written by Chris Familton

In support, The Black Ryder did a great job filling the cavernous venue with their droning psych rock. Featuring tracks from Buy The Ticket, Take The Ride, the band have developed into a great sounding live band. Aimee Nash was sultry and at times menacing while Scott Von Ryper worked his guitar pedals industriously. The swelling crowd were more receptive than one might have expected and the band impressed many first time listeners.

After an hour between bands The Cult finally appeared and launched straight into Love’s opening track Nirvana. Memories of The Cult’s 1995 tour quickly came to mind when Ian Astbury stopped singing, gestured angrily to the stage soundman, dropped the mic and assaulted the monitors. Never one to suppress his emotions he stomped offstage while the band battled on. The flow of the set was quickly restored with Astbury’s return but the connection between band and crowd never fully recovered. Through classic songs like Love, Rain and Hollow Man there was a strange distance between audience and band. There were some highlights though – Revolution and She Sells Sanctuary lifted spirits and Brother Wolf, Sister Moon showed why Astbury is such a great vocalist when he puts his mind to the task.

While guitarist Billy Duffy played note perfect riffs and solos, his frontman baited the crowd when they wouldn’t clap or sing along, even defending his weight gain due to being 47 and undergoing a hip operation. After Love the band returned for the ‘hits’ section of the gig and the audience warmed noticeably. There was a sense that Australia has a much fonder memories of the Electric and Sonic Temple albums though when the band delivered rousing versions of Electric Ocean, Wild Flower, Love Removal Machine and Fire Woman.

The venue, a false start and perhaps an aging audience without youthful enthusiasm all contributed a generally disappointing show. For the most part Astbury and co gave it everything but the magic was absent and the reciprocal love was definitely non committal.

This review first appeared in The Brag