But these factors only seemed to increase Smith’s anti-hero cachet. During the show, he flopped around the stage (when not standing motionless behind the mic), often forgot the lyrics to his biggest hits and mumbled incoherently between songs. Comparatively, the mop-topped Smith seems like alt-rock’s court jester than one of its kings. Most great frontmen - Bono, for example - are effective due to rock-god bravado and good old-fashioned showmanship. The band treated the 17,000 fans to a marathon, 35-song set of classic hits and new tunes from its forthcoming 13th studio album (due in September). know that their bread is sufficiently buttered on both sides, so it’s no surprise that equal helpings of darkness and light were brought to New York City on June 20 and 21 for the final two dates of the band’s Cure 4 tour.Īt the first show - a sold-out appearance at Madison Square Garden - the group proved its continued prowess as the arena-rocking monster it became during the mid-80s. The other is that of a brooding post-punk archetype, whose downbeat songs of angst, sorrow and all-around misery have allowed frontman Robert Smith to reign as the unchallenged King of Goth for almost 30 years.īut one thing the Cure doesn’t have is an identity crisis. One is that of a quirky, iconic pop band whose skill at composing endearingly offbeat radio hits made them the crossover darlings of the pre-grunge alt-rock scene. Robert Smith (C), Porl Thompson (L), Simon Gallup and drummer Jason Cooper of the British group "The Cure" perform on stage at the MTV Winter Festival in Valencia, in this file photo from March 5, 2008.
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