A Whimsical and Emotional Journey Through Decades of Music
Robert Smith's Radiant Return: A Transformed Stage Presence
From the moment The Cure's set began at Oslo's Øyafestivalen, Robert Smith radiated an almost palpable joy. As the atmospheric notes of "Alone" from their 2024 album, "Songs of a Lost World," filled the air, Smith gazed upon the vast audience, a broad smile gracing his face. This demeanor marked a significant shift from his previous performance at the Hollywood Bowl in 2023, where he openly reflected on themes of aging and time's fleeting nature. Now, it appears he has fully embraced the present, cherishing each moment as the band approaches its anticipated 50th anniversary and eventual retirement in 2029.
An Evening of Enduring Hits and Deep Cuts
The Wednesday night performance was a masterful two-and-a-half-hour journey through The Cure's extensive catalog, showcasing Smith's charismatic stage presence. Following "Alone," the band launched into the 1989 classic "Pictures of You," a perfect encapsulation of their signature blend of melancholic lyrics set to upbeat melodies. This was succeeded by a playful rendition of "High," where Smith amusingly pantomimed the lyrics, and the heartfelt "Lovesong," which prompted a communal sing-along from the audience.
Timeless Vocals and Flawless Musicianship
While the initial four-song sequence was a familiar opening to their summer festival tour, The Cure skillfully interspersed surprises, including "Alt.End" and "The Last Day of Summer" from the early 2000s. Robert Smith's voice remains remarkably preserved, as smooth and unblemished as it was in 1979, with cracks only appearing when deliberately intended. The band, comprising bassist Simon Gallup, keyboardist Roger O'Donnell, drummer Jason Cooper, and guitarist Reeves Gabrels, displayed an impeccable synchronicity, performing with a practiced ease that suggested years of collective experience.
A Moment of Tears: The Power of "Just Like Heaven"
The concert reached an emotional zenith with the back-to-back delivery of "In Between Days" and "Just Like Heaven." As the final chords of "Just Like Heaven" resonated, Smith paused, visibly moved, wiping tears from his eyes. His voice quivered slightly as he remarked, "It's strange, that song... Every now and then, that last bit..." He trailed off, but a gentle smile returned, suggesting these were indeed tears of happiness.
Improvisation and Theatricality: A Full Band Showcase
Transitioning from the emotional intensity, tracks like "Play for Today" and "A Forest" from "Seventeen Seconds" offered the band an opportunity to improvise. Smith and Gallup engaged in a captivating back-to-back performance, initiating "A Forest" with a gradual, atmospheric intro that built into a compelling groove. This momentum carried into the "Wish" epic "From the Edge of the Deep Green Sea," where Smith, ever the consummate storyteller, used hand gestures to underscore his poignant lyrics. The main set concluded with "Endsong," the closing track from "Songs of a Lost World," which seamlessly integrated into their repertoire, underscoring the new album's cohesive connection to their nearly fifty-year discography.
The Theatrical Encore: Smith's Uninhibited Spirit
Despite a brief departure from the stage, the concert was far from over. The Cure returned for a powerful ten-song encore, during which Smith truly unleashed his theatrical side. In "Lullaby," he vividly mimed the spider's ascent, concluding by comically pretending to consume it. During "The Lovecats," he playfully pawed and hissed, while "Close to Me" saw him abandon his guitar to dance and hop across the stage with an almost ethereal grace. The encore culminated with a humorous introduction to "Boys Don't Cry," where Smith, referencing his earlier emotional display, quipped, "This is a new song, it's called 'Boys Don't Cry.'" As the crowd erupted in joyous shouts, Smith's lipsticked mouth stretched into a wide grin, solidifying a night of memorable music and heartfelt emotion.
