1st set: One Hundred Years, A Short Term Effect, The Hanging Garden, Siamese Twins, The Figurehead, A
Strange Day, Cold, Pornography

2nd set: Plainsong, Pictures of You, Closedown, Lovesong, Last Dance, Lullaby, Fascination Street, Prayers For
Rain, Same Deep Water As You, Disintegration, Homesick, Untitled

3rd set: Out Of This World,  Watching Me Fall, Where the Birds Always Sing, Maybe Someday, Last Day Of Summer, There Is No If, The Loudest Sound, 39, Bloodflowers

1st encore: If Only Tonight We Could Sleep, The Kiss
2nd encore: M, Play For Today, A Forest, Grinding Halt, Boys Don't Cry.

"While hearing the songs from the legendary three albums, I can sense exactly how I have felt last week, on
monday and tuesday....I cannot endure it up to the next! My good old friend - liebe Grüsse : )~ by the way -, who
shares with me the same deep attraction and admiration to The Cure, and me firstly went to Hamburg, which was
only warming up for monday and tuesday. We both think, that this show has lacked the passion we expected to
see and feel. It was a little bit disappointing but it made our excitement grow bigger for the great shows later.

Some songs reached it, nevertheless. For example “Shake Dog Shake” let the crowd become to a boiling pot. The
concert’s atmosphere was now harder in the following songs. But I always felt a little bit strange, I actually
preferred to hear the trilogy show, already. Sadly, I was not able to dive into the show completely. In addition a
really aggressive guy hit and boxed his neighbour. A little fight appeared between them. My mood left after. Hey!
Why some people cannot behave themselves? This time you really had enough space in front (we had this succeed
to get up in the front ones line also without having a yellow tape). The situation calmed down and I could dedicate
my attention again to the stage. “Charlotte Sometimes” and “Push” touched me really. The poppy encore has done
enjoyment to dance as mad, but I actually don’t need to see these songs live performed. But Robert still looks cute
and gorgeous if he does not take himself so seriously.

The third encore was new to me. I have never heard this crossing from “A Forest” to “Forever”. Excellent! Well,
the Greatest Hits Show was a good start for our short trip to Berlin...

After we have enjoyed the dreary gray November weather with a little bit shopping and running around in Berlin,
the great evening came. I cannot forget the feeling standing in the crowd waiting for the appearence from The
Cure. I have never dared to dream, to experience these three albums completely, especially “The Same Deep
Water As You”. The show excelled my expectations. It was overwhelming. The first part handled so quickly. I
hardly had to enjoy time. You firstly must get used to the nevertheless so unbridgeable nearness. Disintegration
let me dive deeply into the music, mood and crowd. It has carried me away. It is strange and alarmingly at the same
time to hang in the masses, from a side to the others swinging. The effect of the music strengthens the extreme
physical close. Also the conversations in the breaks contributed very much to the atmosphere sharing the euphoria.
Bloodflowers was very hard and breathtaking. The missed passion in Hamburg was satisfied here only too well.
"The Kiss" and "If Only Tonight" were the coronation of the evening. It was a pleasure to observe Robert while
he was playing himself deeper and deeper into his guitar play. This introvert glance! Breathtaking! The second
encore brought the masses in order to bubble. The feeling of belonging together is great while screaming to "Play
For Today". I enjoyed "M",deeply, one of my favourites. With "A Forest" my physical constitution left after and
I drifted from the jumping crowd. It was too much, the whole evening to be pressed and pushed to defend own
small space. But I knew that I would repeat the same tomorrow and with pleasure, only to approach a little bit
nearer to The Cure and particularly to Robert. It is incredible that you share a moment with him/them for a short
time and return after it in completely other lifes. It is a quite special moment if he watches into the crowd and  you
believe in having been noted from him, perhaps... After the concert I floated something in the delirium. Hardly
believing to have the possibility tomorrow to be able to experience the same again.

The evening came and I had the feeling that they still exerted themselves a little bit more. Particularly
Bloodflowers appeared stronger. The extension of the encore surprised me positively, even if I would have seen
rather something else instead of “Boy's Don't Cry”.  All in all it was an incredible experience and a phenomenal
present The Cure could give to the fans. I thank from the bottom of my heart for these hours"

"As said before, the chance to redream the trilogy show tonight kept one ina good mood + made one forget the
energy lost the night before... unfortunately, it was also a redream of the entrance situation of the night before + I
was extremely pleased that we didn't arrive very early this time... In discussion before the show, everyone thought
the same, last night must have produced some excellent material for the dvd already, so the band should be in a
good mood for tonight's gig and there'd probably be a little more room for improvisation.

For the 'Pornography' set, the audience seemed to be less enthusiastic, perhaps it was last night still in the bones +
also trying to keep fit and calculating the energy a bit more... Again the whole album well played, the highlight
being probably 'Siamese twins' which can't almost be topped in beauty- and sadness. What already surprised me
the night before was the same this day, as they didn't use the intro tape to pornography instead a Roger/Perry
combination to lead of the song, quite strange and it needs a bit to get used to it.

'Disintegration' offered the first signs of improvisation, with Robert (who for most of the songs used his classic
1990-festivalguitar) playing an unusual 6-string part during 'Untitled', the bass sound on 'Disintegration' came over
quite well, as Simon used the same bass Peter Hook is using during New Order sets, which is guaranteeing strong
basslines anyway... What can one say about this part that hasn't been said before? exactly... the only song with a
little problem seemed 'Prayers for rain' - as many wondered, 'Last dance' sounded as fabulous as 'Homesick'.

'Bloodflowers' was played like the day before, very tight and it is obvious that this is the album, that was played
most the last years, '39' and 'Bloodflowers' coming over quite strong and with lots of energy, although the highlight
seemed once again 'The loudest sound', with very strong strings and one of the song that fits best with its
projection.

I was a bit disappointed when again the acoustic was prepared for Perry, as it meant the same encore set, again a
strong 'the kiss', though... As the cameras where still running (they stopped them after the first encore the night
before), it was also obvious (and a slight bit of let down...) they'd do the '17 Seconds' encore part again... luckily
they decided to continue after 'A forest' (Simon refused to do the usual ending...) and yup, we got it again 'Grinding
halt', which was so excellent, please, put it on dvd as easter egg or extra track or whatever but put it onto the dvd!
Finishing of the longest The Cure show ever was 'Boys don't cry', which I think they chose after the dark and
moody set before to lighten the whole gig up... so, that was  it then, strangely no 'Faith' which would have been the
perfect ending to such a night, but anyway, again a marvellous night, enjoyed the berlin and hamburg gigs a lot +
let's keep our fingers crossed the tempdrom gigs result in a brilliant dvd early next year..."

"Just a short note explaining  how I felt during this second Berlin show.

I'm living whith these songs, these words, this music since 15 years. Listening live Pornography, Disintegration
and Bloodflowers, entirely, was so strong emotionnely....
When the first note of If only tonight... began, all the tension that I had accumulated during the show, felt down.....
And I start to cry. To let everything go.

I just want to thanks the guy who was next to me, for taking me in his arms, and let me crying on his shoulder.

A moment that I won't forget....

Like a banner said "We fight sickness with the Cure"

And life continues...."

"Since I spent an entire day flying back to California, I probably cannot add a great deal of new news. But I will
say the Trilogy concerts were fantastic, and when you think about how many times you joke over the past few
years with other cure friends about "imagine if they actually would play disintegration in entirety", to see if
actually happen was something that could not be missed. As many said, during pornography, it takes about 3
songs to believe what your seing, an album from 1982 being played back completely with original instruments. I
havent read every review but if you had not noticed, they replicated all the instruments used during the original
albums. Not to confuse that with tours, but albums, so we saw some guitars and basses that have been in the back
of closets for quite a long time. Also it was important to remember that they were re-creating the ablums, not the
tours. So they were not trying to play at light speed through the Disintegration like they did on the Prayer Tour,
that was not the goal. But if you listened carefully it was amazing to hear how closely they replicated songs off the
album down to the note. Jason and Roger at one point spent a couple hours recording the sound of a bottle being
dropped to use it as a sample during the show. Roger pulled out old keyboards before the tour to sample original
albums sounds. Untitled the 2nd night was beautiful to listen to. Robert nailed each song vocally at least once if
not twice over the both nights. The vocals to the song Disintegration the 2nd night was quite dramatic, and it was
probably one of my favorite versions of this Era of that song (the slowed down version). I dont want to go song
by song or this would take forever and its already been written. My final comment on songs would be the Kiss
from the 2nd night is probably the finest one that has ever come out of the bands amps. Even though its an extra
encore, even here Robert used the oringal guitar from the record, and the band nailed it. Jasons drums on the kiss
are as good as any I have heard from any lineup. In the end a fantastic four days in Berlin, and if they did it again,
I would be there again. I Challenge any other band to pull something like this off, but 99% wouldnt even try, or
wouldnt be capable..Cant wait for the DVD to arrive at the store."

"According to the lyric In 'Last Dance' - 'but christmas comes late now' on Saturday the 9th this couldnt be more
wrong, because this year christmas had definately come EARLY for me and two dozen fans from the UK that woke
up excitedly like a child eager to open presents, and after a minimal amount of sleep we were at the beginning of
'another journey' into europe.

Hamburg Colorline Arena - 9/11/02

There was a definate sense of deja-vous as we arrived at Stansted in the middle of the night; faces not seen since
the summer began emerging out of the cold dark night looking weary and tense.  The bleary eyed gathering spoke
in anticipation about the unique experience this was going to be as the plane bound for Hamburg was rapidly filling
with people adorned in black clothing...

We arrived shortly after in Hamburg  which greeted us with a snow shower and minus degrees temperature and as
our group of black clad sheep followed each other (suitcases in tow) in a long line, we trudged,+ in what turned
out to be a full circle around the city centre  - until we realised that the 1 barely visible map that we had between
the 30 of us turned out to be upside down!

As we all defrosted in the hotel lobby crammed with fans, there was huge confusion and stress as the hotel had
messed up our reservations and couldn't get the rooms ready until late in the afternoon - removing almost all hope
of recouperation before the gig. However everyone seemed to perk up as we realised that the band had by chance
booked into the hotel opposite!!! (thanks to Phil Collins!)

Having given up on the idea of sleep we took over and re-organised an italian/german restaurant in order to
accomodate our needs, and as the opening of the Colorline Arena was now only hours away, a discussion began
about the content of the 'un-announced' setlist for tonights gig - one fan joking "I had better not have trailed all
this way for 'lets go to bed'!

We arrived at The Colorline Arena by cab after being ridiculed by the german taxi driver who thought we were
mad for coming from all parts of the world just for a show.  I dont know what was more remarkable the sparkling,
enticing arena or finding a german with a sense of humour!!? ;-)

All credit to the germans, the arena was top notch filled with friendly staff, several bars and eaterys. Although
when I got infomed that there was only 800 allowed in the front half of the standing area that was already FULL
my heart sank. We had got so near - but yet so far away from the front. However I was not going to give up and
with a flutter our eyes at the security guard he produced from his jacket 3 wristbands for us, much to the
disgruntled group of male goths trying to get through!

As the lights went down in the arena the crowd was packed with people shouting and screaming in anticipation,
beginning the set with 'want' and continuing with a  'greatest hits' theme (Want, Shake Dog Shake, Open,
High, A Night Like This, The Baby Screams, From the Edge of the Deep Green Sea, If Only Tonight We Could
Sleep, The Kiss, Torture, The Drowning Man, Charlotte Sometimes, Push, Inbetween Days, Primary, Just Like
Heaven, Play For Today, Shiver & Shake, End) they played with vigour and verve and were extremely tight,
whilst allowing themselves to enjoy the performance. The chosen setlist was extremely refreshing in comparision
to the feel of the shows during the summer, my personal highlights being "Charlotte', 'If only Tonight...' and
the increasingly sintilating rendition of 'The Kiss'.

The first two encores took us back to the Swing Tour and  we were treated to that delectibly playful side of the
cure, with Robert commenting beforehand that they had chosen the songs to suit a 'Saturday night'
(1st encore: Three Imaginary Boys, M, Grinding Halt, Boys Don't Cry 2nd encore: Close To Me, Let's Go To
Bed, (a wry smile going out from me to Mr huge wright!!) Friday I'm In Love, Why Can't I Be You?)

The band returned to the audience who were still revelling in the party atmosphere of robert's unique 'dancing'
...little did I know I was about to experience one of those rare unforgetable 'cure moments'... as we pounded
the air helping simon end  'a Forest', Roberts strumming began over powering the bass and slowly but surely it
was dawning on many of the faces around me that we were about to hear the mythical unrecorded 'forever' (for
myself the 1st time in 12 years)...with the beam on our faces stretching from ear to ear I was aghast at the
intensity of the sound that built up, starting off very slow until reaching a pounding, ear bleeding climax which
in total lasted for around ten minutes.....this was pure joy and very overwhelming..... (3rd encore: A Forest/Forever)

Leaving the audience dumbstruck after what we had just experienced even the awesome '100 years' struggled to
compete with what we had just heard, (4th encore: 100 years, Fascination Street, Bloodflowers) leaving us on an
amazing high with 'Bloodflowers' we began regrouping with everyone buzzing about what they had just witnessed
(I only experienced this feeling once over the summer, which was at the Conegliano, Italy gig)

We left the venue on a high and everyone came back to our hotel to discuss the nights events over a few dozen
cans of beer, just as we had drunk the hotel dry the slumped fans that littered the hotel bar suddenly rocketed
out the door (suzie sue being first off the blocks!) as the bands bus pulled up....Robert seemed to be in good
spirits, or should i say had drunk alot of good spirits (!) and chatted with fans posing for photos before
disappearing.........what a ridiculously rewarding day it had been!
 

Nov. 11/12thth, 2002 - Berlin, Germany (Tempodrom)

Having had a semi-restful sunday consisting only of sleep-beer-sleep-food-sleep and the train we began psyching
ourselves up, whilst more fans arrived from the uk, for the first of the 'trilogy shows' in berlin.

Gathering in the reception around 6pm its was obvious that all of the fans regarded tonights concert as a special
occasion as everyone appeared out of the lift dressed in their striking party outfits!

On arrival at the Tempodrom the venue matched the unique feel of tonights impending show, looking from the
outside like a funky circus tent with hundreds of robert-alikes scuttling around the entrance with the belgian
film crew capturing the delight as the doors opened and the fans poured in.

It was a odd atmosphere as we gathered infront of the stage, as there was no familiar talk of individuals wishes
for specific songs, but excited chatter about how the band would perform the five or songs that we had never seen
live before.

The tiny venue errupted as the band burst on stage and opened with '100 Years', dressed smartly all in black and
with both robert and simon sporting sculptured hair the band seemed very tense and concentrating in order to
deliver the songs perfectly for the recording. As the cameras swung above our heads and crew wove their way in
and out of the crowd capturing our reactions throughout the thudding 'Pornography' set, and was received with
open arms by the adoring crowd.

As the band left the stage the amps still reeling from the the feedback from 'pornography' Robert said "see you
in 7 years!"......There was alot of talk between fans about the order of the albums being played at the trilogy
gigs, and I was intrigued to see if the band could sustain the electricity that they had created in this set....

The 'Disintegration' set on both nights saw a packed audience with everyone seemingly wanting to get as close
as possible in order to see the intricate, but 'full' sound of the album being reproduced to the highest standard I
have seen to this day. Songs which have often seemed to drag (F.S or Disintegration) had new life injected into
them as the band were quite obviously going 'all out' for this performance with the crowd mirroring the energy on
stage. Although there were a few tiny mistakes with sound or guitar solos these were ironed out for the second
night and songs such as 'homesick', last dance' and 'SDW' can only be described as delicious as the sound in the
venue was amazing.

"See you in 11 years..." and as they walked off stage to thunderous applause.... many of the Prayer Tour
diehards left for drinks allowing those who wished to get closer to do so. The breaks during the sets were
good for 'semi-recouperation'. as those who were there would probably agree with me that these concerts were
not only invigorating but emotionally and physically draining.

The 'Bloodflowers' sets were those most familiar to all of us there, however the band delivered all of the songs
with added intensity and emotion and were received with raputurous applause. As the band left the stage the
'house' filled with fans from all over the world rewarded the performance with a standing ovation, ear piercing
screams, whistles, clapping and shouting that remained at fever pitch for around 5 minutes until they returned....

On both nights, much to my delight I heard "If only..." during the encore, sounding both incredibly delicate and
intense, you only had to see the hairs stand up on my arms as an indication of how this one particular song
makes me feel. Having reached some kind of harmony at the end of this song the band completely smashed it
apart with 'the kiss'. The Cure have always had this amazing ability to switch moods and to completely drag the
audience along with it and captivate them, whilst making it look so easy. 'The Kiss' seems to get more intense
with every performance, hearing one fan say "I would have made the trip to see them play just this one song".

At the end of the 2nd night we were very unexpectedly given a 2nd encore, where the band relaxed, let go and
partied along with crowd. After the MAMOUTH set which lasted 36 incredible songs, over 4 hours, the audience
and Im sure the band would agree, that this was an extremely memorable gig and would rank as  unique and one
of the best gigs over the past 25 years.

A celebration of the 'trilogy' shows commenced throughout the venue and surrounding pubs/clubs, with the
'cure-fan-family' partying well into the early morning.

So, after another memorable year following The Cure you would think we would be tired of the sleepless nights,
dwindling finances, bruised limbs and country hopping - but you couldnt be more wrong! The second the band
appear on stage and illuminate my world justifies 100 times over any hardships I might have suffered in process
of reaching the said venue.....With the present Cure line up having now, in my opinion, reached the same pinnacle
of the '92 line up, I await the new album with great anticipation......see you next year? - you betcha!!!!"

"Our adventures in Germany... just got home, have been up for quite a while...got back to our hotel after the 2nd
show around 1:30am and had to leave Berlin around 4am to make an 8am flight out of Hamburg...finally back in
Boston...

WOW... I  haven't read the other reviews and I don't want to be redundant so I will try to be brief....plus, after
those trilogy shows I have been left pretty speechless anyway. My wife (Joy) and my son (Rob) and I decided to
attend the Three shows ...made plans, arrange tix and put it all in motion and then they decide to add the Brussels
show... well we couldn't change our plans so we had to miss that one... (I heard from some other fans at the berlin
shows that Brussels rocked!!) the Colorline arena was new and sparkling clean....out in the middle of no where....with true German efficiancy  though there were shuttle buses. once inside we found our seats (we were
going to stand for the Trilogy shows)and were super pleased that the tix I got online turned out to be so good.

The show started and I was kind of surprised , they didn't seem real tight ...I am so glad that Want is in the
"regulars" now It is such an amazing song live. Shake rocked but there seemed to be a couple of sound glitches
here and there... Open was great as always and Edge was brilliant as well  but when If only tonight started they
were finally warmed up and really cooking....right into the Kiss.... holy shi##$$@@# this song was always on my
wishlist for so many shows and now it seems to be joining Want in the lineup...it just gets more and more
 intense...Torture...Drowning man...Charlotte...when was it going to end... I had to check but I didnt think they had
played Charlotte for a few years(i was wrong...summer festivals2x)  but it has been a loooong time and drowning
man???...finishing up with play42day, Shiver and End...now that was awesome...I couldve gone home happy...then
to be followed by 4 encores..!!!naturally we had a pop session but thats OK... we got a forest with Forever!!
and then an amazing finish with 100 years, Fasc st. and Bloodflowers...
Went home completly satisfied. It was very odd not minding that they didnt play figurhead or disintegration or
plainsong....

Two Days later.... an amazing venue the tempodrome, it was like a circus big top tent...lots of people milling about
we got there pretty early and waited outside with the other fans...this show seemed to have the real deal fans very
dedicated.... it seemed to me there were as many fans from outside Germany as there were local...when they finally
let us in it was a mad dash to the front and then a long hot wait for the show to start....people hanging out jostling
for a better vantage point...maybe a little closer to stage...Opening with 100 years.... 2 or 3 people back...jumping,
dancing....keeping the drunk happy people off ....The band was super intense.(obviously the taping was a serious
event) it was very ODD knowing what songs were next... I had never been to a concert like that.....even knowing
the encores were coming when they did. It was an amazing experience.

The 2nd night was awesome again... we stayed  further back this night as we were all really sore and tired from
being up front the first night...getting to old for that...Overall I Just felt the 1st night was  little tighter.. maybe it
was me but there were a couple of points when Roger was washed out and you could barely hear him.... But how
can one be critical....Especially with that amazing encore on the 2nd night it was a long trip, we were tired, Berlin
was Beautiful, there were some really obnoxious drunks,...but we were there and it was an Amazing Adventure
See You next year, Creighton & Joy"

"for two days BERLIN was the middle point of the world ... definatly for THE CURE fans. it was amazing to see
how many different countries they came from to enjoy THE CURE in this impressive location. at the first night
the crowd go fully bezerk and it was fantastic to be a part of this. and the band played awesome. the second night
you got the feeling everyone was a bit exhausted but THE CURE stimmulated the crowd in such a positive way
and pushed us on to a new level. i must say i had tears in my eyes and i felt so close to this band and their music.
i wanna say THANK YOU to ALL the people i met their again and for the first time ... special thanks to ALEX
and BENNY ( kreuzberg ist nun unser zweites zuhause, smile ... ) ... ANGEL ( i´m so happy to see you
again !!!! ) ... LAURA ( one of the best chats i ever had in the cold ... ) ... the IRISH and SWEDISH people ( the
"roberts" ) ... ANDY and SAM ( andy: slowly and clearly, smile ) ... to DELPHINE ( maybe the next time?!?!?!?! )
... and to MIRIAM ( ich hoffe das nächste mal können wir mal so richtig "schwätze", hihihihi ) thank you so much
... and THE CURE, of course ... you all made this days complete !!! see you next year !!!!!!"

Blutblumen für ihn

Es war ein müder Tag, bis dieser Anruf kam. Die Geschichte einer Begegnung mit Robert Smith von The Cure,
dem Idol unserer Jugend, der uns lehrte, dass Jungs weinen dürfen und es gar nicht schlimm ist, dick zu sein und
zu sterben

Ein bleischwerer Tag. Die Nacht nicht lang genug, um sich vom Vorabend zu erholen: Fünf Stunden The Cure im
Tempodrom, fünf Stunden kein einziges fröhliches, sondern ausschließlich traurige - ach was, traurige,
todessehnsüchtige, aufreibend verzweifelte Lieder waren das: richtig schwere, körperliche Arbeit, dieses
Rumstehen und pausenlose Ergriffensein, das man seinem Fantum schuldig ist. Wann hat man denn schon die
Möglichkeit, ein zwanzig Jahre altes Album komplett aufgeführt zu bekommen, ein Album, an das man mal sein
ganzes Herz gehängt hatte, sprach man sich gut zu. Hatte aber trotzdem das Gefühl, dass man so einen Abend
nicht noch einmal durchstehen würde, nur weil man sich vor lauter Nostalgie auch für das zweite Konzert von The
Cure Karten besorgt hatte. Aber dann der Anruf, der alles durcheinander bringt.

G. hat einen Interviewtermin mit Robert Smith und ich soll mit. Der Hörer fällt mir fast aus der Hand. Im ersten
Moment weiß ich gar nicht, ob ich mitwill. Vielleicht ist er ja gar nicht so nett, der Robert, wie ich ihn mir als
Teenager vorgestellt habe. Am Ende lässt er uns abblitzen. Reagiert gar nicht auf unsere Fragen. Macht den
arroganten Schnösel. Aber dann entscheide ich mich natürlich doch schnell dafür. Es wäre ja ein Frevel, sich so
eine Chance entgehen zu lassen, Robert Smith, dem Idol meiner Jugend nicht die Hand schütteln zu wollen, ihm,
der uns lehrte, dass Jungs weinen dürfen und dass es gar nicht schlimm ist, dick zu sein und sterben zu müssen.
Also raus aus dem Haus, Blumen gekauft, viele Blumen natürlich, rein ins Taxi und los. G. springt genauso
aufgeregt vor dem Tempodrom herum wie ich. Die Zeit verrint zäh, bis Robert Smith endlich den Raum betritt.

Er sieht viel jünger aus als auf der Bühne, auf Fotos und in den Videos, und er lächelt die ganze Zeit. Alles, was
er sagt, klingt wie extra für uns, so nett, so smart, so charmant. Sein britischer Akzent ist unschlagbar. Er erzählt,
dass die drei Alben, die er auch heute noch einmal spielt, "Pornography" von 1982, "Disintegration" von 1989
und "Bloodflowers" von 2000, seine persönlichsten sind, weil er sie schrieb, als er um die zwanzig, dreißig und
vierzig Jahre alt war. Dass es ein komisches Gefühl sei, die Lieder von "Pornography" noch einmal zu spielen,
es seien ja nur Songs und nicht er selbst, höchstens ein Aspekt von ihm, aber trotzdem würden sie ihn mit
zurücknehmen in diese aufgewühlte, aggressive Stimmung, in der er damals war. Damals hätte er es nicht
geglaubt, dass er zwanzig Jahre später mit "Bloodflowers" eine Trilogie vollenden würde, deren erster Teil diese
Platte war, von der er dachte, sie würde das Ende seiner Karriere, wie er sagt.

Freundlich blinzelt Robert Smith in die Kamera, lacht ein bisschen, weil er dieselben Schuhe anhat wie der
Kameramann, schön stabil sind die, lacht er, da fällt man nicht so leicht vornüber, wenn man betrunken ist. Ich
nehme mir ein Herz und überreiche ihm meine blutroten Rosen. Er freut sich, freut sich wirklich, bedankt sich und
bedankt sich noch einmal. Wir werden uns sein Konzert noch einmal ansehen.

Wer hat Angst vorm Spinnenmann?
Die New-Wave-Bands The Cure und Wire erinnern in Berlin an die Düsternis der achtziger Jahre

Sie sind Schaumgeborene. 1977 wuchsen sie aus den Brandungswellen des britischen Punkrock hervor und wären
darin vermutlich auch wieder versunken, wenn sie nicht für eine kurze Zeit etwas sehr Richtungsweisendes
gemacht hätten. So sehr, dass sich in Mannheim eine Band gar veranlasst sah, sich den Namen „Drahtkur“ zu
geben. Die Rede ist von den New-Wave-Heroen Wire und The Cure, die vor 25 Jahren ein totgesagtes Pop-Genre
wiederbelebten.

Die Weichen waren da bereits auf Gegenkurs gestellt: Während die härteren Wire nach drei phänomenalen Alben
als Dada-Punk-Verschnitt in Kunstgalerien versackten, stürmten The Cure die Hitparaden und waren dabei an
der Entwicklung einer düsteren, von Untergangsfantasien heimgesuchten Pop-Formel beteiligt, die gemeinhin
„Gothic“ genannt wird. Dessen „gruftige“, pathetische Weltverzweiflung hat sich bis heute gehalten und auch die
Depressions-Rocker selbst haben, trotz stetiger Auflösungsgerüchte ihres schwierigen Anführers Robert „Fat
Boy“ Smith die Zeiten überdauert. Das Berliner Tempodrom war ausverkauft. Schon im Vorfeld hatte die Band
angekündigt, drei ausgewählte Alben komplett durchzuspielen und das Ganze für die Nachwelt auf DVD zu
bannen.

„Doesn't matter if we all die“, lautete die prägnante Textzeile aus „Pornography“, mit der Smith das Konzert
eröffnet. Eine Totenkopf-Projektion sorgt für kuschelige Friedhofs-Stimmung. Wehmütig wabernde
keyboard-Melodien und schräg winselnde E-Gitarren winden sich als träumendes Gewürm im Bodensatz der
Seele. Dumpfe Schläge, die wie kalte Knochenhände aufs Trommelfell hämmern. Und das dicke Puppenwesen
Robert Smith jammert, als hätte ihm etwas die Kehle geritzt.

Auf die alptraumhafte Düsternis der „Pornography“-Episode (1982) folgt der entfesselte Dekadenz-Pop von
„Disintegration“ (1989) und schließlich der Klopper-Rock des jüngsten Albums „Bloodflowers“ (2000). Und stets
bietet die üppige Werkschau von drei Stunden Spielzeit an allem eine Dosis zuviel. Die Gelegenheit für
Gefühlsstürme oder Ansprachen ergreift die Band nicht, um die nächste Grusel-Hymne anzukurbeln, deren Text
und Melodie ohnehin tief in die Körper der Fangemeinde eingedrungen sind und sich dort festgesetzt haben.

Helle Begeisterung kommt vor allem dann auf, wenn Struwwel-Robert seine Gitarre beiseite legt und im
Wiegeschritt mit den Armen wedelt. Doch wirkt das auch unfreiwillig komisch, weil es aussieht, als wollte er sich
unbemerkt eines Kaugummipapiers entledigen. Der Song „Lullaby", ohnehin für die Ewigkeit gemacht, wird an
diesem Abend zum heimlichen Hit und bringt nebenbei das zentrale „Gothic"-Motiv des Spinnenmanns zur
Sprache.

"Berlin First night

The Pornography set was the bit we were most looking forward to – but it was really weird to hear them open with
A Hundred Years, but there it was. They were going to go through with it… The song we were anticipating the
most was A Short Term Effect – it was unsurprisingly like the record and not the quicker, guitar heavy version
that accompanied the Fourteen Explicit Moments shows, but heavier and more impressive than we expected. It
would have been an excellent “surprise encore” song – the fact that we were expecting it took away from that,
but it was still a great performance. Siamese Twins was the best song of this set, very hard and loud and Cold was
very sedate and gothic. What was that face projected on the screen at the back during The Figurehead? Was it
the infamous “figurehead” itself, that creepy sculpture that Robert found in the mental asylum where they filmed
the Charlotte Sometimes video? Whatever, it made the song that bit more unsettling. Robert ended the set by
saying, “See you in seven years”. Arf!

Having heard the Disintegration songs on the Prayer Tour and a lot of them many times since then (hello Pictures
Of You again), we weren’t that bothered about this part the set, although it didn’t seem to be as intense as on the
Prayer Tour. Disintegration was fairly tame (although the sperm/baby images on the backdrop were a telling
comment on what the song is about), Fascination Street didn’t rock as hard as it usually does, but we liked the
spidery patterns on the backdrop during Lullaby. Robert went for it on Prayers For Rain (the longest big shout
yet?). Nice to hear Homesick again, perhaps the best bit of this set. The Same Deep Water As You is still
interminably dull. The advantage of knowing the set list in advance means you can duck out to the bar at strategic
moments, in the knowledge that you won’t miss anything essential. So we headed for the bar during Untitled,
before it got too busy. Could anyone work out the business with the “deposit” and the tokens at the bar? Cos we
couldn’t.

The Bloodflowers songs were the unsung heroes of these shows – maybe not as highly regarded as the other two
albums, but they seemed to sound much stronger this time around. Watching Me Fall was very hard, 39 rocked
out considerably and the title track featured Jason’s excellent drumming (nice and loud) and an interesting dual
guitar line from Robert and Perry. Robert fucked up the words to Maybe Someday and you could almost see him
thinking, “Well, there’s always tomorrow night…”

As for the encores – we were expecting If Only Tonight (unfortunately) and The Kiss (which was a similar
arrangement to the Hyde Park version, with loads more guitar heroics at the end), but the addition of Play For
Today, M and A Forest were unexpected and pleased the crowd (particularly Play For Today, with its singalong bit
that’s quite popular in Europe). Is it us, or is A Forest getting shorter and shorter as the years go by? Maybe the
group are as bored of hearing it as we are. We genuinely thought that this would be the one show where we
wouldn’t hear A Forest… never mind. And that “single version” is rather offensive, we have to say.

Afterwards, we couldn’t believe that the show had lasted that long. You wouldn’t get that in Britain these days.
They’d throw them off stage by 11.30. Worst punter: The man at the back who pissed on the floor directly in front
of him rather than making his way 100 yards out of the auditorium and into the toilets. This image still haunts us,
although it would have been a lot worse if we’d been stood in front of him…

Berlin second night

Surprisingly, we enjoyed this show more than the first – we thought we’d be a bit jaded come Tuesday, what with
our sore feet from standing for over four hours (plus two intensive days of sight-seeing). The audience had made
more of an effort this night with wall-to-wall black (again, something you don’t get in the UK much these days) and
you could easily imagine during the Disintegration set that you’d slipped back to Wembley Arena in 1989. Good
old Berlin. And a big shout to the Norwegian Cure Clan, who were out in force that night. Always a pleasure to
spot them.

The Pornography set was stronger in different places. A Short Term Effect was more enjoyable, harder and the
swirling op-art effect on the backdrop added to the atmosphere. (Let’s also give a big mention to the brief blast
of white light that happened during the line “static white sound”.) The Hanging Garden was better tonight,
although Siamese Twins was a bit weaker. The Figurehead was again stronger (that song seems much sadder
these days rather than aggressive as it was in 1982), but we were surprised at (and somewhat taken aback by) the
“funky” rhythms of A Strange Day. What happened there, then? Cold and Pornography were much tougher on the
second night, with the title track being much more vicious and noisy. Simon appeared to be taking on Peter Hook
at his own game on this night, strutting to the front of the stage and standing there as if to say, “Come on, then!”
The Italian party on the balcony with the sign that read, “We fight this sickness with The Cure” must have been
pleased.

The Disintegration set was fairly sturdy again, although there wasn’t a big shout on Prayers For Rain – these
shows must have really taken it out of them. Again, Bloodflowers came over really well, although Watching Me
Fall wasn’t as intense as the first night and Robert messed up the words to Maybe Someday again after getting
the first line right. There’s always post-production…

For a moment, we thought the encores were going to be the same as the night before (boo!) but thankfully, The
Cure did not fail us and pulled out something totally bonkers. We hadn’t seen the set list for Hamburg, so we
thought Robert was about to play Boys Don’t Cry, but after a bit of discussion with Simon he went into Grinding
Halt. This was totally brilliant and unexpected and a fitting end to the shows. Top nutter of the night: The guy who
cried openly during Play For Today – really howling with emotion – and causing much concern from the people
stood around him. Then when A Forest started, we genuinely thought he was about to have a nervous breakdown.
That’s how intense these shows were.

Finally, we agree with the guy who said the T-shirts were a disappointment – we got one of the Trilogy Shows
Ts before they sold out, but the organisers obviously underestimated the demand for the tour ones. The album
ones were nice, but a date would have made them even nicer. And The Tempodrom is rather a good venue. As
an amusing end to the weekend, the plane we flew back to the UK on was also carrying some members of the
film crew who were shooting the shows for the DVD and they appeared to be carrying boxes containing the
master tapes. They arrived in Britain safely, you’ll be pleased to hear. As did top cheesy British pop sensations
Liberty X who were also on our plane for some reason. Still, you can’t have everything. Robert ended by saying,
“See you in June” (we think) – will our bank balance stand it? Will our feet stand it? Yeah, probably."

"It's the second day that the two "Trilogy" shows are history and I still can't  believe they are already past! After
two months of pleasant anticipation and even counting the days and eventually hours these two nights outdid all
I dreamt of and it's still hard to put my feelings about this experience into words!

Time seemed to be flying at both nights and I enjoyed every single second and so did all of my friends. Reading
some of the reviews(Olivier) I can't believe there is still (real?) Cure- fans trying to find a reason to complain
about details! I am sure the overwhelming majority of fans went home after the concerts feeling deeply impressed
with the great performance The Cure delivered, happy having attended a realy special event and a bit sad having
to start waiting for seeing The Cure again!

I would like to say THANK YOU to The Cure for enriching my life for more than sixteen years and for two
wonderful nights! Hope to see you next year!"

"I just got back from Berlin with several thoughts on the second night. Only The Cure can outdo themselves and
that's what they did. Seeing as this would be their last chance to play live until next year, the band decided to
perform even longer than on the previous night. They did so while laughing (some fans from Italy sent thanks for
a legendary show this summer, and they had another banner that read "Smile Simon Please"). :D

Grinding Halt and Boys Don't Cry were added to a massive setlist. Excellent response from the crowd throughout.
They were agitated but fairly collected and they sang along to just about everything. The exceptions to good
behavior were when a fight almost broke out next to me; when a woman pushed a guy so hard that he nearly fell
over along with a few other people; and when someone in my vicinity farted during Siamese Twins.

Overall, it felt like the band was surprised by the reaction to the songs, and it really didn't matter which one was
played. Of course, knowing which songs would follow takes some of the mystery away, but that's not the point of
these shows. Plus, it must be nice for them to not have to hear what some obnoxious guy wants played.

Robert's fingers fluttered during the beginning of If Only Tonight... and then he scraped the pick down the chord
producing a breathtaking wail that resembled a violin's sound. It was both captivating and soothing, and nothing
like what would happen if you or I tried it.

The Kiss was played with even more emotion than on the 1st night. I noticed that Robert let out a breath of relief
at the end of it (he is human after all) and a contagious smile. Is there anything better than Simon shredding his
bass to start off The Kiss and then hearing Robert being possessed? This is now my favorite song to hear live
and I suppose I'm not alone. Everyone around me had their eyes rivetted to the guitar and wondered how he
makes it sound so magical. Some have said that The Kiss is the new A Forest, a chance for the band to improvise
and shine. Incidentally, they played A Forest again and Simon had the audience clapping in unison but with some
hesitation at the end that threw everyone off. It might have been on purpose.

At the end of Boys Don't Cry it seemed like the band didn't really want to leave the stage as they were pointing
to stuff and mumbling. Robert took one last look at the adoring fans with a mix of regret that the night had to end
and hope for next year. They are on top of their craft right now and they can do wrong, whatever musical direction
they explore.

People have commented that these concerts show the diversity of emotion in an album like Disintegration. Agreed.
I have to say that each of the songs in the trilogy deserved its spot. The Bloodflowers album is brilliant live and
I've developed an entirely new admiration for it. The DVDs are going to deliver this to many of those who couldn't
attend.

If there was one negative, it would be the t-shirts. Don't get me wrong, I think having a t-shirt of one of the trilogy
albums is very cool, but it would have been nice to include a brief mention on the back of the date and city like the
'triple cover' shirt did. If you're asking why I didn't just get that shirt, know that it sold out before the end of night
one's show. Somebody in charge must have slacked off while creating the catalog and then vastly underestimated
the demand.

It was my first visit to Berlin and I discovered a fine city, with friendly people and superior public transportation.

A final thanks to The Cure for a wonderful experience. Cheers, and I hope to see you next year!"

The Cure verbreiteten ihre Albträume live in Berlin

Berlin (OZ) Die Popwelt ist nicht gerade arm an skurrilen Gestalten. Insofern kann man sich kaum vorstellen, wo
Robert Smith besser hingehört hätte, als in diese Szene. Der 43-Jährige hat die bisherige Zeit denn auch ausgiebig
genutzt, um seine diversen Gefühlsaufwallungen, inklusive Neurosen, künstlerisch zu interpretieren. The Cure
könnte man deshalb vielleicht auch als sein Medium bezeichnen, statt nur als seine Band. Smith' Umgang mit
seinen Musikern hat jedenfalls nichts mit der oft beschworenen Legende „Jugendfreunde gründen eine Band“ zu
tun.

Das merkte man auch auf der Bühne während des Konzerts der Band am Montagabend im mit 4000 Besuchern
ausverkauften „Neuen Tempodrom“ in Berlin. Praktisch lief dort eine One-Man-Show mit exzellenter Begleitung
ab. Wobei Show eigentlich eine Übertreibung ist, denn Gitarrist und Sänger Robert Smith macht keinerlei
Mätzchen hinterm Mikrofon, sondern ist der ruhende Pol in einer noch ruhigeren Umgebung – was natürlich nicht
den Sound betrifft. Der schiebt sich wie ein Gewitter aus der Ferne langsam heran, wie angewurzelt pumpen die
Bässe und halten den Übermut, der durch die flirrenden Gitarren provoziert werden könnte, stets in Grenzen.

Dass es an diesem Abend besonders düster (und lang) werden würde, lag daran, dass The Cure ihre drei
erfolgreichsten Alben „Pornography“ (1982), „Disintegration“ (1989) und „Bloodflowers“ (2000) zu einer Trilogy
zusammenfassten und komplett spielten (parallel wurde eine DVD aufgezeichnet). Es wurde sozusagen eine
Dokumentation ihrer ganz schwarzen Periode. Heller als Grau wurde es bei Robert Smith jedenfalls nie.
Andererseits versteht es kaum ein Zweiter so wie er, das Elend der Welt in minimalistische Drei-Minuten-Songs
zu packen.

Dass es stellenweise doch noch bunt wurde, war allein der Lichtshow geschuldet. Ansonsten wanderten die
Musiker in abgrundtiefen Schluchten von Depression und Melancholie. Das allerdings im besten Soundgewand.
Nie klang Düsternis besser als bei „Lullaby“, „Pictures Of You“ oder „Watching Me Fall“. Nichts war mit
„Friday I'm In Love“. Die Party sollte zwar gute Laune, aber ja keine Fröhlichkeit verbreiten. Schließlich gelten
The Cure als die Pop-Könige der Finsternis.   Ein Teil des Publikums war dafür von sehr weit gekommen. Aus
Italien, Frankreich, Polen kamen sie, auch eine russische Schwarzkittel-Gruppe streifte durch den Saal. Als die
Show nach über vier Stunden zu Ende ging, war es lange nach Mitternacht und ein neuer trister Novembertag
angebrochen. Was kann es für einen wahren The Cure-Fan Schöneres geben.

GUNNAR LEUE

Klassizismus und Lüge

20 Jahre und 17 Sekunden: The Cure spielten ihre "Dark Trilogy" im Berliner Tempodrom

Jens Balzer

Dem bei älteren Popschaffenden bereits länger zu beobachtenden Hang zum Klassizismus und zur enthemmten
Werktreue haben The Cure mit ihren Berliner Konzerten nun gewissermaßen die Dornenkrone aufgesetzt. Brian
Wilson spielte uns bei seinem Auftritt im vergangenen Winter ja schon sein gesamtes "Pet Sounds"-Album in
akkurater Song-Reihenfolge und -Länge vor; David Bowie brachte bei seinem Konzert im September sein
"Low"-Album komplett zu Gehör. Robert Smith, der mit The Cure in Bälde sein 25-jähriges Bandjubiläum begeht,
war nun am Montag und Dienstag nur aus diesem einen Zweck nach Berlin gereist: um dort die drei seiner Ansicht
nach "düstersten" Alben der eigenen Bandgeschichte durchzuspielen; und zwar als in sich geschlossene Werke,
zwischen denen jeweils 20 Minuten Theaterpause eingelegt wurden.

Was für eine Idee - doch eine, die in ihrem finsteren Protestantismus, ihrer leidensfrohen Selbstüberantwortung
ans nicht leicht zu Ertragende andererseits auch wieder ganz gut zu The Cure und ihren Hörern passte.
Fast viereinhalb Stunden, Pausen und Zugaben eingerechnet, hat dieser in jeder Hinsicht erschöpfende Abend am
Ende gedauert; von den Cure-Hörern wurde er gleichwohl - meist Cure-Hörer-typisch mit geschlossenen Augen
wie abwesend lauschend, in kleinem Ausfallschritt sich vor und zurückwiegend - ergeben und enthusiastisch
gefeiert.

Ob sich aus den drei zeitlich und klanglich weit auseinander liegenden Schallplatten, die dabei zur Aufführung
gelangten - "Pornography" (1982), "Desintegration" (1989) und "Bloodflowers" (2000) - rückblickend tatsächlich
eine Trilogie mit innerem Zusammenhang bildet, steht freilich auf einem anderen Blatt. Und ob dies die
"düstersten" Alben sind, die wir von The Cure besitzen, sowieso. Wäre es wirklich darum gegangen, hätte man
"Pornography" zweifellos besser mit "Faith" und "Seventeen Seconds" kombiniert; die drei Zugaben, die die
Band ganz am Ende aus "Seventeen Seconds" gab, gehörten übrigens zu den mitreißendsten Momenten des
gesamten Konzerts.

Unzweifelhaft war eigentlich nur so viel: "Pornography" ist natürlich die düsterste, deprimierendste und
lebensfeindlichste Schallplatte, die The Cure aufgenommen haben; man könnte auch sagen: so düster,
deprimierend und lebensfeindlich hat davor oder danach ohnehin niemals irgendeine andere Schallplatte
geklungen, weder von The Cure noch von sonst irgendwem. 40 Minuten lang kreischt und heult Robert Smith
hier über Krieg, Tod, Schmutz und Verderben, während sich dazu ein wall of sound aus hämmernden Trommeln
und in den höchsten Frequenzbereichen herumsägenden Gitarren über den Hörer wälzt. In der Haltung, aber auch
im Klang ist "Pornography" das radikalste, in seinem Minimalismus erfindungsreichste Album, das The Cure
aufgenommen haben. Gerade auch in den scharf schmerzenden, hemmungslos übersteuerten Gitarren
unterscheidet es sich auf die markanteste Weise von den vorangehenden und den folgenden Cure-Alben, wo ja
eher ein in den Höhen gekappter und an den Kanten geschliffener Sound dominiert.

Gerade dieser Unterschied wurde im Konzert nun aber interessanterweise nivelliert. Bei der Aufführung von
"Pornography" wurde dessen Klangbild durchweg an jenes angepasst, das jüngere Cure-Hörer wohl ausschließlich
mit den Cure verbinden: also dieses elektrisch erzeugte Um-sich-selbst-Kreisen und Umstülpen des Gitarrentons,
mit dem man so gut melancholische Stimmungen hervorbringt.

Das störte mal weniger (wie bei dem Liebeskummerlied "Siamese Twins"), mal mehr: "Pornography", das
Titelstück der LP mit seinen rückwärts laufenden Echo-Loops und seinem breitbandverzerrten, fast schon
Industrial-artigen Gitarrendröhnen wurde im Konzert leider vollständig verläppert - fast klang es nur noch wie
eines der zahlreichen mittelmäßigen Stücke von der "Desintegration"-LP, die danach zur Aufführung gelangte.

Diese besitzt zwar konzeptgerecht einen gewissen melancholischen Grundton und einige der eingängigsten
Cure-Lieder; es gibt hier aber, wie man während dieses langen Konzertes besonders leidvoll erfuhr, leider auch
die längsten Längen und die langweiligsten Füller. Während der mittlere Teil des Konzert mithin der am wenigsten
interessante war, entfaltete das Schlussstück "Bloodflowers", das bisher letzte Album der Band aus dem
vorvergangenen Jahr, im Konzert ungeahnte Qualitäten. Der Rock-’n’-Roll-hafte Sound dieses Albums, der in
der Studioproduktion eher profillos und unangemessen wirkt, wurde von Smith weidlich in kleineren Soli und fast
schon bluesrockartigen Variationen ausgewalzt.

So stand dann, dramaturgisch gut passend, der lauteste und intensivste Teil auch am Ende dieses langen
musikhistorischen Abends - um den Preis freilich einer weitgehenden Umwertung des Historischen selbst.
Gerade jene Songs, die (wie auf "Bloodflowers" durchweg) eigentlich die resignierteste Grundstimmung tragen,
erhielten auf der Bühne den druckvollsten Sound - während die Wut und das teenage-angst-Aufbegehren, das aus
"Pornography" spricht, verschwanden. Man verstand, dass Smith auf diese Weise seine ungebrochene, scheinbar
im Alter noch stetig gewachsene Vitalität als musikalischer Erneuerer demonstrieren wollte - schade nur, dass
dies um den Preis einer völligen Umwertung seiner realen künstlerischen Erneuerungen geschah. Wie stets,
speiste sich auch dieser Klassizismus mithin aus einer historischen Lüge.

Stück für Stück

The Cure spielten mehr als vier Stunden im Tempodrom - und nahmen das Konzert für eine DVD auf

Von Peter E. Müller

Wollte sich im Tempodrom partout nicht fotografieren lassen: Robert Smith von The Cure beim Auftritt am
vergangenen Wochenende in Hamburg

Gibt es etwas Schöneres, als ein Konzert mit den klagenden Worten «It doesn't matter if we all die ...»
anzufangen? Mit dieser Zeile und dem Song «One Hundred Years» begann vor ziemlich genau 20 Jahren die
Cure-LP «Pornography». Nun steht das traurige Gebet am Beginn eines außergewöhnlichen und etwas
sonderbaren Auftritts im ausverkauften Tempodrom.

Die britischen Gothic-Existenzialisten um Frontstrubbelkopf Robert Smith haben sich viel vorgenommen. Ihre
drei düstersten Platten, «Pornography» von 1982, «Disintegration» von 1989 und «Bloodflowers» von 2000
wollen sie vorspielen. Komplett. Stück für Stück. Unterbrochen nur von zwei längeren Pausen. Mehr als vier
Stunden dauert das hehre Unternehmen, das am folgenden Abend noch einmal wiederholt wird. Der Anlass freilich
ist ein profaner: Im Tempodrom entsteht die DVD «Trilogy», ein Konzertmitschnitt der von diversen Kameras aus
allen nur erdenklichen Blickwinkeln eingefangen wird. Der seltsame Mix aus Zirkusgruft und Studio-High-Tech
drückt im Verlauf des Abends entsprechend auf die Stimmung.

Man erlebt keine Band, die gemeinsam mit ihrem Publikum unheimelige Atmosphären kreiert, sondern Musiker
bei der Arbeit. Ziemlich nüchtern. Alles ist aufwändig und perfekt. Der Sound, das Licht, die Videoprojektionen.
Hier bekommt der Fan noch was für sein Geld. Die Band trägt schwarz, was sonst? Bassist Simon Gallup, der
letzte Smith-Weggefährte der frühen Jahre, klopft und zupft die treibenden, von Drummer Jason Cooper
angestachelten Beats in die dicken Saiten. Roger O'Donnell breitet Keyboardflächen aus, auf denen die Gitarren
von Perry Bamonte und Robert Smith perlen. Und Smith weint sich in selten gehörter Perfektion in höchste
Höhen. Eigentlich alles prima.

Doch schon nach der ersten Pause zieht merklich Unruhe ein, zumal man nicht wirklich alle Songs der hochgradig
melancholischen CD «Disintegration» hören möchte. Erst mit «Bloodflowers» kommt wieder Leben ins
todessehnsüchtige Spiel. Das ist auch die einzige Platte, an deren Entstehung die Musiker auf der Bühne
tatsächlich alle beteiligt waren. Es geht Richtung Geisterstunde, und The Cure trumpft in der konsequent
mitilluminierten Konzertarena noch einmal richtig auf. Nach «Bloodflowers» ist der Job getan. Doch die Musiker
kehren noch ein viertes Mal auf die Bühne zurück. Nun sind die diversen Kameras auf Kränen und Schienen und
Schultern ausgeschaltet. Die Scheinwerfer zielen nur noch auf die Bühne. Der Pflicht folgt eine längere
Zugabenkür mit dem Klassiker «A Forest» als Höhepunkt. Die Band spielt lustvoll. Fast kommt es einem
so vor, als wolle sich The Cure damit auch ein bisschen für die routiniert abgespulte «Trilogy» entschuldigen.
Aber im nächsten Jahr erscheint ja die DVD - und da sieht dann alles wieder ganz anders aus.

" i was in Berlin on 12th ,it  was just like in heaven , after “boys don’t cry “he was crying like a child , he was
hesitating for a while because the applause was sooooo long and he didn’t know what do to , just saying “thank you
“ is not enough for him ,he screamed it 3 times , he was so happy and before he went out of the stage he was
walking through it, looking at the crowd and smiling upon the fans, it was so beautiful !!!!  THANK U Robert and
SEE ya next year !!!!!!!!!!!!!!!"