Review: 16,000 Tampa fans revel in moody, masterful, marathon set from The Cure [PHOTOS]

Name a band with origins at the tail end of the late-‘70s U.K. punk-rock explosion, that became a forerunner of the post-punk genre, remained intact long enough to sell millions of records, and also still sells out arenas and stadiums around the world 45 years after its formation. There’s only one viable and correct answer to that question: The Cure.

After many tours and many years as a unit, the band whose repertoire covers the genres named above also ranks as one of the kingpins of other styles like goth and shoegaze. On Thursday, The Cure brought its current tour to Tampa’s Amalie Arena where eager fans, of all ages, showed up in droves to welcome the band back to the Bay area after a long dry spell (the band’s last local appearance occurred in 2008).

Nearly 16,000 patrons, many dressed in all black, filled almost every seat in the hockey arena to listen to the veteran band scroll through its massive musical catalog and, from the sounds of the reactions throughout the night, the lion’s share of the audience was more than elated with what it was given by the band.

While having a headlining act take the stage not long after 8 p.m. is a rarity, it’s not for this group; in preparation of the enormous setlist it unveiled, the band, led by its only constant member since its formation—lead singer, guitarist, and songwriter Robert Smith—appeared at this early hour to ensure it would have time to run through its program (which covered many eras of the band’s lifespan).

As the band took the sparsely decorated stage, Smith, clad in his traditional all-black duds (save for a colorful t-shirt under his long-sleeved black top), took the opportunity to stride to each side of the stage to collect flowers and gifts those devoted followers in the front row reached up to hand him. Smith appeared to soak in the passionate welcome he and his group got from the very vocal audience.

It wasn’t long until he, and his five-piece band—including longtime bassist Simon Gallup and guitar whiz Reeves Gabrels (once a member of David Bowie’s side band, Tin Machine)—started to weave its intoxicating blend of layered sounds to fill every corner of the venue.

Benefitting from an exquisite sound mix that clearly and crisply showcased Smith’s still-strong, trademark fractured voice and vocal quips, it was early in the night’s gargantuan set list that the band scored its first knockout punch with its adoring audience. Only two songs in, the group unveiled a note-perfect rendition of its dreamy, melancholy ballad “Pictures of You” from its 1989 masterpiece, landmark album Disintegration. As a flood of lights rose and swelled, and images from the song’s original single cover were beamed on the large projection screen behind the band, Smith’s hypnotic guitarwork coupled with Gallup’s solid, booming bass lines magically filled the venue for one of many highlight moments that would occur throughout the night and reminded everyone just what makes this outfit stand out from all its contemporaries who rose to prominence alongside The Cure many years ago.

Mixing in as-of-yet, unknown material from its upcoming new album release, Songs of a Lost World (scheduled to come out later this year), it was clear that the current material followed in the vein of the band’s signature sound and did not disappoint a bit. Smith, who doesn’t utter a lot of between-song banter (when he does, his words are almost indecipherable), made it known each time a brand new song was to be unveiled.

No special introductions were needed, however, when The Cure dipped back into its more familiar selections. More recognizable material, ranging from deep album cuts like “A Night Like This” and “Play For Today” were included in the main set alongside singles like “Lovesong” and “A Forest”—and all sounded fresh and inspired.

Smith’s mop of wiry black hair doesn’t stand as tall or as fully as it once did, but his guitar chops and his ability to envelop his compositions with his sometimes subtle, sometimes frenetic vocals have not waned a bit.

A moment of uncharacteristic levity came when the band flubbed the intro for one of the newer selections, “And Nothing is Forever,” by beginning to play a totally different song, despite Smith introducing it properly. Laughs were shared onstage, and Smith made a hand gesture to indicate a rewind of the proceedings and, again, introduced the song as he had moments ago. There were no mistakes, however, as the band soared through the number, which was laden with shimmering wafting, washing, almost orchestral tones and served as another of the band’s many triumphs throughout the evening.

A personal highlight was the band’s venture back to its 1984, neo-psychedelic album The Top for its performance of one of that album’s best songs, “Shake Dog Shake.” Gushing with droning, trippy guitar work from Smith and Gabrels, synchronized, strobing lights flashed to match the intensity of the song and created a mood and a feel unlike any other part of the program and proved that this band has perfected the art of switching from bleak, mournful ballads to electrified, freakout performances like no other band can.

Ninety minutes in, the band broke for a well-deserved trip off the stage in what would usher in the first of two marathon encores.

“We’re only halfway through” Smith quipped as the group returned to the stage for their second act. Focusing on more sedate numbers, the band stuck to extended, somber tunes for this portion of the set. A gorgeous, shimmering reading of “Plainsong” was enhanced by the projections of dripping light patterns that adorned the video screens behind the band. Talk about setting a mood; these guys are the masters of that art.

Encore two was chock-full of more upbeat material, familiar to everyone, from the diehards to casual fans. The final portion of the show consisted of an eight-song lineup that included hits like “Friday I’m in Love,” “Close to Me,” and “Why Can’t I Be You?” and found Smith at his most playful, jovial, and engaging. It was clear that the capacity audience wanted more as this encore hit a fever pitch, concluding with one of the band’s flagship songs, 1979’s “Boys Don’t Cry” which turned into a singalong for all who were on their feet and soaking in the sheer magnitude and beauty of this all-too-important band’s catalog.

The Cure has been, and remains, a highly influential, relevant, and vital part of the musical landscape for so many of us, and this absolutely stellar performance more than solidified that. Whether a first-time attendee of a Cure show, or someone who's seen them multiple times throughout the band’s tenure, this performance served the purpose of solidifying The Cure’s well-deserved place at the top of the heap of post-punk, new wave, or alternative royalty.

Opening the show was a band who is an obvious disciple of The Cure’s longtime influence, Scotland’s Twilight Sad. The band performed a dynamic, 45-minute set that showed off its obvious post-punk leanings and gained momentum as it progressed. Going over extremely well with the crowd that was still filtering in as they played, Twilight Sad also benefited from a superb sound mix that really showed off lead singer James Graham’s powerful, emotive pipes.