I didn't think it was possible to top the New Orleans House of Blues show in May, but the Cult managed to do just that this evening at the Aerial Theatre in Houston, TX. The Cult rocked an almost capacity crowd down to their souls.
After a rather brief but for the most part, solid set by The Flying Tigers, the Cult took their time hitting the stage. This was probably the most frustrating part of the evening, waiting for the band to come on stage for about an hour in between sets. But it was truly worth the wait. If it had not been for the hordes of drunken idiots surrounding me, the show would have been perfect. Some people just shouldn't go out to shows. I still don't understand how people feel the need to crowdsurf and mosh during songs like Rain and Edie (Ciao Baby), it just doesn't make any sense. Nonetheless, it was an incredible set by The Cult and I wasn't about to let a beer being spilled on me ruin an amazing show.
Billy Duffy seemed pissed the entire show about his guitar volume not being
high enough but to me it sounded absolutely perfect. One major difference in
this gig and the New Orleans show in May was the sound mix. The sound man
was right on tonight and everything was crystal clear and very
distinguishable. It bothered me watching Duffy constantly complain and yell
at his guitar tech and the sound man after nearly every song. Ticket prices
were rather high ($35 plus service charges) and I don't like paying to see
musicians bitch onstage because they have giant egos. But that's just me.
Like I said, sound was immaculate at this show.
The setlist was pretty much the same as other gigs with one new addition.
They added My Bridges Burn into the setlist from their new record "Beyond
Good and Evil" and I thought it was an excellent choice. Ian was in fine
form and moving around quite a bit on stage throughout the night. He made
his entrance in a cowboy hat looking thing and he was wearing red eyeliner.
Once he took the hat off to reveal his now trademarked blue bandanna, I
noticed how long his hair has gotten. It's nothing like the promo pictures
for the new record look and it is much longer than it was in May, so that was
a pleasant surprise. Matt Sorum did an excellent job as usual and I am
convinced now more than ever that he is truly one of the greatest drummers
around right now. Billy Morrison and the new rhythm guitarist held up the
rhythm section all night. Everything seemed to run smoothly after the first
few songs where Ian had to jump into the crowd to break up a fight. That
seemed to disturb him quite a bit, but he quickly got over it and got right
back into the music. He threw out two tambourines and two lucky people got
great souvenirs! All in all it was an incredible night of music and I hope
that the Cult makes it back through Texas or Louisiana sometime in the near
future. I will never miss a Cult show again.
I saw the Cult last night at the Aerial Theater in Houston. Let me first say that I am a huge Cult fan and have seen them perform live on several occasions. Also, I own all of their full albums, most of their singles, the new remastered cds, a laserdisc, and a couple VHS tapes. Not to mention an autographed guitar, so I am definitely a fan and have the right to criticize. First of all, the opening band, "Flying Tigers", sucked. Their music consist of screaming inaudible lyrics and playing as loud as they could. Those guys should consider a new career or go back to the drawing board and get a real singer and compose some decent lyrics. If they were able to get a record contract, then I guess anybody can.
Murphy's Law in effect at diffi-Cult concert.
The second coming of the Cult is a godsend for heavy-metal fans.
Ever since the gearbox rockers debuted new songs four months ago at Austin's South by Southwest music conference, the Houston date has been circled on the calendar.
While the group sneaked into town for a greatest-hits gig two years ago, the Cult hasn't been a fully functional outfit since the mid-'90s. It was anticipation of a fresh start that made Sunday's concert at Aerial Theater such an immense disappointment.
It wasn't entirely the band's fault, but the Cult
appeared snakebit for Houston.
A late start, faulty instruments, fan fighting -- both on
the floor and in second-deck reserved seating -- and
a clearly hoarse Ian Astbury all tarnished this usually
glistening metal. What should have been an
andro-injection of rock nostalgia had been cursed.
"This is our fifth show in as many nights," said
dejected vocalist Astbury toward the end of the set.
"We've never done that before. We're exhausted."
Signs of dissymmetry were immediately evident as
the Cult stalled for nearly 30 minutes past the
scheduled set time (which Astbury presumably spent
gargling saltwater). As the house stereo started
running through classics by MC5, AC/DC and the
Rolling Stones for the second time, agitation from the
near sellout crowd of 2,750 started to fester.
By the time a sheet emblazoned with the same
blood-red lotus that graces the cover of the Cult's
new album Beyond Good and Evil was dropped,
tension was a misplaced elbow away from
overflowing. The melee toward the stage got so
aggressive during the Cult's run through favourite Lil'
Devil that the peaceable Astbury walked into the
crowd to break it up himself.
"Are we having trouble with our testosterone, gentlemen?" Astbury asked.
It's amazing Astbury even noticed the skirmish
beneath him, considering the problems he and his
bandmates were having. Opening the 18-song
performance with new single Rise, Astbury's mix of
swaying and Deion Sanders-style high-step dances
was interrupted when his tambourine splintered,
sending mini-cymbals rolling around the platform.
A second tambourine exploded a few songs later in the set.
The central problem with the Cult's sound had little to
do with faulty instruments, however, and more to do
with Astbury's inability to generate sound. With his
voice box scratched dry from overuse, the other four
members of the Cult were forced to compromise
their own booming performance to compensate.
Guitarist Billy Duffy, the wizard responsible for the
manual shift of the Cult's electric chords, had to
subdue his urge to blow amps so that Astbury could
be heard. On In The Clouds, Duffy sounded
unplugged as Astbury gasped for breath.
For new song My Bridges Burn, Duffy muted part
of his string volume, and drummer Matt Sorum eased
up on his semi-circle of cymbals. It sounded sinister,
but just a little too mellow for a plugged-in show.
Some singers can get away with a worn pitch;
Astbury's offensive belts require full force. The
normal bellow of Cult catalogue gem Fire Woman was
still enjoyable, but a little asthmatic. Just thinking
about the high register needed on Sweet Soul Sister
and She Sells Sanctuary was cringe-worthy.
Astbury had great difficulty with both, but he should
get credit for giving it a shot. The usually pacified
singer was noticeably frustrated throughout the
performance, venting at roadies on the side stage at
one point and shaking his head in frustration toward
the soundboard at another.
Even with the trouble, the performance wasn't a total
loss. Astbury separated the catalogue between "new"
and "old school," throughout the night, offering a
generous sample of greatest modern rock radio hits
and the new Beyond Good and Evil material.
Midrange-slowed dirges like The Witch and War
(The Process), led by a fuzzy bass and primal
percussion, helped smooth patchwork notes. The
inclusion of the nearly forgotten Nirvana from the
Cult's 1985 album Love was a delicacy for the
diehards.
A few more approachable ballads like Nico or
A Flower In The Desert might have helped mask
Astbury's calloused throat, but he can hardly be
blamed. On this night, the troubles were out of the
band's control.
Houston is another killer show we love Texas!!! Loud, crazy audiences and sold out shows. My onstage sound is now almost perfect, and we play My Bridges Burn again, which feels like its settled into the set nicely. Rain gets everyone moving and Ian is on the PA stacks, singing to the whole arena.