This new one-day festival aims to bring the essence of California’s four-year-old Cruel World festival to the UK. The original event is known for its strong focus on classic British post-punk and goth bands, which could lead some to think of this endeavor as “bringing coals to Newcastle.”
The early 80s proved to be an exceptionally rich period in British music, making it bittersweet to see many revered artists now viewed through a nostalgia lens. However, the diverse lineup makes it difficult to draw a single conclusion; some artists have clearly aged more gracefully than others.
Manchester’s iconic cult band, the Chameleons, still exude their signature angst and integrity, particularly with their haunting track “Soul In Isolation.” Likewise, the Psychedelic Furs retain their glamorous yet fragile vibe, with lead singer Richard Butler channeling a rock ‘n’ roll, Peter O’Toole energy.
John Lydon, with his mohawk and oversized blue checkered jacket, leads Public Image Ltd. onto the stage, humorously declaring, “If this is terrible, it’s your fault!” He quickly adds, acknowledging his own state, “My voice is a bit squeaky from a three-week bender… in 12 hours.” Thankfully, PiL delivers a stellar performance, their pulsating dub rhythms thrilling the audience. Lydon closes with a cheeky remark about his former bandmates: “I apologize for nothing… except the karaoke Sex Pistols!”
Johnny Marr is determined to highlight the beauty of Smiths classics like “Panic,” “This Charming Man,” and “How Soon Is Now?”—shifting focus away from Morrissey’s controversial image. Meanwhile, Billy Idol embraces his punk-pop persona, playfully tossing Frisbees to the audience during his amusing new anthem “Too Much Fun.”
However, technical difficulties plague the second stage. Happy Mondays have to cut their performance short—thankfully, considering their lackluster showing—while both The Damned and the Jesus and Mary Chain face similar interruptions, leaving Jim Reid to humorously apologize for their brief set, a nod to their earlier days of delivering quick performances.
The The opens with “Sweet Bird of Truth,” a poignant critique of American bombings in the Middle East. Their song “Armageddon Days Are Here (Again)” carries similar thematic weight but garners more enthusiastic reactions during performances of their nostalgic hits “This is The Day” and “Uncertain Smile.”
While delays affect many acts, Kraftwerk effortlessly appears precisely on time, showcasing their legendary electronic prowess. Their performance, which feels timeless, resonates like sacred music, seamlessly blending hits from “Autobahn” to “The Model” against stunning 3D visuals. Even with songs approaching half a century in age, they remain remarkably fresh, proving that their sound is indeed everlasting.
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