A Night with The Cure

Now that The Cure has been inducted into the 2019 Rock & Roll Hall of Fame, it’s worth remembering the moment I attended one of their concerts—especially since I don’t get many chances to go to live shows.

I managed to attend The Cure’s concert last Monday night (July 30, 2007) at AsiaWorld-Expo in Tung Chung with Dei Faustino and Jay Apolinario. It was the first major concert I attended since Gary Valenciano’s performance during the Hong Kong Harbourfest in 2003, so it felt special. Since Hong Kong doesn’t get many tour stops from artists in this genre, I made an effort to secure tickets for this one.

While the entire session was worth every penny, the crowd’s mood didn’t seem particularly receptive to the performance delivered by Robert Smith, Simon Gallup, Porl Thompson, and Jason Cooper.

Disparity among ticket holders

I managed to secure the cheapest ticket, worth HK$380, thanks to Dei. It seemed like tickets didn’t sell out, as scalpers likely went home empty-handed. Our seats gave us only a distant view of the band—just enough to make out Smith’s signature movements. A few meters ahead were those who paid slightly more than HK$500, but I doubt they had much of an advantage over those in the general admission section. Those who paid a couple of hundred more, however, were in the standing section close to the stage, enjoying a noticeably livelier atmosphere. Meanwhile, people in our section had to remain seated, as if watching an orchestra rather than a rock concert.

Size of venue

I won’t bargain for what I didn’t pay for, but the sheer size of the venue seemed to dampen the crowd’s energy. The sight of empty seats and covered sections discouraged people from fully embracing the concert atmosphere. If only the crowd had been allowed to gather more centrally—especially those seated behind the higher-priced sections—it might have created a more unified and energetic vibe. Of course, that would set a precedent encouraging people to buy cheaper tickets with the expectation of upgrading on the day.

A large screen on the side would have helped those seated farther back. After all, one reason for attending a live concert is to actually see the performers. Instead, from our vantage point, the band appeared almost microscopic. That said, it’s hard to complain too much when you’re not paying for premium access.

I can only wish the atmosphere had been different (though the ticket price for that kind of experience might have been beyond my budget!).

Uninspired audience?

Most of the audience appeared to be in their late 30s or 40s. You would expect that demographic to bring a strong wave of nostalgia and energy—whether from their younger days or even recent nights out in places like Lan Kwai Fong. But that energy didn’t quite materialize. Perhaps it was the venue, unfamiliarity with the band’s deeper cuts, or simply the band’s style. For a group already inducted into the Rock & Roll Hall of Fame, The Cure deserved a more engaged audience.

Programming of songs

Was it just me, or could the setlist have been arranged differently to suit the audience that night? “Lovesong” came in the first hour, while “Friday I’m in Love” appeared in the second. In between were several lesser-known tracks spanning albums from 1979’s Three Imaginary Boys to 2000’s Bloodflowers. For every popular hit (“In Between Days,” “Lovesong,” “Friday I’m in Love,” “Close to Me”), there were two or three less familiar songs. Still, the performance itself was undeniably solid, and the two encore sets were a fantastic way to close the show.

An aging band

At one point, Smith gently told the semi-energized crowd, “Please, please, quiet a bit.” The reaction was immediate, and the audience seemed to settle into a more subdued mood, especially during the lesser-known songs. From my perspective, the crowd lacked the energy to fully engage—and perhaps the band, too, showed restraint, with the exception of Gallup, who consistently delivered a strong stage presence on bass.

I haven’t seen their earlier performances, even on television, so this may simply be their style. To be fair, Smith doesn’t need theatrics to impress. His presence alone—especially during “Lovesong”—was enough. And at 48 years old, he still delivered with authenticity.

Nonetheless, the concert was a wonderful experience for me. British colleagues Pete Williams and Adie Hart were there, along with Che Nadela, Benedict Bueno, and his wife Maya. Thank you to The Cure for coming to Hong Kong and sharing your music with us. It was a memorable 180 minutes of live performance.