: Pictures
Of You's hypnotic bassline, Just Like Heaven's energised bounce; the swirling
power of Primary. And the first encore flicked the switch to pop central
with the trilogy of Let's Go To Bed (pretty clunky but still amusing), Head
On the Door (which had everyone dancing) and the silliness of Why Can't
I Be You.
However, it must be asked, why was it necessary for us to expend so
much energy fighting through the murk to discover a potentially excellent
80-minute gig hidden in the folds of this 180-minute show? Where was the
magic?
- Sydney
Morning Herald
The first of the 2 Sydney shows kicked
off last night in great style. The set list and lights were just as great
as the other shows this week.
I was really pleased to hear "the big hand", this was a real treat.
Robert jokingly said that "this was a huge hit from the 80s".
The band members seemed really relaxed and overwhelmed to be on
stage.
Robert made a small mistake while playing "catch", he claimed he
"forgot to push one button", apologising to the crowd and promising
to make up for it in the next song.
Robert has dug out his black kilt again, he didn't have it on in
Brisbane. I wonder if he will wear it again tonight.
The crowd (as with the other Australian shows) really started to
get into the show mid way through the set. It seems like "Push" is the
turning point, a definite crowd pleaser. Its great to see so many people
getting into the songs.
I stood up and started dancing for "lets go to bed". Some lady
behind me complained and said i was blocking her view. Its funny how
about 40% of the seated section were standing up for that song. I wonder
how she felt when the entire seated section was standing for the last
encore.
"FTEOTDGS" sunrise slide was wonderful, as with many of the other
backing slides.
Still no new songs, I'm starting to think there wont be any at
all this tour. No songs from "WMS" or "Bloodflowers" either, seems like
they have been left off the pool of songs for this tour.
Robert defiantly seems to be enjoying the tour more and more as
it progresses. He has been leaving his Ulturacure on the stage in front
of his effects after the last song of each show. This is a good indication
that its the end of the set. I suppose this is to sustain feedback while
they leave the stage.
I cant wait for tonight, I'm still a little disappointed i wont
see the secret show. I suppose its not that big a deal, as its really
only a half hour sound check.
- Aaron
This was my fifth time seeing the Cure,
going way back to 1980. I had been a little apprehensive about this
show as I found out about the tour late, and our seats were at the side
of the stage. As turned out the seats had a great view really close
to the stage (almost a direct side view). The main drawback was the
sound which was muddy. We had plenty of bass and drums, and the vocals
were pretty good, but there was a lack of definition in the guitars, particularly
Porl Thompson who was on the far side of the stage. This was
probably my biggest frustation, as it was obvious that Porl was producing
all sorts of guitar heroics, but they were difficult to pick out of the
mix at times, and we couldn't see him very well, often being obscured by
Simon and Robert.
The show itself was sensational, better than the 2000 concert,
I think. It was very entertaining watching them play keyboard parts on
guitar on
songs like "Lullaby" and "Close to me". My GF was very surprised
half way through when I pointed out there was no keyboard player.
They played almost all their hits, and very good value at 3 hours
and ten minutes, no interval. The drummer Jason Cooper must be the
hardest
working guy in showbiz. Almost uniquely for me at a concert,
some of the best songs were ones I was not familiar with, especially
"Jumping Someone Else's Train" which was wonderful.
This is the tightest Cure line-up I've seen. Gallup and Cooper
form a rock-solid rhythm section. Simon never stops moving. Perhaps
the most
surprising thing was how strong Smith's voice is. The vocals
were outstanding. The band seemed to really enjoy playing.
Robert was charming, and wryly apologised a couple of times for being "unprofessional"
(as if).
Catch 'em if you can.
- James
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