The Cult is by far one of the most iconic and legendary bands ever to roam the planet. Their use of post-punk, hard rock, and experimentalism has pushed musical boundaries across multiple genres, influenced countless bands worldwide, and yielded numerous hits. With their mystical musical prowess, uncompromising attitude, and captivating stage presence, they have forged an unmistakable identity.
The band’s fall tour concluded in Los Angeles on October 30 at The Shrine Exposition Hall, featuring two sets in one night: one as Death Cult and one as The Cult, revisiting their gothic post-punk roots while celebrating their enduring modern-day legacy. Opening acts were Patriarchy and Failure.
While The Cult is active with touring, it is always a truly special event when they play in Los Angeles, and the anticipation was heightened on this night as fans swarmed the Expo Hall to secure a close spot to the stage. The show was beyond your typical greatest hits concert that bands of this status typically perform. The magic started shortly after 9:00 PM with a set of Death Cult classics, beginning with “Ghost Dance” from their 1983 EP. The raw guitars and trance-inducing drumbeats echoed through the Shrine as the band performed behind a white curtain, their black silhouettes the only visible elements.
Ian Astbury remains active onstage, waving his tambourine. His voice sounds strong and healthy, while guitarist Billy Duffy cranks out some serious rhythms and solos with his unique tone on his hollow-body Gretsch guitar. Long-time drummer John Tempesta and bass player Charlie Jones controlled the tempo. The set was indeed a nostalgic trip celebrating the past, and what made it even more special was Astbury mentioning that this performance would be the final Death Cult show.
This set also featured a few early The Cult classics off their debut album, such as “83rd Dream,” “Butterflies,” and the Death Cult set concluded with “Spiritwalker,” which made you feel like you were back in 1984 at a dance club or watching MTV.
After a 10-minute video intermission featuring random graphics, the band reemerged onstage and delivered 60 minutes of The Cult classics to Los Angeles. The energy from both the crowd and band was elevated, and the entire vibe in the room intensified tenfold. “Wild Flower” kicked things off, with the lighting, sound, and production creating a dark, captivating rock spectacle for the entire show.
The band paced the set brilliantly, mixing in the up-tempo mega-hits with slower-paced songs like “Rain” and “Edie (Ciao Baby).” Again, each band member demonstrated their extreme talents respectively. Astbury and Duffy are the “Steven Tyler and Joe Perry” of the post-punk/hard-rock/, and alternative rock genres, having created some of the most memorable radio hits of the 1980s, 1990s, and beyond. The set ended with a profound 1-2-3 punch of “Fire Woman,” “Lil’ Devil,” and “Love Removal Machine.” That sequence was definitely the highlight of the night, only to be outdone by the encore, “She Sells Sanctuary.”
The Death Cult/The Cult split is pure genius, offering a true “where the band came from, how they evolved, and where they stand now” perspective that satisfies both casual fans and diehards equally, all in one night. The Cult had announced a hiatus from touring in late October, following this night in Los Angeles, to recharge their spiritual batteries and focus on new music, so this was most likely the last live show for the foreseeable future.
