TVD Live Shots: Cruel World Festival at the Rose Bowl, 5/17

On Saturday afternoon, the Cruel World Festival returned to Brookside at the Rose Bowl, bringing together an extraordinary mix of legends for a rainy day of dark, nostalgic delight. Headliners New Order, Nick Cave & the Bad Seeds, and The Go-Go’s were what first drew the crowds, but from the moment gates opened, it was clear this festival was about so much more than just its top billing.

Fans endured steady showers to bask in the glow of unforgettable performances, from synthpop powerhouses to gothic rock kings and everything in between. It was a show for the ages and one I’m glad I get to experience every May here in Southern California.

The undeniable crown jewel of the day was Orchestral Manoeuvres in the Dark (OMD), whose set exemplified why they’re considered synthpop pioneers. Andy McCluskey was unstoppable, twirling and thrusting with contagious energy that had even the dampest attendees moving. Whether it was the rarely played “Joan of Arc (Maid of Orleans)” or fan-favorite “Electricity,” the band’s live sound was both nostalgic and refreshingly alive.

And when Paul Humphreys took center stage to sing “(Forever) Live and Die”, well, that was was pure magic. But it was the show-closing “Enola Gay” that solidified their place as the best set of the day. Rain or no rain, the estimated 50,000 fans erupted in synchronicity as the iconic synth riff echoed against the gray skies of Pasadena. It was an emphatic reminder of why OMD remains so loved by fans all around the world.

Close behind OMD was Devo’s unmistakable art-punk madness. Their stage show was a sensory overload, rich with surreal visuals and frenetic energy that made it impossible to look away. Mark Mothersbaugh led the charge, commanding the crowd with oddball charm as they powered through anthems like “Whip It” and “Girl U Want.” Fans donned plastic ponchos, energy domes, and boogied without care to the band’s off-kilter rhythms. For a band that thrives on chaos, the rain only heightened the experience. My favorite from the set was “That’s Good” off of 1982’s Oh, No! It’s DEVO. Pure gold.

Madness rounded out the top three for me with a 14-song set that delivered sheer joy, no matter how soaked the audience had become. Their ska-infused grooves were a perfect antidote to the weather, and Suggs’ cheeky stage patter kept spirits high. From the infectious bounce of “House of Fun” to the heartfelt sing-along of “It Must Be Love,” Madness turned the dreary afternoon into a full-blown party. But it was their finale, “Night Boat to Cairo,” that hammered home just how talented this band actually is.

Beyond these standout sets, the festival was rich with gems. Midge Ure of Ultravox brought precision and elegance to the proceedings, his soaring performance of “Vienna” a standout moment for anyone within earshot. Blancmange offered a more whimsical vibe, their hypnotic blend of beats and offbeat lyrics casting a spell over the crowd huddled under umbrellas. Meanwhile, Alison Moyet was a powerhouse, her soulful voice tearing through tracks like “Nobody’s Diary” and “Love Resurrection” with both grace and grit. Rain dripped off brims, but not a soul looked away.

One of the day’s most talked-about moments was the surprise Til Tuesday reunion (after a 33-year hiatus). Aimee Mann’s voice was as haunting and evocative as fans remembered, and hearing the group perform classics like “Voices Carry” was spine-tingling. Fans exchanged teary smiles, knowing they were witnessing a rare, unforgettable moment that justified every soggy sock and mud-slicked boot.

Then there was Death Cult, the rawest and most visceral performance of the day. Ian Astbury commanded the stage like a gothic shaman, his presence magnetic even in the inclement weather. Their set felt almost ceremonial, a primal blend of soaring guitars and guttural emotion that pierced straight through the gloom. Fans packed closer to the stage, fists pumping and voices roaring in devotion as their set ended with arguably one of my favorite Cult songs, “She Sells Sanctuary.”

Of course, no review of the 2025 Cruel World Festival would be complete without mentioning those headlining icons. While New Order, Nick Cave & the Bad Seeds, and The Go-Go’s were the festival’s primary draw, their presence felt omnipresent throughout the day as fans in line excitedly swapped stories of past shows. New Order’s electronic mastery, Cave’s brooding intensity, and The Go-Go’s vivacious punk edge ensured that every corner of the genre map was represented.

Cruel World Festival 2025 wasn’t just about reliving the past; it was about rediscovering why these artists matter now, perhaps more than ever. From OMD’s euphoric “Enola Gay” to Til Tuesday’s haunting surprise reunion, this rainy day at Brookside was unforgettable proof that music transcends time, weather, and muddy shoes. Fans left the Rose Bowl drenched but glowing, already longing for what Cruel World might bring next. I’ll guess we’ll see as the show date of May 16, 2026 has already been circled on my calendar.

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