I went to see the Cure live at Blackweir Fields in Cardiff on Wednesday 24th June 2026. It was the first time I’d properly watched them live. Despite loving them for longer (39 years) than any other band I love and have seen multiple times (Blur, Wilco, The Rolling Stones, Neil Young, Supergrass, The Bug Club, Primal Scream, Sonic Youth, Pavement, PJ Harvey among others). This is my love letter to the Cure, finally consummated on a hot, sweaty night in Cardiff!
Toby and the Cure
An errant, thirty-nine yearlong love story
by
Toby Payne-Cook
It was sometime in summer 1987, just before my fifteenth birthday that I first heard the Cure. To suggest it was love at first listen, would be a lie. They sounded grittier, angrier, noisier, and considerably more unlistenable than anything else I’d heard. But that didn’t matter because they were evidently cool, way cooler than Queen, Dire Straits, and Status Quo which had hitherto saturated my musical palate.
I was nearing the end of my first year at an isolated, socially elitist, boys’ boarding school in rural Dorset. Some students in the year above had that iconic Robert Smith ‘Boys Don’t Cry’ poster on their bedsit walls, and the ‘cool scene’ at school all wore black and listened to Siouxsie & the Banshees, The Jesus and Mary Chain, New Model Army, and the Fields of Nephilim. Whilst I was about as cool as Southern Britain in the June heatwave of summer 2026, and my schoolboy idols have probably gone on to become posh estate agents in Hampshire somewhere, becoming a Cure fan seemed to be the correct channelling of my confused, testosterone fuelled, utterly unpleasant fifteen-year-old self.
TDK90 cassettes were very much the thing in the late eighties and early nineties, and one of the aforementioned ‘cool kids’ from two years above did me a recording of the Staring at the sea early singles (1978-1984) compilation, as my first introduction to the Cure. I remember being instantly intrigued yet simultaneously confused by the lyrics to ‘Killing an Arab”, bemused by the squeaky yelps on Lovecats, and falling in love with the urgency of ‘Jumpin’ someone else’s train,’ the peculiarly titled, ‘Charlotte Sometimes’ and the mesmerising rhythm of ‘A Forest.’
I shared a bedsit with two others, one completely indifferent to music, and the other vehemently opposed to anything miserable and very much a soul and Motown man. I spent hours dissing the much-loved classics booming from his stereo while building a tenuous indie nerd argument about the greater qualities of alternative guitar music.
Another TDK90 recording became important, featuring a copy of the Cure’s first album, Three Imaginary Boys, on side 1, and the Pretenders II on side 2. Grinding Halt, Fire in Cairo, Accuracy, and 10:15 on a Saturday Night engrained themselves so deeply in my adolescent subconscious that those songs take me straight back to boys bickering, having mini bonfires on the parquet floor of our bedsit, smoking dried banana skins in an attempt to get high, conducting new experiments in floppy hair, and in trying to find a way of being ourselves within the constraints of peer approval, while under the tyrannical influence of house prefects with the charm and fecklessness of Boris Johnson.
During school holidays in the isolated, bucolic paradise of rural North Devon, cut off from the social world of school friends in Wiltshire, Hampshire, Berkshire, and London, I would occasionally persuade my mother to drive me into Barnstaple and the upstairs of John Menzies where they sold vinyl records and cassettes. While still a confused fifteen year old, I enlarged my Cure collection with originals of The Top, The Head on the Door, and the – then – newest Cure album: Kiss me, kiss me, kiss me on cassette, and The Cure: Concert ’84 on vinyl L.P. The Head on the Door is probably the Cure’s most pop album which I liked at the time, I also liked The Top and loved Why Can’t I be you and Just Like Heaven from Kiss me… I pretended to like the rest of that LP but it was heavy going at the time. J Mascis of Dinosaur Jr fame covered Just Like Heaven and described it as the only listenable track on the album. I also pretended to like angrier, shoutier cuts from the live album – Shake Dog Shake, One Hundred Years, and Give Me It, but, in truth, my ears were still a little tame, and wanted music with a little more melody, and a lot less shouty noise.
By Spring 1988, I was becoming a Cure aficionado, perhaps only a few weeks away from renouncing smiling, perpetually wearing black even in high summer, and religiously studying the indie music weeklies of Melody Maker and the New Musical Express (NME). But then something strange happened. Everyone at school started listening to Led Zeppelin. And Hendrix. And Cream. And then Lynyrd Skynyrd; Free; The Doors; The Who, and The Kinks. My musical taste went retro. When I should have been swaying louchely to baggy beats from Manchester, or bouncing uncontrollably to the exploding acid house scene, I was rocking out to music over twenty years old.
I never fully renounced the Cure, but I stopped following them before the release of their most miserably magnificent of albums, Disintegration, released in 1989. I remember the relentless drone of that record blaring out from the jukebox of The Mariner’s Arms in Rock, Nr Padstow, Cornwall in August of that year. Along with the entire populace of the English public school system, and most residents of London SW3, I found myself trying my luck with some deliciously beautiful members of the female of the species. I was useless. And then, as now, talked far too much. My father had died from a long battle with cancer the previous November, so I was more interested in deep and meaningful and emotional connection than a cheeky snog whilst popping outside for a fag. Unlike 95% of my peers I didn’t smoke, because of Dad’s previous 40 a day habit, which made snog entrapment politics so much harder. I ended up talking to one girl for hours and hours. She was lovely but ultimately ended up so bored that she walked off. All the while all the terribly affected but also terribly cool London trendies copped off with whoever they chose whilst keeping the hypnotic drone of Disintegration on constant repeat on the jukebox.
In the sixth form my taste for retro rock deepened and, having seen them at Wembley in summer 1990, I fell madly, deeply, truly, in love with The Rolling Stones. This pattern continued into university life in 1991, though I did have some contemporary guitar love for Nirvana, The Levellers, The Lemonheads, and early Blur.
In my final year at university (1994 – 1995), I shared with my now long time gig mate and best buddy Rockin’ Ross – a reformed metaller and rather massive Cure fan. He played the Wish album a lot, yet Friday, I’m in Love aside, I still wasn’t convinced that I needed the Cure back in my life.
Then 1994. Glastonbury for the first time. Cringingly, I retro rocked out to the Spin Doctors instead of the Beastie Boys. I watched Weller bore us all to death in his Wild Wood phase, I spent most of my time around the campfire, beer in hand, talking complete bollocks to anyone willing to listen. I saw a criminally small amount of live music. Until Sunday afternoon. Then Britpop exploded right afore our eyes. Pulp were lovely and funny in the late afternoon sun. Radiohead rocked out, and Blur ripped the roof off the NME stage, in peak Parklife mode. Oasis had played earlier too but I knew they were turgid one trick ponies from the off, so avoided their simple melodies and trite lyrics. I truly fell in love with Blur, and have seen them a further seventeen times since, culminating in three nights (2 Wembley stadiums, 1 Lucca Mura storiche) during their most recent reconvening in summer 2023.
Then 1995, and the Cure headlining the Sunday night of Glastonbury. They had headlined before in 1990, and 1986 – both before my time. I was tired having revelled in Pulp’s peak Britpop moment on the Saturday night, Jimmy Page and Robert Plant on Sunday afternoon, and basked in the heat of a very hot five days. So, my lazy, drunken, dirge resistant twenty-three year old self stayed in our camp base up above the Pyramid arena, and below the farmyard. I could hear the Cure playing a load of songs I didn’t know, and see the lights, and I perked up when they played Just Like Heaven but was disappointed that they played so little of their early stuff from the late seventies. It seemed that The Cure were not going to travel with me through life.
In 1996, I saw Neil Young and Crazy Horse for the first time, and Blur changed direction, away from their British pop influences and gave Graham Coxon greater free reign to introduce more alternative American guitar influences in their music. Via Neil’s late seventies guitar work as the Godfather of Grunge and Blur’s new influences, I – belatedly – discovered The Pixies, Sonic Youth, Dinosaur Jr, Pavement, and Yo la tengo, and liked them very much. I stopped consuming music journalism via Q and Select magazine and read the NME voraciously. From 1996 through to 1999, I became the indie / alternative guitar band fan I should have been from 1987 when the Cure were my first foray into alternative / indie / post punk / dirgey guitar music.
Then I fell in love with a non-music lover, with a shared love of the countryside. We got married and had kids. And my festival and gig going days dried up overnight. Apart from Graham Coxon’s understated and deliciously scuzzy solo career, and the resplendent delights of Jeff Tweedy’s songwriting and his sublime band Wilco, I didn’t discover much new music in the noughties as there were other more pressing demands on my time.
Then, in 2009, Glastonbury unveiled a reunited Blur, Neil Young (& Bruce Springsteen) as headliners, and I simply had to be back in those Somerset fields. Hedonism, youthful exuberance, and political idealism were replaced with optimising the watching of live music. I watched over twenty full sets, and at least another ten part sets over the weekend, and re-ignited my love of all things live music performance, whether it was punky guitars, funky jazz, dub reggae, global rhythms, festival anthems, rock legends, or one man and his one stringed guitar in the corner of a field watched by little more than an audience of one.
A year later, I went to wonderful little indie / folk / jazz / electronic / alternative festival, End of the Road in Dorset and loved discovering some great new music, bands, with my beloved Wilco and Yo La Tengo headlining. Then in 2011, I took one of my children to WOMAD festival for the first time and started to consume festival life through the eyes of 8, 9, 10, and later, 12, 13, 14-year-olds.
Also in 2011, The Cure headlined Bestival on the Isle of Wight and released a live album of the gig which I bought on CD. I remember reading about them being awarded with a lifetime achievement award by the NME, and Robert Smith scorning Emily Eavis at the after party for not inviting them back to Glastonbury since 1995, despite them becoming one of the UK’s premier live acts. This minor spat, and the lush live album – where they encored with loads of early stuff culminating in ‘Killing Another,’ their politically sensitive renaming of ‘Killing an Arab,’ with its chiming, metallic guitar solo, so distinct of early Cure and Siouxsie and the Banshees records – reawakened my love for the Cure.
In the early 2010s, with primary school aged children, there was a weird and wonderful village fete / picnic / party in the park, innocently and inappropriately titled, “Swinging Picnic in the Park.” There were musical performances and I distinctly recall good friend Nick playing a Cure song (Just Like Heaven, I think) and Creep (a Radiohead song) on acoustic twelve string guitar. His voice was very Robert Smithian, and it offered a lush countenance to the embarrassingly cheesy karaoke of the village church choir singing along to some pop hits of yesteryear.
In 2016, my then brother-in-law, a lifelong Cure fan, went to see them at Wembley, and bought me a tour T-shirt. I began to wonder why I hadn’t gone myself, why I hadn’t nurtured my teenage angst, and mused on the sensibilities of my early and mid-adolescence in the wake of my teenage bereavement.
By 2018, my music listening had gravitated to Spotify streaming, and the modern version of the mixtape, the perfectly curated playlist. Music streaming has completely changed the way we consume music, and the way musicians make money, as well as seriously damaging the art of the long player, or album, as a musical artform. Some bands who grew up in the album, singles, Top of the pops, and music industry heyday of the 1970s, 1980s, and 1990s, failed to adapt to this massive cultural shift, while others, like the Cure, honed their live act, and toured incessantly, bringing their doom pop to a whole new generation.
In 2019, they were finally invited back to headline Glastonbury, after a 24 year hiatus while the festival, and festival consumerism, grew into a global phenomenon in mild conflict with its countercultural roots. The Cure headlined in 1986, 1990 and 1995, just before the BBC and Tabloid newspapers made the festival into a household name. Despite my grumpiness at the enormity and pop industry takeover of modern day Glastonbury, as a veteran of six festivals (1994, 1995, 1997, 1998, 1999 and 2009), a lover of live music, and a big fan of West Country landscapes and dairy farming too, the festival still has a very special place in my heart. I love being able to gorge on its BBC iPlayer coverage each year. 2019 was no different. I thought Stormzy’s headline show on the Friday night was awesome. I wrote about it here https://wp.me/paOvOj-o. I couldn’t watch the Killers on Saturday, as it was all show and no substance from the one-hit wonders. Then out came the Cure on Sunday night. And they just played songs. Song after song after song after song. Some of it was dense and moody and not, as Robert Smith noted before the encore, not really designed for great big arenas, stadia, or fields, but it was beautiful, and noisy, and difficult, and by the end, jam packed with the soundtrack to my formative years. They showed Glastonbury what a great band was: great songs, great musicians, just playing. No gimmicks, no “heeellllooooo Glaaaaasssstonbuuuuurrrryyyyyyyyyyyyyyyyyyyyy”, no dancers, no costume changes, just lovely, hypnotic, and transcendental, brilliant music. I dug deep into their back catalogue after that. The Cure were back at the forefront of my musical psyche.
My nascent teenage children were starting to get into music on their own terms and I was surprised how there weren’t really music scenes or genres anymore: how one minute they could be listening to grime, or drum and bass, and the next they could be screaming along to a party DJ playing Bohemian Rhapsody, Sweet Caroline, or ELO’s Mr Blue Sky. Very strange. Jemma, my middle one was perhaps the most into indie guitars, and I really enjoyed whizzing her around in summers 2018 and 2019 with her songs by The Wombats, Circa Waves, and The Courteeners mingling with indie pop classics by The Cure, Blur, The Arctic Monkeys, The Buzzcocks, and the Undertones.
Then 2020. Covid lockdown 1. A pulling apart at home, culminating in my wife and I separating in October. I moved into temporary accommodation, initially a colleague’s unused holiday let barn for the last two months of the year. I had become interested in Existentialist Philosophy over the previous couple of years and was reading the English translation of Albert Camus’ ‘L’Etranger’ at the time. I had always thought Killing an Arab was a strange, and controversial title for a pop single by a band such as the Cure, but then, whilst reading Camus, it hit me. The song was inspired by his book. Standing on a beach with a gun in my hand, staring at the sea, staring the sand, staring at the Arab on the ground. He’s alive, he’s dead, whatever I choose, it amounts to the same, absolutely nothing. The short novel is a bleak exploration of the meaningless of existence, and the song spells it out in a concise, urgent, postpunk rhythm.
This coincidence, at a very sad and emotional time in my life, completely and utterly reawakened my love for Robert Smith and The Cure. I listened more deeply to their back catalogue, and compiled my top 20 cure songs in a Spotify playlist[1] which I listened to over and over and over again. The songs took on a fresh, soothing resonance with the predominant gloom of my life, and offered me a consoling comfort during difficult, intensely stressful times.
Around this time, I was still a voracious, perhaps addicted, Twitter user. It was my affair, my escape to an artificial online world. In Covid lockdown 2, in early 2021, I was teaching online by day, writing by night, while living in a cabin hideaway in the woods. While life was challenging, I look back on that year quite fondly now, as I was extracting myself from an unhappy place, and becoming less suppressed, and a truer version of myself. I enjoyed some good times with my kids, frequent tree hugging in the woods, the start of my novel writing and aspirations as a writer and listening to Cure. A lot. It wasn’t just them of course, but they were important. On Friday nights, I curated some online pub nights out, and remember re-enacting a drunken undergraduate version of myself moshing in the student bar, and posting a video of myself air guitaring and singing along to ‘Jumping someone else’s train!” I was, perhaps, a little unhinged at the time! But I love the post punk urgency of that song.
In my first completed attempt of a novel (shortly to be rewritten), Lovesong from the Cure’s Disintegration album became “Tristan and Lucy’s song”, and then in the overtly saucy first version of Beautiful People (recently rewritten as The Prime of Life), the mesmerising and very sexy Lullaby became integral to a love scene between then lead protagonists Luke and Zoe. The Cure’s music was infused deeply within the innermost workings of both my loving, and sexual, minds!
Freshly divorced in summer 2022, and emotionally exhausted from my mother’s declining mental health, I turned 50 years old. So, I bought myself a record player and started building a vinyl collection. A great early live recording of the Cure in Amsterdam in November 1979 with early singles and songs from their first two albums, Three Imaginary Boys and Seventeen Seconds became a stalwart of my all-new vinyl listening habit. Writing now in summer 2026, my Cure vinyl collection has crept up to four albums: the aforementioned live recording, their most critically and commercially feted album, Disintegration from 1979 which Sal bought me for Christmas 2024, along with their lush new album, “Songs from a lost world”, and vinyl junkie Rockin’ Ross has gifted me their ‘Mixed Up’ double album released in the early 1990s, subtly acid housifying some already danceable Cure classics.
In April 2024, I met up with an old family friend, and we connected very deeply. Our souls had seemingly been subtly dancing around each other for over thirty years. As I drove down to Devon from our spontaneous meeting in Tetbury, Sal sent me a song on Spotify, which I played, and then the algorithm played Lovesong by The Cure. It was a sign. Having not even kissed at that point, I briefly considered if it was too soon to share it but share it I did. We now know that we did fall in love that weekend. So, just over a year later, it was lovely to have my friend Nick play us the song in the cabaret and speeches section of our wedding day in July 2025.
Just before the wedding, watching Glastonbury 2025 at home with Sal and my future step-daughters, it was intriguing and lovely to see Robert Smith come onstage with Olivia Rodrigo to perform Just Like Heaven and Friday I’m in Love. What a sweet, lovely man.
And so to 2026. For a brief period around Christmas I was mooting that Sal and I should go on holiday to Norway and go to Oyafestivalen to see The Cure, Nick Cave and Wilco all play in one place. But then we reined in my extravagance, and I planned to buy tickets to see the Cure at Blackweir Fields in Cardiff in the summer. But I never bought a ticket. And it sold out.
Two weeks before the event, I felt compelled to see them, having watched the live streaming of their show at Prima Vera sound festival in Barcelona. So, I set up an alert on Twickets. I asked my old old gig buddy and lifelong Cure fan if he could accompany me if two tickets came up for sale and he was unavailable. Sal wasn’t feeling stand in a field all evening vibes. So, I was looking for a ticket for one. But then a pair became available, and I thought of Rosie, my eldest stepdaughter with a wonderfully eclectic and alternative taste in music, who was shortly turning eighteen.
We headed down to Cardiff, from Stroud, in heavy traffic on the hottest UK day in June ever recorded. As we entered the site at Blackweir Fields, we caught the last song of the second support act, The Twilight Sad, before Rosie briefly met up with friends Finch and Edie and I got some food and a pint for each of us. Excruciatingly hot, we had been over hydrating all day, including some very tactical rehydration salts, and had a good supply of water with us. We walked along the right-hand side of the crowd (stage left) and managed to muscle in front of the central barrier and position ourselves in front of the right-hand mixing desk with plenty of space around us, whereas the crowd ahead and behind us were packed in far more densely. It was the perfect spot for an unusually balmy evening. It was 7:30pm. And we were in the shade, with the stage and huge screens shielding us from the evening sun.
The Cure came on just after 8pm, and packed in 28 songs, some over eight minutes long, before the curfew of 10:30pm. They were magnificent. The sound quality was excellent. The volume was loud. The musicianship formidable. The lights and visuals unintrusive and complimentary.
They came on to the slow build of gently melodic Plainsong, then launched into Pictures of You, then High, then A night like this, and then Lovesong; the same five song intro as their Glastonbury set from seven years earlier. Things then deviated into some deeper album cuts from Bloodflowers, and two from Seventeen Seconds. Then, one of my favourites, Push from Head on the Door, set the stage alight: the synchronicity of the band, Jason Cooper’s phenomenal Tom Tom fills, and Robert Smith’s delicious guitar bringing the crowd to life, ‘Go, go, go – push him away’ pelted out in unison. Into Inbetween Days and then Just Like Heaven; it was a great three song pop interlude before things descended into deeper darkness and experimentation. Want from Wild Mood Swings was deliciously moody, and Burn, a song I didn’t know, was a pulverising assault on the senses. A Forest was inevitably a highlight of the evening, its glorious coda played by Robert Smith and Simon Gallup, each hunched over their guitars, and each other, playing in telepathic harmony. Then three extended jams full of pulsing basslines, incendiary guitar parts played by both Robert Smith and David Bowie’s former live guitarist, Reeves Gabrels, embellished with dreamy synths from Roger O’ Donnell, third guitar or second keys from Eden Gallup and rollicking drums from Jason Cooper. This three-song run of Wish’s ‘From the Edge of the Deep Green Sea’, Disintegration’s Prayers for Rain, and it’s masterful title track which closed the main set were arguably the high point of the show for me. A band locked together, like an industrial, post punk Crazy Horse, pushing their instruments to their limits and turning my internal emotions into a mesmeric trance of transcendental euphoria. As my colleague, Becky who was also at the gig, said when I saw her two days later, it was a religious experience. Like Clapton in the 1960s, Robert Smith is God!
The encore was a 40 minute set of unrelenting quirky alt-pop hits. Lullaby was followed by the upbeat funk of Hot Hot Hot! from Kiss me…, then a number I didn’t know called Wrong Number which sounded like early Scary Monsters era Bowie, all fat multi-layered sound, heavy bass, and deep, semi-shouted vocals. Then The Walk, and Lovecats, a high point for Rosie; then Let’s Go to Bed; then a gentle guitar strum and the whole crowd singing along to their most notorious pop single Friday I’m in love, and there were still three more to go. During Close to me we boogied while Robert Smith marauded around the front of the stage with a radio mic, a lovely bit of authentic, understated and sweetly shy front manning, which continued through Why Can’t I be you, my favourite Cure song from the first incarnation of my fandom in 1987. Then he was back to his guitar, and Roger O’ Donnell shook a tambourine and the night ended with 35,000 Cure fans simultaneously shedding a tear to ‘Boy’s Don’t Cry,’ a dead cert personal Desert Island Disc of mine, so congruent with being a 15 year old boy in a boy’s boarding school with a terminally ill Dad slowly and painfully dying from cancer.
I can’t believe that it’s taken me 39 years to see one of my all-time favourite bands, and the band I’ve loved the longest, live. All good things come to those who wait. It was phenomenal. And Rosie and I had a very good time indeed. At the end, Robert Smith smiled and melted at the adoration, with his hand on heart, and his eyes twinkling with delight. A job very well done.
[1] A forest, play for today, primary, the hanging garden, pictures of you, lovesong, push, just like heaven, why can’t I be you, the lovecats, perfect girl, close to me, inbetween days, Friday I’m in love, the empty world, lullaby, 10:15 Saturday night, boys don’t cry, jumping someone else’s train, killing another (live at Bestival).




