mi reseña: SIMPLY ELEGANT!!

Aparte saber que fue la mamada, la raza estuvo super tranquila, pero a la vez prendida. Hubo de todo: die hard fans y fans casuales; pendejos que dijeron que tocaron puras raras y raza que se sabia todas las letras.

Push fue una agradabilisima sorpresa.

En Grinding Halt Perry y Roger se salieron del escenario y aquel trio que quedo me recordo los primeros pasitos de the cure con rob, dempsey y tolhurst a finales de los setenta. Fue muy tierno recordar eso.

El setlist fue una muestra de la madurez y diversidad del grupo: la intensidad y agresividad de One Hundred Years junto a la magnificencia de Plainsong y Disintegration, la ternura de Just Like Heaven y el humor de Lovecats, otra de las grandes sorpresas que desde el Swing Tour que no tocaban.

En Lovecats todo mundo coreaba el papara-papara.... y tambien todos corearon la parte de teclado en Play For Today

La Arena lucia casi llena (no se si habra sido sold out a fin de cuentas, pero facil se vendio mas del 90 %) la acustica es muy buena

La decoracion fue muy simple, no la sofisticacion de tours pasados, pero no importa

Robert se enojo porque en Fascination Street le fallo la guitarra y se vio que regaño a uno de los del staff jajajaja

Entre los encores salia un marrano que se parece al Chef Fornica de desde gayola a afinar las guitarras

Que mas que mas que mas???

Going Nowhere fue muy bonita, muy suave y relajante para cerrar un concierto tan intenso.

Mi encore favorito fue definitivamente el de 3 Imaginary, Grinding y Boys.. aunque el de Seventeen Seconds tuvo lo suyo porque Robert se avento un juego de guitarra precioso al final de A Forest.

Nos dijo IT WAS SO FUCKING EXCELLENT al final.

Hubo momentos en que me sentia sumamente conectado con Robert... sobre todo en Disintegration cuando canta "through the eye of a needle is easier for me to get closer to heaven" porque para mi las partes de bajo en esta parte de la cancion son hermosisisimas.

Grite como degenerado BRAVO, ROBERT, SIMON, ROBERT, SIMON, PERRRYYY....

Se me concedio escuchar One Hundred Years con su bateria tremenda (en esta ocasion no me parecio escuchar ningun sampler de fondo, como en el Dream Tour)

Una pregunta pendeja: Perry sera gay? o al menos sera un metrosexual cruzado con rockero? jajajajaj parece un muñeco muy bien cuidado (en el aeropuerto traia una camisa blanca pegadita casi transparente y se le notaba todo el torso, vaya que hace ejercicio el wey, aparte de que andaba impecable)....

Ya todo mundo dio el viejazo en la banda, hasta Jason que es el mas jovencito (extrañaré siempre a Boris Williams, pero debo confesar que Jason ha mejorado muchisimo, aunque nadie lo pela de los fans, en el aeropuerto ni quien lo fumara jajaja)

Robert, ROBERT

Bueno, que mas les puedo decir??? Why can't I be you estuvo loca y divertida

Mucha gente se salio de su asiento y se fue a la parte de abajo, y el estaff de la Arena no hizo nada para evitarlo, eso estuvo bien!!

Bueno, es una lastima que para el after no haya podido ver a la mayoria de la raza que vino con la caravana, pero parece ser que a la hora de la hora prefirieron irse a otro sitio que por cierto esta del nabo.

La lluvia estuvo super ogt, me moje como nunca, a ver si no me quedo afonico, lo peor de todo es que grite como loco y parte de mi trabajo consiste en dar clases OUCH y dentro de unas horas tengo que ir a lidiar con un grupito de adolescentes tremendos.

bueno, amigos, les copio abajo la reseña que escribi para Craig

Adian Herrera



How to describe The Cure’s concert in Monterrey? Alluring? Exciting? I cannot find accurate words to describe what I have seen, heard and felt tonight. In vulgar Spanish, we would say something that could be translated as “the best blowjob of your life”. Since Sunday we have been suffering from heavy rains in northeast Mexico, so everything is now very damp. We all fans here thought this would have an influence on Robert’s mood and for instance in the setlist. But instead of a show impregnated with that feeling of “black-and-whiteness” (as Robert qualifies Berlin in Trilogy), we got a very heterogeneous setlist, wonderful, brilliant and simply elegant!

After following the band since 1991 (as I fell in love with The Cure listening to my brother’s small collection of Cure cassettes, including Disintegration, Standing on the Beach and Mixed Up), and watching them several times (in Monterrey, 1992; in the United States and today again at home, including that crazy crossing through southwest U.S. in the Dream Tour starting in Houston where we hadn’t a car and thought we would get caught by the stupid Border Patrol!), I still fill stiffed, fascinated and happy.

The Monterrey Arena is an interesting venue mixing Texan fascination for hugeness in entertainment arenas and northern bad taste, with great acoustics and a wonderful architectural design that allows you to listen and see very well regardless of your seating.

The crowd was diverse, composed by die hard fans, casual fans and people who simply wanted to see something different. I don’t know if the venue was sold out, but it seemed almost full. I dare to say it was filled around its 95%..

The scenario decoration was very simple: illumination was ok, but not the sophistication we have seen in past tours. No displays as in the Dream Tour. But still the light show gave the music a very particular mood.

Jason was the first to appear on scene, and then came all the guys walking. Playing Lost is a very strange way of beginning a cure show. Plainsong sounded great, very neat. At this part of the concert, someone handed Robert a very kitschy Mexican hat, which he didn’t wear (I don’t blame him: it was the classical bad taste merchandise for astonished European and American tourists with a very strange idea of Mexican exoticism). They played all of Disintegration hits, album which made them famous in Mexico. Disintegration, by the way, was wonderful and as always very touching: “…through the eye of a needle is easier for me to get closer to heaven…”. I feel like they have been slowing tempo in this song since the Swing Tour. Labyrinth was a passionately and mystically performed. And FTEDGS as always beautiful, and here Perry worked it really out!!! Not to forget Simon’s always passionate bass-playing. I think it was probably to early for this song. Remember that Dream Tour’s long list of opening songs (OOTW, Open, Want, Shake Dog Shake) created a kind of permeability to reach From the edge in the correct mood. I think most of the crowd had never heard Jupiter Crash, but it was a very nice surprise. I told my brother here: “I think only die hard fans know this song”. The Promise was beautiful and played in a shortened version (well, not sure, It’s just I didn’t feel it that long). Push: a nice gift, great guitar. Mister Boris’s intense drumming, but Jason still deserves thumbs up (not the same immature player as in the Swing Tour). One Hundred Years added a note of aggressiveness and intensity to the show, with Robert’s and Perry’s guitaring and Simon’s passionate bass.

The “Seventeen Seconds” encore was of a magnificient beauty. Neatly played. People chorused keyboard parts in Play for Today. A Forest included a long guitar toying by Robert at the end of the song.

In the second encore, people’s mood went up, after a small dose of mysticism in the first one. We all chorused Lovecat’s “papará-pápara—pá…” showing Robert the kind of fans we are!

As of the fourth encore, I was felt with tenderness watching Robert, Simon and Jason playing grinding halt (a jewel, a great rarity we hadn’t seen so often in setlists since the Swing Tour) as I this remind me of that trio of young, unexperienced and energic rockers Robert, Lol and Dempsey where. It reminded me of that homemade shot which appears in the Staring at the Sea video of a very early cure playing punky songs in a kiosko. It reminded me of that young and thin Robert. It reminded me of that picture of the band playing The Peel Sessions. How long is the path now. How luckily diverse and colorful. The crowd went mad with Boy’s Don’t Cry and Going Nowhere was a very sweet and relaxing final. I must confess that I’d had preferred “Faith”, but our mood was so up that this finale would have probably been too drastic.

Robert played with his classical gestures: hands on his ears, as if he was talking by cell-phone, Robert with a hand on his head’s right side and hand holding the microphone, Robert going around at the beginning of Plainsong, Robert jumping here and there on Close to Me.

Simon: always jumping, punishing his bass wildly. He is the wild guy of the band (no one would imagine he’s a family). In the airport, I told him: “I know you dislike pictures” and he only smiled, visibly tired but gentle.

Perry: always there, concentrated, trying to defeat his shyness. He’s so nice with fans (he signed my CD on the airport and as I told him with my accent how great I found him he smiled sincerely and said thanks)

Jason: arms and hair floating everywhere.

Roger: he seemed aroused playing the pandero (I don’t know the English word) in Three Imaginary Boys.

And we saw today Robert Smith here, at home, giving us a taste of some the band’s most appreciated jewel: its musical richness.

I almost forget: he spoke very few Spanish in comparison the Wish Tour visit in 1992. He said only “gracias” (THANK YOU). He kept only saying that and “hello, again” after plainsong. He said something else before the encores but I must confess I have troubles to understand Robert’s English (thus song us culld). He introduced the 17 sec encore with “now we’re gonna play something darker” and the Bloodflowers with “this is something we haven’t played in a while…” and then they began with 39.

Perry passed out some guitar nails and Robert, at the end, greeted the crowd at the end and shouted: “it was so fucking excellent. See you again”

I made no pictures; I didn’t take my camera with me since I thought security was going to be very strict. But then I saw it was very easy to filter any kind of device and I regretted not even trying.

But I’m pleased. I cannot complain.

Let’s see what Mexico City shows will bring us. Three dates is long enough to test with different setlists.