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10 performances we saw at Cruel World, ranked

BBG News

This past weekend, you might have noticed a number of individuals sporting dark attire roaming about Pasadena. Let me clarify that it was all part of Cruel World, an annual Goldenvoice tribute to postpunk, new wave, and alternative music genres. On Saturday, it graced the Brookside at the Rose Bowl for its fourth iteration, headlined by New Order and Nick Cave and the Bad Seeds.

As a movie-goer standing in the midst of a revived outdoor concert venue, I found myself enveloped by an atmosphere that echoed the legendary Glastonbury Festival back in England. Even when the skies opened up into a persistent drizzle, the event flowed flawlessly, much like a well-rehearsed production. The crowd, mostly Gen Xers and devotees of that iconic era, seemed to have traveled through time to grace this converted golf course. It was a rare treat to witness artists from decades past take the stage once more, their appearances sporadic but always cherished by the audience.

However, similar to all celebrations, certain acts truly shone, delivering top-notch performances that left fans enraptured in a wave of nostalgia. On the other hand, some acts seemed to merely attend. Here’s our rundown of the shows we witnessed at the festival, ranked from excellent to less impressive.

Speaking with The Times, Bernard Sumner affectionately discussed the resurgence of New Order, crediting it partly to their renewed unity within the band.

In the beginning, we often made mistakes and those mistakes negatively impacted our performances,” Sumner explained. “We’d play an excellent song, praise how fantastic it was, and then the following performance would suffer due to excessive celebration.

The point he made was absolutely accurate, as the band’s show at Cruel World clearly demonstrated. Throughout their performance, it appeared that everything was perfectly aligned for the new-wave legends who graced the stage with near perfection for their fans. From the very start, “Age of Consent” ignited the entire crowd – a remarkable feat given that they were the final act on a soggy and muddy day.

However, the heavens appeared as if they were parting for New Order. They stood effortlessly nonchalant as they declared, “This tune serves as a protest anthem, and now is the moment we need it.” Following this statement, they delivered “State of the Nation” to their audience.

The set was already impressive with songs like “Sub-Culture,” “Bizarre Love Triangle,” “True Faith,” and “Blue Monday” squeezed into an hour, but the group offered even more. Following Sumner’s exit during “Temptation,” there was a moment of silence before they reappeared to perform Joy Division’s “Love Will Tear Us Apart.

The atmosphere was intense yet heartwarming during the performance, with images of the late Ian Curtis and the phrase “Forever Joy Division” being displayed on screens behind the band. It’s clear why they are headliners; no other band could have been more fitting to guide festival attendees on a nostalgic journey through time like New Order did.

2. Devo

Nearly taking the top spot was Devo, whose eccentric and playful performance captivated audiences in Pasadena. Despite the downpour, spectators flocked to the Sad Girls stage, eager to greet the five-piece new-wave band.

The screen displayed a reel starring the recurring figure “Rod Rooter,” portrayed by Michael W. Schwartz. In this segment, Rooter convened with the team, proposing an intriguing notion – Devo dolls, complete with your very own jumpsuits!

This was followed by another video, once again featuring Schwartz as Rooter, only years later.

40 years back, I was giving them priceless guidance, a group struggling to find their target, as he spoke while perched on an exercise bike in vibrant athletic attire. Today, they stand before me, the biggest source of remorse in my career – that band is Devo.

First, the quartet stepped out onto the stage, dressed in sleek black suits for “Don’t Shoot (I’m a Man)”. Not much time passed before the musicians slipped on their distinctive “devolution” hats. These caps were later tossed to the audience as the band moved into “Whip It”. This was followed by a swift change of attire into those iconic yellow jumpsuits. During “Uncontrollable Urge”, frontman Mark Mothersbaugh ripped off these very jumpsuits.

Devo delivered spectacularly at their performance, meeting fan expectations perfectly. Given this impressive display, it’s hardly surprising that Goldenvoice extended another invitation for the band to return in 2022. It seems unlikely that this will be their final time gracing the stage at a Cruel World event.

3. Nick Cave and the Bad Seeds

Nick Cave and his band were always expected to deliver an exceptional performance – it’s simply what they excel at. Over the span of the festival, no one managed to captivate a crowd as effectively as they did. The entire concert felt like a gospel service being held on the Rose Bowl lawn, with Cave often reaching out to his devoted fans gathered at the front stage.

“You’re f— incredible,” he said. “Full of drugs and still able to clap.”

During their one-hour performance, the band performed a mix of upbeat, energetic songs such as “Wild God” along with more peaceful, contemplative pieces like “Joy.” Naturally, they included “Red Right Hand,” which was met with thunderous applause. Cave would frequently sprint between his piano and the front of the stage, adding to the spectacle as he skillfully played the keys.

However, it’s plausible that the performance reached its zenith during the full play of “Hollywood,” a 14-minute track from the 2019 album “Ghosteen,” when it was first performed live.

I’ll be giving it a go at this new tune; it’s unfamiliar territory for us. It’s an extended piece, tailored, as it were, for the grandeur of Tinseltown.

The tune, as detailed in a post about Cave’s 2018 project “The Red Hand Files,” tells a story inspired by a sequence of pictures that popped into his mind while he was seated in the back seat of a car cruising through Oslo, Texas. Here, a speaker finds himself on a shoreline, gazing at the sun.

In a poetic, almost prophetic tone, I’d share, “The hills of Malibu are ablaze, and the beasts of nature are seeking refuge by the seashore.

4. Garbage

As a passionate cinephile attending Cruel World, the simultaneous performance of Overlapping Garbage and Devo at the same time left me torn, sparking quite the debate among fellow attendees. By 7 p.m., it became clear that many groups were splitting up, with some heading to the Outsiders stage while others chose the Lost Boys.

Even the lead singer, Shirley Manson, was disappointed for having missed Devo’s performance, remarking that she had anticipated a significantly smaller audience.

In a candid conversation, Manson expressed his honest feelings about yesterday’s rehearsal: “We were really worried, of course, because we hold Devo in high regard.” He went on to share their disappointment over the fact that they are performing simultaneously with one of their idol bands.

“We’re amazed that you’re here,” she continued, laughing. “Thank you so much.”

Not only did Garbage deliver a stellar performance, but their show left everyone in attendance beaming – especially those who selected the alt-rock band as their choice. To top it off, Manson’s outfit truly stood out as the most impressive attire of the entire event.

5. OMD

Among the acts, Orchestral Manoeuvres in the Dark turned out to be an unexpected crowd favorite. The group delivered with high energy that persisted throughout their performance, keeping spectators captivated. Occasional interactions by the band also helped keep fans fully engaged.

Andy McCluskey, the lead singer, asked everyone to raise both hands prior to his performance of ‘Talking Loud and Clear.’

“You have to do it with two hands, otherwise you’ll look like Elon Musk!”

The band’s comical remark was predictable yet still had us laughing. Over the years, it remains an uncomfortable experience to dance to “Enola Gay,” and it became even more awkward following their display of the infamous plane and a mushroom cloud during performances on screen.

During “If You Leave,” the visuals displayed were of Molly Ringwald portraying Andie Walsh from “Pretty in Pink.” This was a clever reference to the tune’s appearance on the movie’s soundtrack.

6. Alison Moyet

As a devoted admirer, I can’t help but rave about her outstanding show. It’s no surprise that she was honored with an MBE for music services in 2021. Throughout the performance, she gracefully moved between tracks from her solo journey and the ones she created with Yazoo, alongside Vince Clarke, a former Depeche Mode keyboardist.

In my opinion, what truly stood out in her performance was her vocal prowess. It’s well-known that some voices lose their original luster after four decades or more. Yet, Moyet, although not as pristine, managed to hold her own on the main stage. Interestingly, the roughness in her voice seemed to enhance the songs even further, and she carried them with a sense of weight and importance that was captivating.

7. She Past Away

Approximately 2 p.m., the Turkish postpunk duo graced the stage, offering festival attendees an enticing sneak peek of what was to come. Given that they formed in 2006, they seamlessly blended into the lineup, enchanting listeners with sounds akin to those produced by their new-wave contemporaries during the ’80s. To add an extra touch of style, bandmates Volkan Caner and İdris Akbulut donned their signature black eyeliner and lipstick.

8. She Wants Revenge

From the 2000s, She Wants Revenge was another post-punk band that drew a large audience. Their frontman, Justin Warfield, confidently moved across the stage in a complete black leather ensemble, which included a belt adorned with golden ankh pendants hanging below it. The group certainly had a strong stage presence.

As I sat there, immersed in the electrifying atmosphere, the band’s robust performance left me in awe. The crowd erupted in applause when they unexpectedly played a captivating cover of “Sister Europe” by The Psychedelic Furs. The stage was graced by none other than Hunter Burgan of AFI, who was hailed not just as an exceptional bassist but also as a talented saxophonist. In a heartfelt moment, the song served as a tribute to the late Mars Williams, the Furs’ saxophonist.

9. Death Cult

This band, known as the Southern Death Cult, was an unusual one. Originating from Bradford, England in the early ’80s, they were a significant figurehead in the postpunk scene. They managed to gather some recognition, performing approximately 20 shows over two years, before disbanding and releasing just one album titled “The Southern Death Cult.

Following their breakup, Ian Astbury teamed up with Billy Duffy in 1983 to create Death Cult. They released an EP called “Death Cult” before changing their name to The Cult within a year. In 2023, they brought back Death Cult for a string of U.K. shows and a single performance at the Theatre at Ace Hotel. For Cruel World, they performed as Death Cult again, paying tribute to both the music of The Cult and Southern Death Cult.

At the concert, fans weren’t sure what kind of music the band would play, as they started with the “A Clockwork Orange” theme. It’s worth mentioning that most people were fans of The Cult, one of the three different versions of the band. Interestingly, it seemed like Ian Astbury was a bit disappointed that the audience wasn’t more enthusiastic about songs from Death Cult and Southern Death Cult.

Of course, it wasn’t a shock at all when the audience erupted with delight upon hearing “She Sells Sanctuary,” one of The Cult’s biggest hits, along with other tracks from the group play.

The fact that it was getting dark and there weren’t any visual aids didn’t improve the situation for the Lost Boys’ stage, as it was only faintly illuminated. Consequently, audience members found it challenging to see the band clearly unless they were very near the stage.

Instead of saying “Death Cult’s musicians were not good performers,” we could rephrase it as “The musicians in Death Cult weren’t particularly engaging live.” However, Astbury’s vocals were excellent, and everyone on stage seemed to be in sync, except for the audience. Considering all the elements involved, the entire performance felt peculiar.

10. The Go-Go’s

A multitude of enthusiasts flocked there, excited to catch some hits from one of the most anticipated opening acts on the schedule. After all, it’s The Go-Go’s – you wouldn’t want to skip classics like “Our Lips Are Sealed” and “Vacation,” even if you’ve been soaked in rain for hours, splurged $20 on a drink, and your feet are now complaining loudly.

It’s challenging to pinpoint the specific cause behind this performance’s shortcomings; the songs were well-prepared, and the audience was enthusiastic. However, each piece seemed disjointed, suggesting that the band might have benefited from additional rehearsal time. Moreover, they started off out of sync, and technical problems such as feedback and sound mix issues marred the entire performance.

Alright, I’m taking a seat over here, but let me tell you, I’m putting in a lot of effort… Now, I’d love to see some energy from the audience, if that’s okay?” Gina Schock stated before launching into “Head Over Heels”. “I’d appreciate some enthusiasm out there, alright?

However, despite the band’s final performance of “We Got The Beat” and their effort to initiate a H-O-T-T-O-G-O cheer, similar to what they did at Coachella recently, the crowd remained stationary and the chant failed to gain momentum.

“You know that one,” Jane Wiedlin pleaded, to no avail.

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2025-05-20 01:31

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