The Cure Are Just Like Heaven At Glastonbury

by | Jul 11, 2019

The Cure played their first gig on 9th July 1978. So Robert Smith, the group’s sole constant member, knows a thing or two about compiling a set list. But, during the first few songs of the band’s Glastonbury performance, he thought he’d got it all horribly wrong. “For the first 20 minutes I was very, very unsure,” he told NME a few days later. “In some respects for the first half hour we didn’t really offer much concession to the ‘casual’ listener.”

The Cure @ Glastonbury Festival 2019

He wasn’t wrong. Unlike The Killers, who headlined The Pyramid Stage 24 hours earlier with one euphoric hit after another, The Cure begin their show with something altogether darker, moodier, and perhaps less suited to the average festival goer.

The Cure @ Glastonbury Festival 2019

They open with the funereal Plainsong (all swirling keyboards and loping six-string bass) and eternally melancholy Pictures Of You, the first two songs of their brooding masterpiece, Disintegration. A frothy High briefly lifts the mood, but isn’t exactly instantly recognisable, and a gloriously desperate A Night Like This is by no means the biggest hit from 1985’s excellent The Head On The Door. “I never get nervous, but for about 20 minutes I was like: ‘Ooh, maybe I haven’t read this one right’,” Smith admitted.

The Cure @ Glastonbury Festival 2019

He needn’t have worried. By doing things his own way – no guests, no lasers, no fireworks, (barely) no chat – with head-down determination, impeccable musicianship, and the occasional cheeky grin, The Cure gradually win over the crowd with their varied back catalogue. There’s the ethereal Last Dance balanced out by the all-out rock guitar onslaught of the rumbling Burn (complete with a Smith flute intro), sleazy Fascination Street, and thunderous Never Enough.

The Cure @ Glastonbury Festival 2019

Robert Smith
Robert Smith

There are the insatiable pop confections (a soaring Lovesong, jangly In Between Days, dizzying Just Like Heaven) paired with scream-at-the-sky epics From The Edge Of The Deep Green Sea (about love lost) and Disintegration (about life lost).

The Cure @ Glastonbury Festival 2019

There’s the ferocious fan favourite Shake Dog Shake, which shows just what a tight band Smith, bassist Simon Gallup, guitarist Reeves Gabrels, keyboard player Roger O’Donnell, and drummer Jason Cooper are. And there are the live staples that are so effortless they cause Cure fans to sing along to the melodies: the driving Push, swaying Play For Today, and breathless A Forest.

The Cure @ Glastonbury Festival 2019

As the set proceeds, Smith visibly relaxes. He frequently chats with Gallup during the typically long instrumental intros, shares goofy grins with O’Donnell, looks on in admiration at one of the shredding solos by David Bowie’s long-term guitarist, and even jokes that he’s in the running to win the prize for this year’s least conversational performer. By the time the encore rolls around, he’s positively chatty. “What we do on stage is difficult to translate into this,” he explains, gesturing to indicate the festival, before declaring: “The next half an hour is Glastonbury.”

What follows is 30 uninterrupted minutes of bonafide radio hits. Twisted bedtime story Lullaby even has a swaying Smith flailing his arms about. The Caterpillar floats like a psychedelic butterfly before The Walk runs as energetically as O’Donnell’s ‘80s synth line.

The Cure @ Glastonbury Festival 2019

Fittingly introduced as “Sunday I’m In Love”, the ever effervescent Friday I’m In Love has 60-year-old Smith-lookalikes bouncing alongside teenagers with glittered faces. Close To Me, with its unmistakable bassline, and bounding Why Can’t I Be You both have the singer trade his guitar and microphone stand for a wireless mic, some stage roaming, and gloriously unchoreographed dancing. “That was good fun,” he beams afterwards. “I never thought I’d be doing that.”  

The Cure @ Glastonbury Festival 2019

All that’s left is to say goodnight with a triumphant Boys Don’t Cry, by which point the crowd are bounding around even more enthusiastically than Smith just has. And as the singer bids his final farewell, he’s clearly overcome with emotion. Perhaps it’s relief that his single-minded approach to headlining The Pyramid Stage worked, but more likely it’s the same pure joy that tens of thousands of people have just shared with him.

The Cure @ Glastonbury Festival 2019

Photography by Kalpesh Patel at Glastonbury Festival on Sunday 30th June 2019. Review by Boris Bamonte.

 

Fantastic Photography From Friday At Glastonbury Festival 2019

The Royston Club (Sam Crowston)

The Royston Club Announce New Album ‘Songs For The Spine’ And Biggest Tour Yet Ciematic

After the Top 20 success of their debut album, The Royston Club are pushing into bold new territory with the announcement of their second full-length record, Songs For The Spine, due out 8th August. Alongside the album reveal comes the emotionally charged new single Glued To The Bed, premiered by Huw Stephens on BBC 6 Music, and news of their biggest UK headline tour to date—culminating in a major London show at the O2 Forum Kentish Town.

Lissie (Madison Speer)

Rockshot Favourite Lissie Returns With Tender New EP Promises, Sharing Heartfelt Cover Of ‘I’ll Stand By You’

A long-time favourite here at Rockshot Magazine, American singer-songwriter Lissie makes a welcome return with her...
Skerryvore (Press)

Skerryvore Unveil Uplifting New Single ‘The Sea That Sings’ Ahead of Biggest Show Yet At Floors Castle

Scottish folk-rock trailblazers Skerryvore are celebrating 20 years of music, memories, and massive live moments with...
Will Linley (Press)

Will Linley Channels Heartache Into Euphoria On New Single ‘Cinematic’

South African-born artist Will Linley is keeping his foot on the gas. The 23-year-old singer-songwriter has returned with his brand-new single Cinematic via Island Records—a sweeping, emotional anthem that perfectly captures the push-pull between heartbreak and hope. Known for his self-coined “sad-pop” style, Linley once again proves his ability to transform personal pain into songs that make you want to dance through the tears.

House of Protection (Anthony Tran)

House Of Protection Drop Electrifying New EP ‘Outrun You All’ & Announce UK Tour Dates

One of the most thrilling new forces in heavy music, House Of Protection have released their sophomore EP Outrun You All via Red Bull Records—a genre-hopping, high-octane project that confirms the duo’s position as one of 2024’s most fearless acts. Known for fusing atmospheric trip-hop, art punk, underground electronic, and hardcore chaos, the band wastes no time diving deep into their expansive musical world on this blistering seven-track release.

Jawbone (Rob Blackham / Blackham Images)

Jawbone Reignite Their Signature Sound With ‘Jawbone II’ — A Soulful, Live-Wire Triumph Of Folk, Rock & Psychedelia

It’s been a long time coming, but some things are worth the wait. Acclaimed British roots-rock band Jawbone have released their long-anticipated second album, Jawbone II, out now via 5dB Records (also home to anaiis, Ashaine White, and MOULD). Arriving seven years after their 2018 debut, Jawbone II reintroduces the quartet with the full force of their signature blend: timeless songwriting, masterful musicianship, and a rare kind of chemistry that can only come from years of playing together.

The Zipheads Kickstart A Rock ‘N’ Roll Renaissance In London

There’s two types of people in this world: those who’ve experienced The Zipheads live, and those who are missing out....
Reneé Rapp (Zora Sicher)

Reneé Rapp Enters Her Villain Era with Explosive New Single ‘Leave Me Alone’ and Announces Sophomore Album ‘Bite Me’

Critically acclaimed singer-songwriter Reneé Rapp has officially kicked off a brand-new chapter with the release of her blistering new single, Leave Me Alone—out today via Interscope Records—alongside the announcement of her highly anticipated sophomore album, Bite Me, arriving on 1st August.

Pin It on Pinterest

Share This

Share Thing