Review & Photography by Manny Manson for MPM
“Our music is just melodies and guitar, we’re like Big Country and U2….Only Better!” Ian Astbury 1985
The Cult, a British rock band with a penchant for blending post-punk, hard rock, and alternative influences, emerged as a prominent force in the music scene during the 1980s. Formed in 1983 in Bradford, West Yorkshire, the band underwent an initial incarnation as “Death Cult” before shortening their name to The Cult.
Starting out in 1983 as “The Southern Death Cult,” the band consisted of; Ian Astbury (Vocals), Barry Jepson (bass), Haq Nawaz ‘Aky’ Qureshi (Drums) and Dave ‘Buzz’ Burrows (Guitar), the band was soon revitalised after Astbury disbanded the band and reformed it as the “Death Cult,” this time the line up included; Astbury (vocals), Billy Duffy (guitar), Jaime Stewart (bass) and Raymond ‘Ray Mondo’ Taylor Smith (drums). This line up continued until another change was made in1994.
From this point, core of The Cult consists of just two founding members, Ian Astbury (vocals) and Billy Duffy (guitar). Their musical collaboration, rooted in their shared passion for rock and roll and a mystic aesthetic, laid the foundation for the band’s distinctive sound.
The Cult’s early success came with their third album, “Love” (1985), which featured hits like “She Sells Sanctuary” and “Rain.” These tracks showcased the band’s ability to marry Ian Astbury’s soulful and charismatic vocals with Billy Duffy’s iconic guitar riffs, creating a sound that resonated with both mainstream and alternative audiences.
The band’s exploration of various genres and willingness to evolve their sound marked their career. The 1987 album “Electric” took a more hard rock-oriented approach, featuring tracks like “Love Removal Machine,” while the move to America and the collaboration with the infamous ‘Bob Rock’ who engineered, “Sonic Temple” (1989) solidified their status with hits like “Fire Woman” and “Edie (Ciao Baby).”
The early ‘90s saw The Cult continue to experiment with their sound, incorporating elements of alternative and grunge music. The album “Ceremony” (1991) showcased this evolution, featuring tracks like “Wild Hearted Son.” However, by the mid-’90s, the band took a hiatus.
The Cult reunited in 1999, and another album quickly followed, releasing “Beyond Good and Evil” (2001), sadly, another brief hiatus followed , this time from 2002 until 2006, since reforming they have gone on to release four more albums, “Born Into This” (2007), “Choice of Weapon” (2012), “Hidden City” (2016) and “The Midnight Sun” (2022) and in doing so, thereby demonstrating their enduring relevance and commitment to evolving their musical identity.
In addition to their success in the studio, The Cult has built a reputation for powerful and dynamic live performances. Ian Astbury’s enigmatic stage presence and Billy Duffy’s masterful guitar work have made their concerts memorable experiences for fans worldwide.
The band’s song writing often explores themes of spirituality, love, and societal issues, with Ian Astbury’s lyrics contributing a poetic and reflective element to their music. His respect for the Native American people is evident in the band’s early works.
The Cult’s influence on the rock genre extends beyond their chart-topping hits; they are regarded as trailblazers who have seamlessly bridged the gap between alternative and hard rock. With a career now spanning four decades and a catalogue of critically acclaimed albums, The Cult remains a driving force in the evolution of rock music.
Their latest tour sees them reverting back to using their earlier, ‘Death Cult’, name, their tour poster featuring the words “The CULT presents DEATH CULT 8323”, (1983 – 2023, it’s a ‘40th Anniversary tour,’), kicking off in Belfast on November 6th, it then continues for 12 nights, climaxing at the Brixton Electric in London for two nights, 20-21 Nov.
Up first is “LiLi Refrain,” a musician based in Rome, Italy. She uses guitar, drums, vocals mixed in with synths and loopers to build tracks in real time, full of haunting sounds that have an element of a bygone era about them, she uses her voice as an extra instrument, the lyrics are other worldly and have no semantics. I suppose her attire and face paint help to reinforce that pagan ritualistic image that her music projects. She has been around since 2007 and to date has five studio albums; ‘Lili Refrain’ (2009), “9” (2009), “Kawax” (2013), “ULU” (2020) and “Mana” (2022). Sh e has toured with the mighty Heilung through 2022 into 2023.
A Lili Refrain live performance is on of being transported to an otherworldly realm, one where the boundaries of reality dissolve, and the audience is transported into a literal sonic dreamscape. A Lili Refrain takes to the stage she is shrouded in an ethereal mist as, adorned with enigmatic face paint, she slowly takes command of her sonic universe.
The journey begins with “Ichor” from the album “Mana,” (2022), a haunting introduction that sets the tone for the surreal experience that is about to unfold. Lili Refrain’s mastery of the looping pedal becomes immediately apparent, as layers of sound weave together, creating a mesmerizing tapestry.
As “Sangoma” ( Mana 2022), reverberates through the venue, the crowd is left in a state of bewilderment. Lili’s use of vocal sounds, devoid of traditional words, adds a strange, otherworldly but captivating dimension to the performance. The looping pedal becomes her sorcery, conjuring sonic spells that enrapture the audience in a trance.
“Mami Wata,” another enchanting composition from the album “Mana,” further deepens the sonic journey. The looping pedal becomes a portal through which Lili summons spectral melodies, each layer building upon the last, creating a sonic cathedral that resonates with the audience’s collective soul.
“Terra 2.0” (ULU 2020), unfolds like a cosmic ballet, with Lili Refrain manipulating time and space through her intricate loops. The crowd, now fully immersed in the surreal soundscape, responds with a mix of awe and reverence, unsure whether they are witnessing a performance or a mystical ritual.
The enigmatic journey continues with a rendition of “Nature Boy,” a track that transcends its earthly origins, from the earlier album “Kawax (2013)”. Lili’s vocal sounds, intertwined with the other instruments and looping pedal, create an otherworldly choir that seems to echo from distant galaxies. The crowd, caught in the sonic embrace, is transported to a dimension where the boundaries between artist and audience blur.
As the set draws to a close, Lili Refrain unleashes the sonic culmination of the evening, “Earthling.” (Mana 2022), The looping pedal becomes a conduit for her cosmic energies, and the crowd is left spellbound by the sonic alchemy taking place before them. Lili’s face paint seems to glow with an unearthly light as she orchestrates the final crescendo.
The set concludes, leaving the audience in a state of transcendence. Lili Refrain’s ethereal performance, marked by haunting sounds, both instrumental and vocal, and the mystical use of looping, has not just entertained but has transported the crowd to a place where the boundaries of reality are beautifully and bizarrely blurred. A stunning warm up set for tonight’s headliners. With Astbury’s love of the native American, Canadian cultures its obvious why Lili Refrain was chosen.
As the crew yet again, swiftly clear the stage, the buzz from the crowd has started to grow, fans are hurriedly trying to get a drink from the bar, deep with fans trying to do the same before the main act hits the stage.
On time in a smoke-filled Rock City, The Cult take the stage with an electrifying energy that sets the night ablaze. The air, thick with anticipation as the first chords of “83rd Dream” (Dreamtime 1984), resonated through the venue, signalling the beginning of a musical journey. The crowd drinks or not are on their toes, this is what they have come for, this is what they want, Astbury, Duffy, Tempesta and Jones… LIVE!
“Christians” (Brothers Grimm EP 1983), follows on, shaking the crowd to their core with its raw power. The ever-present smoke adding a mysterious ambiance, enhancing the visual experience. Ian Astbury’s voice cut through the haze, captivating the audience with each lyric. Billy Duffy’s guitar riffs wove seamlessly with Astbury’s vocals, creating a sonic tapestry that filled the venue.
As “Gods Zoo” (1983, later released on the Ghostdance EP ), and “Brothers Grimm” (1983 EP), reverberated through Rock City, the atmosphere intensifies. The crowd, immersed in the sonic waves, responded with fervent cheers and enthusiastic applause after each song. Astbury’s enigmatic stage presence and Duffy’s masterful guitar work fuel the connection between band and audience.
The tribal beats of “Ghost Dance” (1983 EP), resonated, invoking a collective rhythmic response from the crowd. The Cult cover, “Butterflies” ( Dreamtime 1984) is up next along with the reworked “A Flower In The Desert,” formally a Death Cult song from 1983 called ‘Flowers In The Forest’, showcasing the band’s versatility, drawing the audience into a trance-like state. “Resurrection Joe” (Dreamtime 1984), and “Horse Nation” (1983 EP) stirred the energy, amplifying the fervour within the venue to new heights.
“Go West (Crazy Spinning Circles)”( Dreamtime 1984), and “Hollow Man”(Love 1985), continue to build the momentum, setting the stage for a climactic moment. The atmosphere nearly reaching its peak during “Dreamtime,” (Dreamtime 1984), with the crowd collectively surrendering to the hypnotic rhythm. Astbury and Duffy’s onstage chemistry was obvious, creating a collaboration that elevated the performance to a spectacle for the hungry fans .
“Spiritwalker” (Dreamtime 1984), resonates with the crowd, leading into the set closer, “Rain.” (Love 1985). The haunting melody filling the air, and the venue, as one erupts as The Cult exit the stage, leaving the audience hungry for more.
The encore begins with “Moya,” released in 1982 on a 12 inch which also included “Fatman” and “The Girl.” It would later appear on a compilation album released in 1983 called “the Southern Death Cult”. This surprise inclusion thrilled long-time fans, and its pulsating beats marked a high point in the show. The climax of the night arrived with the legendary “She Sells Sanctuary,” (Love 1085). Duffy’s iconic guitar riff echoing through Rock City, igniting a frenzied response from the crowd. Astbury’s vocals soared, and the synergy between the band and the audience reached a fever pitch.
As the final notes of “She Sells Sanctuary” faded, the crowd are left on a natural “Gothic” High. The night concluded with The Cult delivering what is arguably their best-known song, from the album “Love,” leaving the fans in Rock City bathed in the afterglow of a spiritual performance, the collective buzz leaving the venue is one of euphoria, and nostalgia as the Death Cult have reminded their partisan following, just how damn good their live shows are.
I first saw The Cult in the early 80’s in Leicester’s, DeMontfort Hall, on the “Love” tour. It was a simple stripped back set from memory, but it has remained in my top three gigs of all time. I often refer to it even today, tonight has cemented that memory even more.
As we step out into the cold November night the evening still reverberating in our ears, we happily go about our way home, with a smile and a whispered song on our lips.. Yes, another great school night away from homework ..
Live Music doesn’t get any better
