The Cure for the nostalgic

Zul Othman

IF there was ever an award given out for the "best value for money" concert, then The Cure’s performance at the Singapore Indoor Stadium on Wednesday would lock in the grand prize.
Clocking in at a full three hours, it was quite possibly the longest gig by a single band in this reviewer’s recent memory.
Sure, watching four men in black stand almost expressionless while backed by an exuberant strobe light display for 180 minutes was a bit trying for the senses. But the almost 7,000 fans did not seem to mind. In fact, they loved every minute of it.
The mostly male audience was an eclectic bunch - teenagers and young adults in fitting T-shirts, middle-aged office types, and even a few with their little ones in tow - all constantly on their feet.
Never mind that from the time the quartet first stepped on stage at 8pm, they looked worse for wear.
The signature look was there - white face, red lipstick, heavy eyeliner and black clothes. But front man Robert Smith (pic¬ture) from five rows away looked bloated and the 48-year-old’s appearance was more tragic clown than Godfather of goth rock.
But that was only in the looks department. All uncharitable thoughts were banished with the first few bars of 1989’s Fascination Street, which by all accounts confirmed that The Cure is still an entity to be reckoned with.
Backed by guitarist Porl Thompson, bassist Simon Gallup and drummer Jason Cooper, Smith was a shrieking troubadour of hypnotic power. The show was essentially a back catalogue review.
The Cure delivered what could be 2007’s most memorable rock concert.
The quartet churned out 42 tracks covering the high points of their illustrious 30-year career.
Fans were treated to note perfect renditions of 1985’s Inbetween Days, 1987’s Just Like Heaven as well as the now classic Friday I’m In Love from 1992. However, the exclusion of 1996’s Mint Car, had some fans grumbling.
Older fans went home smiling, pleased that lesser-known gems like 1979’s Fire In Cairo and 1980’s A Forest were given an airing. Especially thrilling was the night’s closing song Killing An Arab, one of their early singles from 1978. It was a night of songs about misery and love.
Smith and his morose men may have enjoyed peddling songs that brought on the tears, but to this reviewer, they were tears of joy.