the cure tour nz

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The Underground Presents: The Cure

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After the success of their first ‘Cure’ show earlier this year and recent tour of NZ, Nelson based band The Underground return home to present a full show of the best music from one of the most iconic bands of all time at The Nelson Centre of Musical Arts.

With a full stage and light production, you will be taken on a journey through the history of The Cure’s biggest hits and hard fan favourites.

Their previous Nelson show sold out weeks in advance so get in quick for this one.

Tickets on sale now!

November 30

Nelson & suburbs

Nelson Centre of Musical Arts 48 Nile Street, Nelson, New Zealand

Tickets, Bookings and Entry

Tickets from NCMA ph. 03 548 9477.

Ph. 03 548 9477 [email protected]

Additional Info

Official Website

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The Cure Announce One New Zealand Show

It's the news that all fans of The Cure have been waiting for, the iconic English group are returning to New Zealand. The one-off show will be the first time The Cure have graced these shores since 2007, when a petition lured Robert Smith and Co over for a performance at Vector Arena - the same venue they will be playing in July. The announcement comes on the heels of yesterday's news that the band will be headlining Australia's  Splendour In The Grass festival , but also comes as part of an epic tour schedule they have planned for 2016, which includes 26 dates around North America. The show on these shores will see the influential outfit perform 37 years of Cure songs, mixing hits, rarities, favourites, and as yet unreleased tracks. Here are the details so far...

The Cure Thursday 21st July, Vector Arena, Auckland

See below for ticketing information, and enjoy some Cure classics...

Here's 'Close To Me' from their 1985 album The Head On The Door ...

Here's 'Gone!' from 1996's Wild Mood Swings ...

And here they are performing 'Friday I'm In Love' on UK television recently...

Tickets on sale at midday, Friday, April 22. Presales for Spark customers (Monday, April 18, 10am) and Live Nation members (Wednesday, April 20, midday).

For complete tour and ticketing details, visit: www.livenation.co.nz

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1981-08-03 Wellington - Clyde Quay School (New Zealand)  

• Blast From The Arse - The Cure (Third Time Lucky) (@ witchdoctor.co.nz)
• History made: The Cure, Wellington (@ nzherald.co.nz)
• Flashback: Fascination St - The Cure jam and party with Wellington's post-punks (@ stuff.co.nz)

• upthepunks.co.nz about the event

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Concert review: The Cure perform 'wild night of mood swings'

The Cure perform at the Vector Arena. Photo / Michael Craig

The Cure shambled onstage with little fanfare. The bright lights dimmed, the smoke machine puffed and then there they were, drowning Vector Arena in the melancholic and measured majesty of Plainsong .

An odd opening song choice, perhaps, being neither hyped nor urgent. But it's unrivalled grandeur seemed fittingly appropriate and set a suitably epic atmosphere for the almost three hours of music to follow.

It would prove to be a night of wild mood swings, the band leading us through a setlist that switched from frenzied urgency to delirious pop without missing a beat.

A lively rendition of Pictures of You saw bassist Simon Gallup displaying his punk heritage, prowling the stage and giving his amp the odd kick for good measure. In contrast, synth player Roger O'Donnell was as still and icy as the all enveloping riff he played on Closedown .

It was hopeful to think the band might continue with a full playthrough of Disintegration . Instead they veered into A Night Like This, which gave guitar maestro Reeves Gabrels his first chance to let loose with a squawking and ferocious solo.

Things got bouncy with Push and In Between Days before Robert Smith's first bit of banter.

"It's been ages since we played this song..." he teased, "Only on Fridays. But that's... all behind us."

I'm not entirely sure what he meant by that. I'm not entirely sure he knew. But Friday I'm In Love - the most divisive of Cure songs - absolutely killed with its infectious joy.

It was immediately followed by Catch , one of the prettiest songs Smith ever wrote.

But really, there were too many highlights to register. With recognisable radio hits like Just Like Heaven, Close To Me and Lullaby nestling up beside deep obscurities like Burn from The Crow soundtrack and Wrong Number , a song that only appears on the singles compilation Galore .

But the swirling aggressive guitars of From the Edge of the Deep Green Sea , the indie dance pop of The Walk and the motorik claustrophobia of A Forest would have to be the standouts in a set bursting with them.

What impresses most is the intensity of The Cure's performance. They don't sound like old rock and roll royalty slickly running through the hits. Instead, they remain urgent and vital.

With 13 records to choose from and a varied and diverse fanbase that includes die hards and pop casuals, the band did an admirable job of the impossible; keeping everybody happy.

"We don't come here often," Smith mumbled as way of warning that a run of crowd pleasers was drawing to a close. "So this is a selection of songs. If you don't know one song, you'll know the next one. Or the one after that."

There were four encores and almost three hours of intense performance, but it wasn't nearly enough. But as the song goes, there's never enough.

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• Just Like Heaven
• Kiss Me, Kiss Me, Kiss Me · 1987
• Boys Don't Cry
• The Cure: Greatest Hits · 1979
• Close to Me
• The Cure: Greatest Hits · 1985
• Friday I'm In Love
• Wish · 1992
• Disintegration (Deluxe Edition) · 1989
• Pictures of You (Remastered)
• Seventeen Seconds (Deluxe Edition) · 1980
• Friday I'm In Love (Remastered 2022)
• Wish (30th Anniversary Edition) · 1984
• In Between Days
• The Head On the Door · 1985
• The Lovecats
• The Cure: Greatest Hits · 1983
• Disintegration (Remastered) · 1989
• Why Can't I Be You?
• The Cure: Greatest Hits · 1989

Essential Albums

The Head on the Door represented The Cure’s first big breakthrough: buoyed by bona fide pop melodies, the 1985 album marked a definitive break with the claustrophobic intensity of the goth icons’ early-’80s run. Four years later, Disintegration would enlarge their vision to stadium-sized proportions, confirming The Cure’s status as alt-rock titans. Where Disintegration’s predecessor, 1987’s giddy Kiss Me Kiss Me Kiss Me, swung wildly between opposing feelings, Disintegration is a deep dive into a singular mood: dreamy, wistful and deeply melancholy, imbued with all the drama of standing at the railing of a rain-slicked ship as it sails away and gazing at the lover left behind. Disintegration fully sharpened The Cure’s pop instincts: “Pictures of You”, “Lovesong” and “Fascination Street” are as immediate and indelible as anything in their catalogue. But the band have tempered their emotions, so that even the major-key tonalities of a track like “Plainsong” aren’t as blindingly bright as on the previous album; they’re a deeper, richer hue, like beams of sunlight penetrating aquamarine depths. The textures are remarkably lush: a sumptuous mix of guitars and synths so swirled together that it’s tough to say where one instrument ends and the next begins. That oceanic mood carries through in the way songs flow from one to another: the churning chords of “Last Dance” give way to the relative calm of “Lullaby”, and in the back half, the stretch from “Fascination Street” through “Homesick” comprises a kind of suite. There’s an echo of Pornography’s bleakness here, but this time, the descent into despair is strangely welcoming—it’s as though Robert Smith and his bandmates had discovered that on the coldest nights, wrapping up in one’s own loneliness is the only way to stay warm.

Music Videos

Artist playlists.

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Singles & EPs

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On The Cure's 1985 Head on the Door LP.

The hosts talk art and pics.

About The Cure

Few artists have made bleakness sound quite as exquisite as Robert Smith and his cohort—and fewer still have pivoted so easily from the depths of dejection to such weightless, cotton-candied bliss. If all you knew were songs like “Friday I’m in Love”, you might never guess that The Cure had once been kohl-eyed denizens of the shadowiest bat caves in the UK. After channelling guitar-forward post-punk on 1979’s Three Imaginary Boys, they reinvented themselves as gothic spelunkers with Seventeen Seconds, Faith and Pornography—an increasingly claustrophobic trilogy, stretching from 1980 until 1982, that invented progressively darker shades of black with every release. Having perfected the art of despair, The Cure pivoted to pop, after their own fashion. They explored both gloomy psychedelia and jangling acoustic guitars on 1985’s The Head on the Door, winning a new wave of stateside fans with “In Between Days” and “Close to Me” and blowing open the boundaries of what was becoming known as alternative rock. By 1987’s Kiss Me, Kiss Me, Kiss Me and “Just Like Heaven”, they sounded genuinely, deliriously happy—something inconceivable just a few years before. Yet there was still plenty of angst palpable in their glowering anthems and wall-of-sound production, as well as Smith’s deeply vulnerable, often wounded yelp. The band’s opposing tendencies came to a head on 1989’s Disintegration, The Cure’s masterpiece: The highs (like “Lovesong”) had never sounded more unburdened, nor the lows (“The Same Deep Water as You”) more hopeless. Their widescreen sound filled stadiums; it also influenced a generation of emo bands intent upon fusing visceral sonic power with fathomless psychological depth. In the decades since, The Cure have kept tending their patch of turf, where the intermingling of storm clouds and sunshine yields a singular harvest: intense, expressive and deliciously dramatic.

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The Cure’s Roger O’Donnell reveals diagnosis of ‘very rare and aggressive’ cancer

The Cure keyboardist Roger O’Donnell has revealed his secret year-long health battle after ignoring symptoms for months.

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Roger O’Donnell, the keyboardist for The Cure, announced he was diagnosed with cancer last year.

The 68-year-old musician took to social media to share the details over the weekend.

“In September last year I was diagnosed with a very rare and aggressive form of lymphoma. I had ignored the symptoms for a few months but finally went for a scan and after surgery the result of the biopsy was devastating,” O’Donnell wrote on Instagram .

He continued by saying he’s completed 11 months of treatment “under some of the finest specialists in the world,” including immunotherapy and radiotherapy.

“Cancer CAN be beaten but if you are diagnosed early enough you stand a way better chance, so all I have to say is go GET TESTED, if you have the faintest thought you may have symptoms go and get checked out,” he encouraged, highlighting earlier in the post that September is Blood Cancer Awareness Month.

O’Donnell added, “Lastly if you know someone who is ill or suffering talk to them, every single word helps, believe me I know. I would also like to thank my Drs, rockstars everyone of them, all the nurses and technicians, my friends, family and my partner Mimi, sometimes its harder to be on the other side of this…..”

The lengthy caption accompanied a black and white photo of O’Donnell and his partner, Mimi.

According to the Mayo Clinic , lymphoma is a type of cancer that impacts the lymphatic system, the “part of the body’s germ-fighting and disease-fighting immune system.”

Symptoms can include fever, night sweats, fatigue, itchy skin, painless swelling of lymph nodes, weight loss and more.

Treatments vary but often use chemotherapy, immunotherapy and radiotherapy, the last two of which O’Donnell mentioned.

He also shared a second post with black and white photos, showcasing his shorter hair, writing, “The hair isn’t out of choice hahahah,” and crediting Mimi with the photo.

Last year, The Cure announced that O’Donnell would not be with the band on the Latin America leg of its tour.

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“We are sure you will join with us in wishing him the speediest of recoveries,” they wrote in their announcement on X.

O’Donnell joined the band, known for its goth look and new wave sound, in 1987. He briefly left the band in 1990 and then again in 1995 before joining them again in 2011.

This article originally appeared in Fox News and was reproduced with permission

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SOUTH AMERICAN 2023 SHOWS ANNOUNCED

THE CURE ARE RETURNING TO SOUTH AMERICA AT THE END OF 2023 TO HEADLINE FOUR PRIMAVERA SOUND FESTIVALS IN ARGENTINA, BRAZIL, COLOMBIA AND PARAGUAY.

THE DATES WILL TAKE PLACE IN NOVEMBER AND DECEMBER AND WILL BE PART OF A WIDER SOUTH AMERICAN TOUR WHICH ALSO INCLUDES A FEW ADDITIONAL SHOWS TO BE ANNOUNCED.

ASUNCIÓN GENERAL SALE JUNE 26TH. SÃO PAULO PRE-SALE: JUNE 27TH AT 12PM (LOCAL) WITH GENERAL SALE JUNE 30TH. BOGOTÁ PRE-SALE: JUNE 30TH AT 9AM (LOCAL) WITH GENERAL SALE JULY 5TH. EARLY BIRD TICKETS FOR BUENOS AIRES ARE ON SALE NOW AT ENIGMATICKETS.COM

FULL LIST OF SOUTH AMERICAN DATES

25-26 NOV 2023 –  PRIMAVERA SOUND 2023 BUENOS AIRES , PARQUE SARMIENTO, ARGENTINA 02-03 DEC 2023 –  PRIMAVERA SOUND 2023SÃO PAULO , AUTÓDROMO DE INTERLAGOS, BRAZIL 07 DEC 2023 –  PRIMAVERA DAY SOUND ASUNCIÓN , PARQUE OLÍMPICO, PARAGUAY 10 DEC 2023 –  PRIMAVERA SOUND 2023 BOGOTÁ , PARQUE METROPOLITANO SIMÓN BOLÍVAR, COLOMBIA

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