The infinite enchantment of a Cure concert, at the Troxy in London

A storm with rain and thunder. This is the noise that welcomes the public inside the London Troxyhistoric theater and concert hall in art deco style which can accommodate up to approximately three thousand people. Here the Cure choose to present their new album live, “Songs of a lost world”, on the day of its release, November 1st This is the only Robert Smith and Co. show with a paying audience scheduled for 2024 after the exclusive shows for the BBC.

From the low prices of the tickets, which can only be purchased by those who pre-ordered the album, and the merchandise, up to the choice to broadcast the live performance on YouTube, .the evening is a tribute to the fans, as well as a way to celebrate the new album. The generosity of the band is measured by the initial intentions, as well as by the performance of the concert.
The wait before the start of the show leaves those present in a suspended time, at the mercy of the penetrating and strange sounds of rain transmitted from the speakers. While the fans are already crowded under the stage, the guests reach their fabric seats in the gallery, where you can also notice characters such as – among others – Boy George and Yungblud.

The stage is a universe unto itselfdominated by small lights in the background which, as soon as the darkness falls, light up and create a starry sky inside the storm. In this almost unreal dimension, Jason Cooper, Perry Bamonte, Reeves Gabrels, Simon Gallup and Roger O’Donnell enter the scene, reaching their positions. Robert Smith follows them, stopping for a moment at the left side of the stage to adjust the sleeves of his black shirt before reaching the center.
It immediately marked the beginning of the concert and had an impact on the hearts and minds of those present

the compact sound of the Cure, full of intensity and nostalgia. An intertwining of guitars, synths and drums sets the tone while the notes of “Halo” begin to wrap the Troxy. The atmosphere is dark and fascinating, but bright at the same time, which envelops a minimal scenography where the stage seems to recreate a recording studio with instruments and amplifiers. The long initial instrumental gives the band time to take possession of their stage physicality, with Robert Smith revealing his emblematic figure, of an endless era, with unkempt hair, almost a dark halo, and marked make-up that makes his gaze is even more mysterious. In an enigma of melancholy, the frontman’s voice then arrives with roughness and viscerality, maintaining lucidity and precision: “This is the end of every song that we sing”, The notes continue to unfold slowly, weighed like time, but with sweetness he arrives “And nothing is forever”, and the audience holds their breath, immersed in a sound environment suspended between reality and mortality.

The first part of the show is dedicated exclusively to new album “Songs of the lost world”, which is played in its entirety faithfully following the tracklist. It is a journey through light and shadow, into darkness and solemnity who have accompanied the band since 2008, the year in which the previous “4:13 Dream” was released, to today’s awareness of mortality, loss and dreams. In concert “Songs of the lost world” it also sounds full of vitality and the world of sound that the Cure takes viewers into is not at all lost, but cohesive and perfect. There is composure, introspection, love and shyness, while each instrument sounds precise and analogue, like a vinyl exhumed from the past, but still in perfect condition. The moods of each song are visually revealed by the visuals of the large central screen at the back of the stage, from the realistic representation of the globe to the Northern Lights of the first two songs passing through a red rose for the power of “A fragile thing”.

Simon Gallup’s bass beats like a heart in battle, while Reeves Gabrels incisively embroiders the central guitar line, before once again being protagonists in building the speed of the sarcastic “Drone:Nodrone” after the effects of “Warsong”. The sound of the storm returns with one of the most touching moments, “I can never say goodbye”, and the mourning process for the death of Robert Smith’s brother is accompanied by the image of a carousel, first illuminated and then shrouded in darkness.

The touches of Perry Bamonte and Roger O’Donnell on keyboards envelop every note in a hypnotic atmosphere, while Jason Cooper relies on precision. Once the synths of “All I ever am” have passed, the drums return powerful and precise for the last song of “Songs of the lost world”, “.Endsong”. Thus ends the first part of the show and after fifty minutes of uninterrupted music, the band leaves the stage while the words “Intermission” appear on the screen – just like it happens in the theatre.

After a short ten minute break, the concert resumes and the Cure decide to make the audience rejoice with some of their best-known songs, along with songs from the past. It goes from “Plainsong” to “Pictures of you“, from “High” to “Lovesong”, lightly, while in the gallery some begin to stand up to sing along to the choruses, perhaps envious of the fans in the parterre. “Burn” is perfect in Cooper’s clear percussive strokes and drum discharge, paving the way for the surgical rhythm of the bass of “Fascination street“, and to the guitar imagination of Reeves Gabrels in “A night like this“. On stage the six musicians have fun and have no intention of leaving the stage, interacting and intertwining sounds, and the frontman’s voice comes to embrace everyone present. The audience wants to dance to “Push” And “In between days“, and on “Just like heaven” the choral singalong moment arrives, before the emotionality of “From the edge of the deep green sea”. A fan favorite, “Disintegration”, seems to catapult the Troxy directly into the late 1980s, into a sound dense and layered.

The Cure can then take their leave for a second break before the third act, aimed at celebrating their second album, “Seventeen seconds”, at the dawn of its forty-fifth anniversary. Five songs from the album are chosen to be played live, in addition to “At night” and “M”, it is played for the first time in over a decade “Secrets”, followed by “Play for today” and “A Forest”.

The generosity of Robert Smith and associateswho leave the stage again for a few minutes, finally turns into a long encore where they are lined up some of the band’s biggest hits. The evening turns into a party, where the audience, now completely on their feet, and the group itself are having fun. There is therefore no shortage of “Lullaby”, with the large spider web on the screen behind the band, “The Walk”, “Friday I’m in love” and “Close to me”, obviously, as well as “Why can’t I be you” and Boys don’t cry”. After about three hours of music Smith and his companions finally say goodbye to the fans, who can head towards the exit with the feeling of having lived to the full the infinite enchantment of a Cure concert.

Ladder:

Songs of a Lost World

Intro Halo (registered)

Halo
And Nothing Is Forever
A Fragile Thing
Warsong
Drone:Nodrone
I Can Never Say Goodbye
All I Ever Am
Endsong

Second part

Plainsong
Pictures of You
High
Lovesong
Burn
Fascination Street
A Night Like This
Push
In Between Days
Just Like Heaven
From the Edge of the Deep Green Sea
Disintegration

Part Three – “Seventeen Seconds”

At Night
M
Secrets
Play for Today
In Forest

BIS

Lullaby
The Walk
Friday I’m in Love
Close to Me
Why Can’t I Be You?
Boys Don’t Cry