Pyramid stage
Robert Smith’s band of goth-pop veterans focus on their imperial phase: a catalogue that can’t help but be anthemic
There’s a sense in which the Cure’s performance is the opposite of every other headline performance on the Pyramid stage this weekend. There’s no special guests, not much in the way of explosive special effects and there’s no attendant sense of can they do this – or how will this work?
It’s been 41 years since they started plying fretful suburban melancholy and rainy Sunday afternoon ennui: the first time they headlined Glastonbury was some years before a considerable portion of this year’s attendees were born. These days, they release albums so infrequently that huge – and incredibly lengthy – live shows are pretty much the band’s raison d’etre. This kind of thing is tried and tested; it’s just what they do.
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