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Gig Review : THE CULT 8424 UK Tour The De Montfort Hall, Leicester

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Review & Photography by Manny Manson for MPM

It felt like a déjà vu moment, standing once again in the historic De Montfort Hall, Leicester, for the opening night of ‘The Cult’s’ 8424 UK Tour.

The very same venue where I saw them in 1985 during their iconic ‘LOVE’ tour, this night was filled with a potent mixture of nostalgia and anticipation. Back then, the band was on the rise, and tonight, four decades later, they return as rock veterans, armed with a setlist that will no doubt span their remarkable career.

The band emerged from the post-punk and gothic scenes of the early ’80s, ‘The Cult’ evolving from their raw beginnings in ‘Southern Death Cult’ and ‘Death Cult’ to become one of the definitive British rock bands of the era. Albums like ‘Love’ (1985), ‘Electric’ (1987), and ‘Sonic Temple’ (1989) granted them their place in rock history, combining psychedelic mysticism, hard rock swagger, and arena-sized choruses. Now, in 2024, ‘The Cult’ stands as a band that has not only survived the decades but thrived, continuing to release new music and tour with the same energy and commitment as ever, to play in sold-out venues globally.

But before we get to the main event, The Cult had laid on a little surprise by way of Jonathan Hultén who opened the night with a performance that was both hauntingly beautiful and unlike anything you’d expect from a metal crowd. His presence on stage was almost ghost-like, quiet and brooding as if he’d drifted in from another world entirely. The colourful curtain hide, seemingly draped over, but actually hiding The Cult’s drum kit, like some ancient igloo, stood in contrast to Hultén’s minimal setup, bathed in blue downlighters the set looked eerily cold.

For those unfamiliar with Hultén, he used to be the guitarist for Swedish death metal band ‘Tribulation’. But his solo work takes a very different route, blending folk, gothic, and ambient sounds. His debut album, ‘Chants from Another Place’ (2020), is a collection of deeply personal, acoustic-driven songs. He’s clearly influenced by artists like Nick Cave and the moody, atmospheric work of Dead Can Dance, but what he does is completely his own.

He started with “The Road”, a track from his 2020 album. His guitar rang out, slow and soft, while his voice floated over the crowd like a whisper. It was the kind of song that pulls you in without needing any big moments, just simple, fragile melodies. Hultén’s slow, deliberate movements on stage, almost like a dancer in slow motion, matching the mood perfectly. The crowd responded well, giving him a solid round of applause after the first song, even though the room was still warming up.

Next came “A Dance In The Road”, from his 2018 EP The Dark Night of the Soul. This one had a darker feel to it, more like a march than a dance. His guitar playing was delicate but full of tension as if something was about to break. He moved gracefully across the stage, his slow, theatrical movements adding to the mood. By this point, the crowd was paying attention, and when the song ended, there was an even bigger response.

“…And The Pillars Tremble”, another from his debut album, shifted the vibe again. This song was heavier, and darker, with a sense of looming dread. The notes felt like they hung in the air a little longer, and Hultén’s voice had a bit more weight behind it. The crowd was hooked now, and you could feel it as they clapped and cheered louder after this one.

“The Roses”, from his 2018 EP, brought a moment of beauty and sadness to the set. The gentle picking of his guitar felt fragile, like something you didn’t want to break, while his voice carried a soft, mournful tone. His movements, his arms outstretched like he was offering something to the crowd, once again fit the song’s delicate feel. The audience stood or sat quietly, almost holding their breath, until the final note fell, and the applause that followed was warm and appreciative.

“Chrysalis of Night” another from his debut album, ‘Chants from Another Place’ was a real highlight. The song has a haunting beauty, and Hultén played it with such focus, it was hard to take your eyes off him. The guitar keynotes repeated like a mantra, drawing everyone in deeper. The crowd, now completely absorbed, took a moment before bursting into applause as the last notes faded.

With “Where Devils Weep”, he slowed things down again, not that anything he’d played was breakneck, taking us on a darker, more reflective journey. The sharp strums of his guitar echoed around the hall, while his voice, soft but filled with emotion, felt like it was telling a sad, old story. The crowd, seemingly hanging on every word, cheered him on with another solid ovation as the song ended.

He closed the set with “Nightly Sun”, a fitting end to a deeply emotional performance. The song’s slow, aching melody felt like the perfect goodbye. Hultén’s voice, gentle but powerful, soared through the hall. As the final note lingered in the air, the crowd gave him their loudest cheer of the night, fully embracing the strange and beautiful world he had brought them into.

Jonathan Hultén’s set was captivating from start to finish. It wasn’t the kind of performance you’d expect at a rock gig, but it worked, pulling the crowd into his mysterious, moody universe. His haunting songs and slow, graceful movements made you feel like you were part of something special, and by the time he left the stage, he had won the audience over completely.

It was the perfect opener for The Cult; It was very shamanistic but also very cathartic, this was going to be another epic night. As Hultén glided from the stage, the crew was quickly on it, sorting the main turns gear in the 30-minute window given.

The job was done, and now a wait as the band were fashionably 20 minutes late.

With the set a lot more elaborate than the single bar of spots from 1985, the house lights dim and the cheering starts, the opening night kicks off with a surprising but welcome choice, “In the Clouds.” As Billy Duffy’s shimmering guitar riff fills the hall, the atmosphere in the crowd shifts from one of buzzing anticipation to a new level, one of pure excitement.

The song, originally from their 1996 ‘High Octane Cult’ compilation, is a hidden gem in the band’s discography, it blends the sweeping choruses they’re renowned for with a modern alt-rock edge. ‘Ian Astbury’, as always, commands the stage, like only he can, from the get-go, and ‘Billy Duffy’s’ guitar rings out bright, like a clarion call to arms. The lyrics are about transcending the ordinary, and the audience, seemingly, has immediately tapped into that soaring energy.

‘‘Rise’’ follows, a track from their darker, heavier 2001 album ‘Beyond Good and Evil’. The grinding riff and thundering drums hit hard, Astbury’s vocals were raw and defiant as he delivered the song’s central message: to rise above adversity. The fans, many still clad in the band’s classic leather-jacketed, biker-goth aesthetic, responded in kind, fists pumping, as they bounced along, in time with the driving beat.

The energy in the room hits overload as the band drops “Wild Flower” into the set. This is a swaggering, stripped-down rock anthem from the 1987, ‘Electric’ album, the one that marked ‘The Cult’s’ transition to a heavier sound under the guidance of producer ‘Rick Rubin’. The almost primal stomp of the drums and Duffy’s searing guitar riff have the entire venue seemingly bouncing to a new postcode. The lyrics are a celebration of untamed love and lust and have the hardcore in the crowd shouting out every word back at the beaming Astbury.

“Star” came next, and with it the band brought a more polished, alternative rock sound from this 1994 self-titled album. It’s a song about fame, self-identity, and existential yearning, and in this live setting, its explosive chorus has the crowd light in their loafers once again. Astbury’s vocal delivery was almost conversational during the verses, before launching into full force snarl on the chorus, while Duffy’s guitar flamboyantly creates a shimmering wall of the band’s classic sound.

“The Witch’’, A track cut from their ‘Pure Cult’ (1993) compilation, sees the band go off in a different direction as they dive into their more occult and tribal influences. With its hypnotic rhythm and darker lyrical content, the track brings an air of menace to the set. The pounding beat and Astbury’s chants feel almost shamanistic, sending ripples throughout the audience, who are now swaying in time, their heads nodding as one to the spellbinding groove now being cast from the stage before the set is punctuated with a newer song from their 2022 album ‘Under the Midnight Sun’, “Mirror” is a great example of ‘The Cult’s’ continued evolution.

The song is reflective, both lyrically and sonically, with Astbury contemplating identity and self-perception. The live version has an almost Zen-like quality. Duffy’s chiming guitar is weaving ethereal layers over a steady, pulsing beat provided by the rest of the band. The crowd, seemingly intrigued, nod and sway along once again, as if in a trance-like state. Something that Astbury picks up on and tells everyone to hang and enjoy themselves: it’s a rock concert.

Next up we have another track from ‘Beyond Good and Evil’ (2001), “War (The Process)” explodes full of fury and precision. This song is a relentless critique of societal and personal conflict, and live, it seemingly carries even more weight. Astbury, on his knees, shouts “this one is going ito hit hard”. The endless, industrial-like rhythm and Duffy’s razor-sharp guitar lines push the energy in the hall to its limits. The crowd, especially those closer to the stage, are fully invested in their hero, swept up in the chaos, their heads nodding hard, eyes closed, their hands raised showing the now der rigour horns, of rebellion.

One of my favourites is next, “Resurrection Joe” this, again, takes us all back to ‘The Cult’s’ early days, with its tribal drumming and psychedelic overtones. This track, originally released as a standalone single in 1984, still sounds fresh, its looping groove and hypnotic lyrics evoking the band’s gothic roots. Before it starts Astbury tells us of an incident in ODDBINs where Nigel Preston ended up being arrested minutes before the show.

The crowd’s reaction is predictable, especially from the older fans, many of whom, like me, had likely been there when the song first came out. Once again the crowd are told they’re to tense, it’s a family show, relax and enjoy.

With a slight change in energy, the band launched into “Edie (Ciao Baby), from 1989’s Sonic Temple.” This ballad has Astbury and Duffy seated and is a tribute to ‘Edie Sedgwick’, it’s one of the most emotional tracks in ‘The Cult’s’ catalogue, and tonight it resonates deeply. Astbury’s vocals are soulful and evocative, while Duffy’s guitar lines shimmer with an ethereal, melancholy beauty. The crowd, once again, respond in kind, singing along with worshipful admiration.

Another sonic blast from ‘Sonic Temple’ (1989), slams into the faces beaming up at the stage. “Sweet Soul Sister” carries the swagger and attitude that defines ‘The Cult’ at its peak. This track is an ode to the bohemian, free-spirited muse. The chorus soars over the, now, rebelliously spirited crowd, with everyone chanting the lyrics back at the band, the thundering, driving beat keeping the energy levels high. And then a leap forward in the timeline, again, to “Lucifer”.

”These guys are loose, luce Lucifer” cry’s Astbury pointing to an area of fans leaping about. This is another example of the band’s sonic evolution, with its darker sound, adding a more modern edge to the set. From their 2012 album ‘Choice of Weapon’, the song blends apocalyptic themes with heavier, grinding guitar work. This live version is particularly intense, with Duffy’s riffage creating an ominous atmosphere, his guitar upright like he’s playing a mutated cello. Astbury’s vocals seem more guttural and aggressive, matching the song’s themes of destruction and rebirth. The crowd loved this change in tempo, once again, in the front rows, the heads banged in sync with the song’s driving rhythm.

‘Sonic Temple’, 1989, has got to be one of the stand-out albums in the catalogue, and as the opening riff of “Fire Woman” slapped everyone’s face like a duellist’s glove, the entire venue erupts. This is one of ‘The Cult’s’ most iconic songs, and an undeniable highlight of the night. Astbury’s voice is as powerful as ever, and the crowd, seemed to hit a new level of adulation, shouting the lyrics back with abandon. The song’s imagery of a dangerous femme fatale burns brightly, and Duffy’s guitar solo creates an incendiary moment that has the audience jumping around like cats on a hot tin roof.

Another nod to 1985’s ‘Love’ came with “Rain,” a song that’s both ethereal and commanding. The crowd, already energised, took it up a notch as the chiming intro gave way to Astbury’s mystical vocals. The song’s steady, opening tribal beat created an almost trance-like effect, and you could see people closing their eyes, swaying along to the almost hypnotic groove. It was a perfect mid-set track, balancing the raw rock energy with something more spiritual, so typical of a timeless “Cult” classic.

Once again, we now return to their earliest roots, 1984’s ‘Dreamtime’ and the mighty “Spiritwalker.” The 1234 count in Yanks the crowd on a journey into the mystical and the primal. The tribal drums and chanting vocals transport the audience back to ‘The Cult’s’ formative years. Astbury seemed particularly in tune with the crowd during this one, his voice rising above the beat as he shouts, “Olay olay there you fucking are.. Sexy time now the room is lit”, referring to the atmosphere that has gone through the roof at last. He continues in a way that feels almost shamanistic once again. This one sets up the final song of the set, which they closed with a bang, “you gotta work this one,” shouts Astbury as he catches yet another tambourine thrown to him from the wings.

Love Removal Machine”, from 1987’s ‘Electric’, is delivered with all the force of a runaway freight train. The hard-edged, bluesy riff and Astbury’s snarl make it a perfect climax to the set. The crowd, already at fever pitch, erupt into a full-scale frenzy, the entire hall is jumping to this song’s infectious groove. They exit the stage, and the cheering and whistling start and don’t stop until they eventually return. A fan had sent Astbury a card which he was overjoyed with; he has a signed poster for her to pick up at the merch desk after the show, he tells her.

For the encore, ‘The Cult’ start with “Brother Wolf, Sister Moon,” a hauntingly beautiful track from ‘Love’ (1985). An almost reverent atmosphere has descended on the crowd as the lights illuminate the stage. There are no fancy spots for this song, with its delicate acoustic opening and dreamy, ethereal atmosphere, is a stark contrast to the heavier material played earlier tonight, but it shows the songwriting abilities of ‘The Cult’. Astbury’s vocals are tender and haunting, delivering lyrics that speak to spiritual longing and strong connections with nature. The audience swayed and bounced gently as they sang along softly. ‘Billy Duffy’s guitar lines shimmered like moonlight, creating a serene, almost otherworldly atmosphere. If there was any doubt, this was indeed proof that ‘The Cult’s music can reach into your very soul.

Then the heat was turned up to a ‘Spinal Tap’, gas mark 11, the finale to the night was one that everyone, myself included, was waiting for, the epic “She Sells Sanctuary.” From 1985’s ‘Love’ album. The unmistakable opening guitar riff hits like a screaming chainsaw, and the crowd, again predictably, erupts into joyous pandemonium. This song is the band’s crown jewel, the perfect fusion of gothic rock, psychedelic mysticism, and anthemic power.

The very walls of the De Montfort Hall seemed to pulse with energy as the crowd, young and old, unite in a single voice to sing along to Astbury’s cryptic, uplifting lyrics. Duffy’s guitar work is transcendent, each note carving through the venue like a hot knife through butter, while Astbury prowls the stage, his voice full of the song’s shifting dynamics. The atmosphere IS electric, with fans seemingly osing themselves in the groove, those seated are on their feet, spinning, jumping, and shouting out the iconic chorus: “The fire in your eyes keeps me alive!” this was a celebration of 40years of Astbury’s and Duffy’s brilliance.

As “She Sells Sanctuary” fades into the night, there’s a sense of fulfilment in the air. ‘The Cult’ have delivered a performance that was a spiritual experience, it echoed their journey from their post-punk origins in the late 70’s and early 80’s, to their now status as rock legends. The setlist balanced the fan favourites, the classic anthems with newer material, it highlighted the band’s evolution while keeping their essential core essence intact.

The crowd, some clad in faded ‘tight’ leather jackets from the ‘Love’ tour, others wearing freshly printed band merch highlighted ‘The Cult’s’ multigenerational appeal. They were bouncing near the front, but just as many fans stood transfixed, letting the music wash over them like a ritual. Something that Astbury picked up on and wanted more from them.

For those of us who had been there in 1985, it was a reminder of the band’s timeless energy and mystique. For the younger fans, it was an introduction to a band that has always walked the line between the raw and the ethereal.

Leaving De Montfort Hall, the echoes of “Sanctuary” still lingering in the cool October air, it was clear that ‘The Cult’, after all these years, still knew how to take an audience on a journey, to the clouds, the moon, and back down to the fire in their soul with their unique brand of rock ‘n’ roll. EXCELLENT indeed.

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