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Many had put on their best Sunday clothes. All black, or with partially expressive keys, for a Saturday as radiant as scorching on the sign of the British Summer Time (BST). A festival where bars resemble Eurodisney's cardboard houses, which started the day before with Roger Waters and will end on July 15th with Paul Simon. But on Saturday, the TSB was celebrating the 40th anniversary of the iconic The Cure in the heart of London's Hyde Park, led by the no less iconic Robert Smith, whose last original album dates back to 2008.
T-shirts with safety pins, shorts, skirts, fishnet stockings, tops, Dock Martins, etc. For this particular anniversary, which brought together some 60,000 rather cheerful people, no doubt thanks to England's victory over Sweden at the Russian World Cup, the wink of dress, new wave or Gothic, was de rigueur . With or without greasy hair bristling in battle. For the rest, there was still the fervor of rehearsing some of the clbadics of a repertoire that has marked contemporary rock.
Two weeks after reviewing his discography under the name Cureation 25 at the Meltdown Festival In London, where Smith worked as a curator this year, with rarities and new songs, The Cure was more clbadic than shamanic on the big stage of Hyde Park surrounded by two huge false hardwood trees.
British and French public [19659005] In two hours and fifteen minutes of a concert that started in the early evening, introduced at 14h by special guests such as Editors, Interpol, Goldfrapp, Slowdive or Ride, The Cure reviews his discography. From Plainsong to Desintegration, before recalls running from Lullaby to Killing an Arab via the incunabula Boy's Do not Cry and Close to Me, The quintet formed by The Cure operates in climatic phases. The first time of the concert is not far from perfection, with a smooth start, where Robert Smith almost apologizes for being there, who sees Pictures of you, High, then the pair composed of In Beetween Days and Just Like Heaven reaching a climax that this British and French audience suddenly resumes in chorus and at the top of their lungs.
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Robert Smith: "The Cure still dreams of a perfect album"
If the visual magic of the triptych of screens is not yet in full day, the late evening and the beginning of the night are conducive to a second time more atmospheric. With more stable but not less angular compositions, such as A Forest, Fascination Street, Never Enough or Desintegration, cobwebs or a cutting on red and black background portraits of the musicians filling the screens. This soft underbelly ends up giving way to a more convincing final from which still stand out Friday I'm in Love, Why Can not I Be You?, ] 10.15 Saturday Night or more Jumping Someone Else's Train
At 22:30, the Black Mbad is said, alas, and everyone is asked to clear the site. A somewhat brutal epilogue despite a Robert Smith visibly moved by his gigantic birthday party, and who was suddenly remembering his first concert, the same weekend, 40 years ago, for the album Boy's Do not Cry . In the bars around, until late at night, The Cure still continued to be celebrated via dedicated soundtracks. Up to a few after parties special where Gothic worship was total, from head to toe.
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