We’ll start at the end because on this occasion we’ve got to. The Cult (deliberately referred to as such here) have just finished ‘She Sells Sanctuary” and thousands of Brummies have just gone crazy.
Ian Astbury and Billy Duffy- the axis around this band is built in all its guises over the last 40 years are joined by Jamie Stewart – their former bassist, now retired – centre stage. The three are back together. Like old times. A brotherhood. With that, the other two leave, leaving Astbury, one fist up, in the middle. Saying simply “ceasefire” that’s it. They’re gone.
Earlier in the evening, it had been a little more subdued. Possibly an effect of the odd support, or maybe the more involved, less immediate nature of the early part of the show, but it wasn’t visceral, not like this.
This, of course, isn’t “The Cult”, but Death Cult 8323, and it’s a celebration, or perhaps a reinvention? Of their early stuff. The 1984 album ‘Dreamtime” is well mined – “83rd Dream” kicks things off. That’s the first “The Cult” album, the next few pre-date that.”Christians”, delivered with the band bathed in red, “God’s Zoo” sees Billy Duffy’s guitar right to the fore. It’s a strident line, and if he’s more ethereal in “Brothers Grimm” then he’s still there and this is his show in many ways.
“Ghost Dance” amounts to a tantalising glimpse of what they became, with The Cult, in their embryonic form, back for a superb “Flowers In The Desert”. Bathed in orange, just the two of them, it almost moves gears.
And if that doesn’t, then Stewart resuming Bass duties for two songs – “Resurrection Joe” and a thunderous “Horse Nation” – does.
This is a really clever and well thought out performance. It hasn’t just been thrown together, and “Hollow Man” (which sees Astbury remove his dark glasses) proves why this matters. His voice is in full working order and he seems happier than at the Alice Cooper show last year.
They know how to pace a show, and there’s mastery at work, with the immediate “Dreamtime” – and it’s interesting to hear this band play those songs. John Tempesta batters the kit on the later ones, adding a layer of bombast, particularly on “Spiritwalker”.
“Rain” is followed by a most enjoyable encore. “Moya”, the evenings one Southern Death Cult tune, and given its 2023 rebrand, it sounds huge.
“We’ll get you there” Astbury had said in one of the quieter moments. Watch the crowd after “…..Sanctuary” and they’re right there.
An evening of nostalgia? Well, not really, it felt more triumphant. The Cult found sanctuary in Death Cult 8323, as much as anything else.
