There was no doubt which band drew the soldout crowd to the Orpheum, the first and biggest stop on last night's 10-venue ''Xmas Rave'' sponsored by WBCN-FM. The theater was quite empty for opener Tara MacLean, and most people arrived during hometown heroine Tanya Donelly's set. The main event was the Cure, making its first Orpheum visit in 12 years, and it was a memorable one.

The audience was up and cheering as Robert Smith emerged from stage fog to lead the Cure into a cacophonous, strobe-lit ''Shake Dog Shake,'' a song from 1984's ''The Top,'' kicking off a 95-minute retrospective set stocked with hits and rarities.

The Cure draws a more mainstream, less goth-style crowd these days, and isn't quite as popular as it was in the late '80s and early '90s. But fans packing the Orpheum grew only more estatic as Simon Gallup's bass lashed into ''Fascination Street'' and provided similar melodic ballast to ''In Between Days,'' with Smith faintly smiling at the front rows as he strummed an acoustic 12-string and casually phrased the lyrics.

''Just like the old days!'' the black-clad Smith sang during the menacing gallop of old gem ''100 Years,'' and the Cure actually suggested a noise-guitar band.

A lot has changed since the old days, however, both in style and personnel. But the signature remains Smith's whiny but distinctive vocals, and Gallup's prominent bass. New drummer Jason Cooper, keyboardist Roger O'Donnell, and guitarist Perry Bamonte have begun to lock in, though, contributing to last night's churning textures, while Smith took several spare, prickly, electric solos, capped by a nasty wah-wah lead tradeoff with Bamonte in a grungy ''Never Enough.''

Performing with a scaled-back light show (and shots of stage fog), the Cure only got better as the set progressed. After the bouncy ''Just Like Heaven'' with Smith back on the 12-string, the band dove into the deep end, building an atmospheric, moody ''Some Deep Water,'' followed by the pulsing, intense ''From the Edge of the Deep Green Sea.''

Then the Cure ripped into new single ''Wrong Number,'' probably the most powerful song of the set. Gallup was stuck with more straightforward bass lines since ''Wrong Number'' was laced with techno textures similar to the sounds of Smith's friend David Bowie (Bowie's guitarist Reeves Gabrels played on that Cure single). Bamonte filled in appropriate guitar jolts and Smith lifted his arms like a scarecrow as he brought the song to peak with a falsetto howl. The Cure not only played a dream set for most fans, but seemed thoroughly dedicated in it, and enjoying themselves.

Donelly deserved a better reception, as her set lurched to life with ''Lantern'' and her previous band Belly's ''Low Red Moon.'' Guitarist Rich Gilbert was still sonically under used, making his stage motions awkward, though the band (including bassist husband Dean Fisher, ex-Throwing Muses drummer David Narcizo, and keyboardist Elizabeth Steen) was better locked into Donelly's songs from touring.

Donelly sounded best singing in her delicately sculpted high range in ''Swoon'' and ''Clipped.'' Alas, that's when the crowd talked, as they did duringMacLean's set of ethereal folk-pop, which reminded one slightly of Sarah McLachlan at times, but was more direct.

Amazing and Loud. 10 times better than Philidelphia, even with no Reeves. The sound was close to perfect--I could hear every instrument clearly, and I could even make out some of Robert's babble in between songs. We had good seats, off center but still great since it's such a small venue. The highlights of the evening were The Holy Hour, A Strange Day, and The Same Deep Water As You, and of course the explosion of Killing An Arab at the end. Surprisingly enough, Robert was real good about sticking to the original lyrics of the songs...except for Pictures of You--they never knew when to shut the lights off in the song because he NEVER said "so lost in the dark.." but aside from that song, he did well.

Roger was more animated than I have ever seen him, wiggling his fingers in the air and SMILING! He obviously did not have any problems with his keyboard and ear plugs, unlike in Philidelphia. Robert mentioned they had been having a lot of fun during the day off between shows, and in general they all seemed giddy on stage. Simon was hopping around like a kangaroo, seeing his head bop up and down over the smoke. Perry seemed in control of his performance, but didn't seem in quite the same silly mood as the rest of the guys. Cooper's drums were LOUD! It was great, and although the bass drum's mike kept falling off, you could hear his set very well.

At one point Robert mentioned something about only messing up on 7 or 8 chords on a song, and Roger's response to that was a hand motion of drinking a little too much--made everyone laugh. They played very well together, and they ripped through Wrong Number doing a great job with no Reeves.

I guess these radio shows only call for 1-1/2 hour sets, but I wish they could have played so much more. Good news is that Robert actually said he'll see us next year on tour and for a longer set. So until then, I will be going through Cure withdrawal...

This was an altogether great show. The setlist was nearly a godsend, and the band was playing well, although they had a few noticeable trip-ups(It looked like Robert dropped his pick at one point, and at another, Simon just seemed a bit confused) It would be fatuous to complain about things I wanted to hear that I didn't, so I won't. Reeves Gabriel did not seem to be there for any of the songs he played on in Philly and Fairfax. I was somewhat surprised at the conventional encore, but not disappointed.

The opening bands, Tara McLean and Tanya Donnely were worlds apart in talent and appeal. While McLean had a pasable singing voince, she spent far to much time emoting in a very annoying whine. Thankfully, her set was mercifully short. Tanya Donnely has long been an artist whose work I've enjoyed; from the Throwing Muses, to the Breeders, Belly, and now her solo act, Donnely was excellent, and tonight's set was no exception. She even played a couple of Belly songs(Low Red Moon and Dusted)

After the show, I was in the crew that raced around to the back, but the band had already left. Oh well. These things happen, I guess.

Anyway, that's one version of Boston... I'm sure there will be others. Oh, and one last personal complaint to the asshole sitting two rows ahead of me: You're not nearly as important as you think you are.

it's the morning after the boston show, and i'm still in shock and without a voice...

surprises: the holy hour - when is the last time they played this ????? as soon as i heard the opening bass, i freaked out, and everyone else around me didn't get it......

same deep water as you - robert muttered something before this song to the effect of "well, some of you aren't going to like this next song" great version...but i couldn't really hear the thunder & lightning

a strange day

i could have sworn that jason played electric drums for the beginning of 100 years.. sounded just like it does on "pornography".....anyone else hear this???

it was very hard to hear robert as usual......if anyone else hear what he had to say, i'd love to hear it...

i wish i could have met up with the boston babblers gathered at the littlest pub.... but my girlfriend wouldn't go in there because it was "crowded" ...go figure......

I don't even know where to begin. The boys went on relatively early...I think around 9:30 or so. I was expecting to catch Tanya Donelly and to my surprise she had already played.

I can't even begin to tell you how it felt to hear The Holy Hour, 100 Years, and A Strange Day all in a row. I was in a trance like state, completely in shock...the boys were absolutely solid the whole night. Probably with the exception of Pictures of You where I caught a few screw ups and Robert's either improv or really fucked up lyrics, they were near flawless. Fascination Street sounded different, Simon's bass was so heavy that he just carried the whole song...unbelievable.

The hi-lite of the night was undoubtably Same Deep Water As You...I think Robert said something about how they haven't played this song in awhile. When he said what it was, I threw my arms triumphantly in the air as if I had won the lottery or something. The thunder crash at the beginning sent chills down my spine much like hearing Plainsong last year. Absolutely brilliant! I hope they play this at other shows so you know what I'm talking about. I kept saying to myself, "You will never see another show like this, with these songs, in your entire life...so enjoy every second of it."

After they had played A Strange Day, Robert said something like, "Its fun playing some of the old stuff, we'll do more later, but for now, some singles. That's when he launched into Pictures, JLH, and High. I would have loved to hear Untitled, but the other stuff more than made up for it. Once they did the encores, Robert said they had time to do 2...so when I heard them do 10:15, I knew they'd do Killing An Arab. Some of the crowd was lame, but for the most part, the place was electric.

If you haven't yet found a way to make it to the remaining shows, find a way. I look at it as the last chance to catch a show of the caliber for the rest of The Cure's existance. They'll be playing arenas again next year and doing, Lovecats, The Walk and the rest of those songs that should have been retired by now...so get to one of the shows.

And finally, it was good to meet some babblers last night, especially Terry, Jennifer, Stone White, and Jenne...forgive me if I have your name wrong, for hanging out in the cold after the show. Despite what security said, I still think they were in there!

Just my $0.02. As a huge Cure fan over the past 12 years, I was anxiously awaiting last night's concert for WBCN. It's been ages since the Cure played a small, intimate venue such as the Orpheum, so I was hoping for a extremely exciting show; Robert et al. surely played a great show full of older and newer material. Pleasant surprises were The Holy Hour, 10:15 Saturday Night and Same DeepWater As You. My highlight of the show was a scorching One Hundred Years. It was great to hear same classic Cure tracks that weren't common in their previous tours.

I was, however, somewhat disappointed in some respects.

I know it sounds like I'm complaining, but I'm just trying to give you my honest opinion of the show. Would I do it again? Absolutely. Aside from the afore mentioned disappointments, The Cure will always be one of my favorite bands and I urge any and everyone to go see them live. See you on the next tour.

The Orpheum is an amazing place to see them. Small stage and house, so the smoke generally stayed on stage. During From the Edge, he disappeared in the smoke, amazing effect.

THIS WAS THE CURE THAT I ALWAYS WANTED TO SEE. I almost pissed myself when they played Holy Hour, and then they followed it with 100 Years and A Strange Day. Those three together should have been the last three that they played. I was so psyched to hear them. Robert said that they'd play some songs that we'd never hear live again, and that they'd never do again (probably much like they'd never tour again...) and Holy Hour was one of them. Pictures of You was almost comical. He didn't get a word right until "Looking so long at these pictures of you, never hold onto your heart". They did play the shorter version, and I'm glad because at least with the other longer versions that I've seen them play, he remembered the words. I was a little let down with 10:15, and it's hard to be let down with Killing an Arab, but I guess I got greedy and wanted to hear more stuff from Faith and Pornography. It's hard not to like Killing an Arab when they do it so well. That sentence taken out of context would make me wince. I'm jealous of anyone who has tix for the rest of the shows. This really is a special tour for all the (and let's not debate this term) frustrated old-school fans. You'll get your Holy Hours, I'm sure of it.

This radio festival tour had begun in kind of a bad way with a seemingly weird atmosphere and a disappointing set for the first gig in Philadelphia: nothing really new except for Torture - never played since 1987 - and the Fairfax gift: Untitled. But the real surprises came at Tuesday night's show in Boston.

Back from the Pleasure Trips, classic opening Shake Dog Shake, heavy and voluptuous, is followed by Torture which is barely recognizable at first. Half of the crowd is just dumbfounded, those who don't recognize any of the common radio singles. After all this is a festival; not everbody came there only for The Cure.

Fascination Street and In Between Days reassure them but then... THE HOLY HOUR, One Hundred Years and A Strange Day! The audience is barely breathing (or falling asleep for those who came just for Tanya Donnelly). Robert explains that they have to play a few more singles after saying "we're having fun playing songs we don't usually play" and proceeds with doing weird things to Pictures of You, mumbling the lyrics all the way through the song, remembering one line here or there (Roger laughing!). Pictures of You single mix, like on Galore.

A slightly strange version of High, with keyboards instead of the second guitar, Just Like Heaven and then "we're going to keep going playing old songs so if you don't know them or don't like them, then, well, think about something else" and THE SAME DEEP WATER AS YOU and From the Edge of the Deep Green Sea ("...you belong right here with ME"). Now is when Reeves Gabrels (Bostonian Bowie guitarist who played the guitar on Wrong Number) came on stage at Philly and Fairfax but no Gabrels in Boston. So Perry and Robert play the guitars for Wrong Number, Never Enough and Cut alone this time and they do it very well, Wrong Number is so amazing live.

A short break and "we only have time for two more songs... this is our version of rocking out!": 10:15 Saturday Night and an electric Killing an Arab conclude a 95 minutes gig, like the two previous ones, with songs they hadn't played in ten years (Torture), eight years (The Holy Hour during the Prayer tour) and five years (Shake Dog Shake and The Same Deep Water as You in London in 92, and Cut). The perfect Cure show? If it isn't it is very close. How promising for the rest of the tour!

~~I am just speechless...Small things made the night so much more than i expected it all was so unreal. From walking into that bar and hearing "Killing An Arab" and meeting some great people from the list..Brain, Ron, Ect.. i did not catch everyones name sorry:(

~~I could not believe the set list..Some friends of mine went to the Philly show and told me the out come of that list but i could not believe the songs..

~When i heard the first few bars of Same Deep Water i was just like in awe i have dreamed of hearing that song and there i was listening to it.. I do not mean to gush but this was my first show. i have not been able to get to anyothers:

*( ~~AHHHHH The Holy Hour i could not believe that .. wow he just keeps going and going and going.. Simon was above everything that i have seen him in.. the base made my chest move with the beat.. and to actually see him play.. I love how Robert added and subtracted lines .. if he fucked things up .oh well it sounded good:)

* Well i just wanted to send again a huge HUG out to ImaginaryGrl and MoonCtuck for a wonderful evening of drinking in his passion *

* Oh and Brain i know they were in there i just know:) i thought it was great that we all stood out there for and froze together..Thanks for putting a smile on my face*