CURIOSA

The Curiosa Festival
July 31, Randall’s Island, NY

On the Earth-Shaking Monsters Of Goth Main Stage: The Cure, Interpol, The Rapture, Mogwai

Across the field on the Tiny But Very Loud Second Stage: Auf Der Maur, Thursday, Muse, The Cooper Temple Clause

Poetic warblings from the ether - The Cure's Robert Smith

For a music festival dedicated to the kings of doom and gloom, Curiosa was an uncharacteristically comfortable and joyous experience. Clearly organized with fans in mind, the show featured bands with unmistakable musical connections to the deified headliner.

Melissa Auf Der Maur’s Black Sabbath meets Siouxsie Sioux-inspired performance demanded late-afternoon attention by the tiny second stage. Clad in lacy top, leather mini-skirt and black boots, the scarlet-maned, Amazonian four-stringer alternately rocked out on bass and pranced around the stage like a sexually charged free spirit, filling the field with her powerful voice. “This is the most romantic concert I've ever been to!” the ex-member of Hole and Smashing Pumpkins exclaimed twice.

Across the field, the four t-shirt-clad waifs of The Rapture got everyone on their feet with their energetic, infectious Gang of Four and P.I.L.-inspired dance-rock. But things didn't get too out of hand, and nobody worried about missing any of the bands as there was no overlap. Unlike other major touring events such as Ozzfest, the recently cancelled Lollapalooza and various huge, outdoor radio-sponsored festivals, Curiosa gave fans the opportunity to enjoy every act performing throughout the day. While New Jersey screamo heroes Thursday rocked the second stage, the main stage was readied.

Fans of all ages calmly migrated across the grassy field like a trickling white wave of pale, anemic flesh to witness Interpol. Stylishly dressed in black suits and ties, the Brooklyn-based goth-rockers looked and sounded absolutely huge and larger than life. The somber, Ian Curtis-impersonating Interpol of only a few years ago has smoothly transitioned into a slick and powerful quartet with formidable stage prowess. Although constantly compared to Joy Division, Echo & The Bunnymen and The Smiths, Interpol’s Turn On The Bright Lights (Matador) has become a classic album that will stay relevant for years to come.

Like Led Zeppelin, Pink Floyd or any other long-standing rock outfit, The Cure are more than a mere band. The venerable Robert Smith and his revolving line-up have inspired an entire lifestyle among their followers, from looks to overall attitude. Although the entire day was relaxed and refreshingly free of obnoxious behavior, the masses’s collective anticipation for the lipstick-painted Big-Haired One caused emotional ripples within the ocean of people. The sweet, stale odor of weed, beer and bodies penetrated and enveloped the crowd. After passing a joint around, a couple had to drag their fainting friend from a coveted spot up front.

Under the calm, overcast sky, The Cure calmly took the stage with barely a “Hello” and dove right into “Lost,” the first song from their latest, self-titled album. For a bunch of forty-something guys, the band came off as quite energetic and youthful, proving their infinite relevance all along. “Lovesong,” “In Between Days” and “Just Like Heaven” seemed to draw the most sentimental reaction from the enraptured audience under the colored lights and floral images projected onto the screen onstage.

Nearly an hour into their set, the band brought out one of their darkest moments, the opening track off 1985’s Pornography, “One Hundred Years.” The overall vibe took on a new intensity, but soon shifted to the upbeat melancholia of early, Spartan pop hits “Killing An Arab” and “Boys Don’t Cry.” Having loved the ominous sounds of The Cure for so long, I can’t think of a more romantic way to end an evening among friends.


Faraway, "artistic" photo of Robert Smith by Hal.
- posted by Hal Miller @ 4:08 PM |