The per­fect Cure- all

Sunday Tasmanian - Tassie Living - - Music -

ROBERT Smith and co were swamped with praise af­ter their two- hour Bes­ti­val in Wight per­for­mance.

So why not re­lease the set for all the fans who couldn’t be at the epic gig?

It is the gloomy act’s fifth live al­bum but their first since 1993, and none was as com­pre­hen­sive as this out­ing.

The com­mon pit­falls with live al­bums tend to be dodgy sound qual­ity, too much or no in­ter­ac­tion be­tween the singer and au­di­ence, stock stan­dard ( bor­ing) stu­dio- faith­ful ver­sions of ev­ery song or, ob­vi­ously, faux crowd noise.

Thank­fully, Bes­ti­val Live swerves away from these traps.

The set opens with the lus­cious, goose­bump- giv­ing Plain­song from Dis­in­te­gra­tion. Whoosh! And they are off and run­ning with a slam dunk.

There is a spe­cial mo­ment when the in­tro to the brood­ing A For­est is first heard whis­per­ing in the wind. You can al­ways tell when a crowd favourite is about to kick in – it’s elec­tric.

The Cure, af­ter two decades to­gether, cer­tainly have enough bonafide hits to keep the party hum­ming, even with this dou­bleal­bum’s long- run­ning time.

That said, there are a cou­ple of mo­ments when their more re­cent ma­te­rial ( hit or not) fades un­der the bright spot­light glare of a gen­uine clas­sic like Love­cats, Just Like Heaven, Boys Don’t Cry or Fri­day I’m in Love.

The rare ap­pear­ance of The Cater­pil­lar, how­ever, will be a wel­come sur­prise for Cure fa­nat­ics, hav­ing not been played live since 1984.

Bes­ti­val Live is a cel­e­bra­tion of what The Cure do best – moody and melan­cholic but also great fun.

As an in­tro­duc­tion to their best work, it’s all here. And as a ret­ro­spec­tive of where they came from and how they’ve de­vel­oped and, how each of these el­e­ments play off of one an­other – well, that’s all here too.

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