December 1985 - Thrasher (USA)
The Cure

Opening the pages of the infamous pink section, the guide to entertainment in the Bay Area, I found a small 3"x5" advertisement that caught my eyes in liking approval. The Cure was touring to back their new LP The Head on the Door and a date was set at the Henry J. Kaiser auditorium. I was consistent at dialing numbers for a source to enter that performance and quite possibly take some shots. After much ado, the contacts were made. The vehicle was hardly purring as it zoomed down the speedy lanes of congested traffic. As we arrived the security violently herded us into obedient lines (they love the power). It was a one band night, no warm-up acts, just a solid evening with The Cure. Waiting in the special line to get in we had missed three songs. Finally we got the passes and lurched to the search point. "Hey, it says photo pass, don't open the camera to see if there's film in it." Sometimes the brains of those put in charge are like those of grazing animals in a pasture.

Inside the echoing, three-quarters full, high ceiling auditorium, Robert Smith introduced "Primary" off of their Faith LP. This was their fourth number and at first glance you could tell the band was very comfortable with the surroundings and beginnings of this performance. Working my way to about 20 feet from stage front, I positioned myself for photos. Security had denied access to the "pit" even though I had a photo pass. Directly in front of me stood Robert Smith with dark hair tufted and teased in multitudes of hanging directions. He stood quite motionless, poised in front of the microphone, shyly glancing over the crowd and gently crooning out the songs. Dressed in a baggy navy blue suit over a white t-shirt, Robert was the center of attention. The multi- color lights flashed on and off again, always in his direction. Bassist Simon Gallup, back after a period of leave from the band, stood to the left in a stylish slump, fingering his way across the frets of the bass. A massive stack of teased, dark, drooping mats gave Simon the appearance of being taller than he was. Guitarist Porl Thompson stood to Robert's right, dressed in a pink shirt draping open, his appearance was very feminine, with dirty blonde hair tussed back neatly. Porl smiled as he charmed the crowd with melodic guitar chords and occasional keyboard pieces. At furthest stage right was keyboardist Laurence Tolhurst, standing over his keys, looking very glum in a blue closed-collar shirt. He didn't make many gestures. Most of his concentration was on keyboard work. The four at stage front were very subtle, but the way the crowd reacted you'd think it was a crazed rock band. As the lights zoomed about in brilliant colors and lighting backdrops added monsterous shadows, the audience screamed in accordance. When familiar sounds were played they would 'pogo' about, lurching forward, squishing the people who stood front the stage about ten rows back. To stage left prevailed a pit of thrashers. This I found unusual since The Cure is handly a band to thrash to, yet these kinds were thrusting their bones in the fashion. The crowd around them didn't seem to mind. The majority of the audience were dressed in 'Cure' fashion: similarities to the band, but in legions of varieties. The stench of hair spray filled the atmosphere, supporting crimped waves of teased-out hair. The slew of fans had obviously dressed for the mode of this occasion.

Hordes of dry ice was being pused, puring white smokey vapors across the stage and reflecting greenish hues from the lighting effects which gave the essence a mystical feel, creepy in delight as The Cure continued the musical endeavors. Tonight the polite mob of fanatics would get an excellent dosage. Their fifth number was "The Hanging Garden," from that the countdown went as follows: "Cold," the smash hit "In Between Days," "The Walk," next, the crowd went bananas in a sing-along frenzy to the giant chart-busting hit "Let's Go TO bed," followed by the tasty "A Night Like This." The Cure were delivering a selection of greatest hits packed in with nearly their entire new LP. It was awe inspiring. Continuing with the playlist: "Push," "Screw" and "A Hundred Years" which was performed exceptionally. Then the haunting harmony of "A Forest" and ending their set with the fifteenth number "Sinking" off the new LP. Quite naturally the crowd cheered and roared, demanding the band return, which they did about ten minutes later and would do so two more times, with long intervals between each. But this didn't quiet the crowd who stomped, chanted and howled. On The Cure's first encore they played, "Close To Me" and the stunning "Charlotte Sometimes," "Six Different Ways," "The Exploding Boy," and the original Cure smash "Boys Don't Cry" for the second. And in the third encore it was "10:15 Saturday Night," "Killing an Arab," and a singalong rendition of "Do You Wanna Touch" which left the crowd quite refreshed. Twenty-three songs into the night the five members stood upon the stage, bowed,  said good-night and walked away. It was a show of charm with a pleasant aura surrounding the mind. Delightful and not disappointing, The Cure proved they can bring live what has been recorded with a class that has made them strikingly unique.

Backstage in discussions with the band members, I found myself in a small conversation with Robert Smith, regardless of the young fans who interrupted for attention. he questioned the nature of the name THRASHER on my jacket. "It's a skateboarding magazine." I followed with, "Do you skate?" "Nah," he said, "I'm too old (26) but I had a blast waterskiing over the summer." Link for the text