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The Cure captivated audiences in Berlin during their second concert of the series at Wuhlheide, featuring an unexpected twist as Eden Gallup stepped in for his father, Simon Gallup. With a last-minute announcement that left fans buzzing, Robert Smith’s message on Instagram conveyed urgency and gratitude, stating: “Simon became ill just before our first concert, and his son Eden filled in to save the show.” This act of familial loyalty not only lifted the mood but also sparked debates among fans about the potential impact on the show without the original bassist.
Eden Gallup: A Fresh Face on Stage
The figure of Simon Gallup, known as the “Bad Wolf” for his dynamic stage presence, is undeniably significant. However, it’s crucial to recognize that Eden managed to hold his ground as a capable substitute. By opting for a more nuanced sound rather than emulating Simon’s signature overdrive, Eden brought a fresh twist to renders of classic tracks like “Fascination Street.”
While Eden had last performed with The Cure in 2019, his apparent readiness to fill in ensures the absence of new material from “Songs of a Lost World” in the Berlin setlist isn’t a setback. Instead, it allowed the band to delve into their cherished back catalog, something that many fans appreciated.
No New Songs: Focus on the Classics
The absence of fresh songs meant that the concert focused solely on The Cure’s renowned catalogue. As the band gravitated towards tracks that resonated deeply with their audience, the concert became a retrospective celebration rather than a promotion of newer works. This strategy draws parallels with earlier Kiss tours, where the focus was similarly absent of new tracks.
The evening was relaxed and filled with camaraderie, particularly visible in Smith’s playful interactions with Eden during performances like “Pictures of You.” As the night unfolded, the themes of connection and nostalgia permeated the atmosphere, especially as Robert Smith humorously referred to potentially discovering a new instrument while he played tambourine during “Never Enough.”
A Nod to the Past: The Performance Dynamics
Visually, the show didn’t stray from the familiar; in many ways, the visuals remained unchanged since 2016. Yet, they effectively accompanied the setlist, maintaining a strong connection to the band’s historical aesthetics. Classic performances such as “Play for Today” brought back memories of earlier tours, showcasing The Cure’s evolution while echoing the past.
The “Pornography” set block marked a significant moment in the concert, with “A Strange Day,” “One Hundred Years,” and “Cold” woven together. This arrangement may have never been performed in such a way before, highlighting both the band’s legacy and their intent to step beyond typical arrangements.
The Feel-Good Factor Over Shadows
In contrast to previous tours where emotional ballads often concluded concerts, this performance aimed to promote positivity. With songs designed for dancing rather than reflection, the focus seemed to be on uplifting the crowd rather than diving into deeper emotional territories. The Cure, shifting paradigms as they evolve, now prioritize a light-hearted atmosphere, reflecting a broader shift in audience preferences.
Looking Ahead: England vs. Norway
As the concert approached its finale, excitement heightened not just for the music but for the impending football match between England and Norway. With Smith humorously addressing distractions backstage, the vibe was infectious. Missing Simon was palpable, yet the show proved to be a testament to how adaptable The Cure can be, even in the face of unforeseen circumstances.
In conclusion, this Berlin show was not merely a continuation of The Cure’s tour— it was a celebration of resilience, familial bonds, and the enduring power of music. Eden Gallup’s involvement was more than a substitute; it was a shining example of how legacy intertwines with the future.
